The walls of House of Blues Anaheim pulsed with brass, sweat, and sheer defiance on July 24 as Streetlight Manifesto headlined a charged night of ska-punk energy. Joined by fiery openers DFMK, the New Jersey veterans delivered a powerhouse set that fused blistering horns with lyrical angst, proving once again why they remain one of the most vital live acts in the genre.

DFMK opened the night with a fierce and unapologetic set that channeled the raw spirit of Tijuana’s underground rock scene. Formed in 2009 by bassist Marco and guitarist Angel, the band’s sound is a relentless collision of punk rock aggression and 70s riff-driven rock and roll, with nods to Black Sabbath and the Ramones. Their current five-piece lineup, rounded out by Marco’s brother Alex on drums, Boti on guitar, and frontman Mr. Cap (aka Cachuchin) delivering emotive, proto-punk vocals, has solidified into a powerhouse of attitude and authenticity. With no interest in polished politics or formulaic hooks, DFMK delivered a set rooted in lived experience, wild energy, and a “don’t give a fuck” ethos. Whether the name stands for “Don’t Fuck My Kids” or “Distrito Federal Mortal Kombat” is beside the point — what matters is that DFMK came to rock, and they did just that.

DFMK's set was a full-throttle assault that never let up. They opened with the relentless drive of “Prete” and kept the energy boiling with tracks like “Rutina” and “Desquiciados,” showcasing the band’s signature fusion of punk chaos and classic rock swagger. “Agorafobia” and “Mal Presentimiento” brought a darker, more anxious edge, while “Rock & Roll Days” delivered a tongue-in-cheek tribute to the genre’s grimy roots. The pit ignited during “Playa Nuclear” and “Deja de Valer Verga,” and by the time they tore into “La Mentira” and “Sometidos,” the crowd was fully locked into the band’s gritty rhythm. Frontman Mr. Cap prowled the stage with unfiltered charisma, driving home every lyric with a blend of soul and sneer. They closed with the scorching trio of “Tren de la Muerte,” “Negatividad,” and “No Soy Un Perdedor,” leaving the audience dazed and exhilarated. DFMK didn’t just warm up the stage — they burned it down.

When Streetlight Manifesto took the stage, the energy shifted into something even more explosive. Opening with “Watch It Crash,” the band didn’t ease into their set. They detonated into it. Tomas Kalnoky’s sharp vocals and frenetic guitar work carried the crowd into a whirl of syncopated rhythms and poetic unrest. From the thundering brass of “Enormous” to the emotional ache of “With Any Sort of Certainty,” every song felt like a statement.

Nostalgia took hold as the band revisited their roots, including “Dear Sergio” and the multi-part “Point / Keasbey Nights / Counterpoint,” both throwbacks to their days in Catch 22. Streetlight made sure these weren’t just covers. They were reclamations, layered with maturity and tighter musicianship.

The second half of the set leaned into the theatrical, with “A Moment of Silence” and “A Moment of Violence” pairing perfectly to showcase their dynamic range. The crowd roared to the Bandits of the Acoustic Revolution covers “This Is a Call to Arms” and “Here’s to Life,” which further blurred the lines between Kalnoky’s projects and underscored the scope of their musical universe.

After a brief exit, the band returned for an encore that hit hard with “The Hands That Thieve” and the fan-favorite “Somewhere in the Between,” leaving the audience exhausted, euphoric, and deeply satisfied. It was a night that proved ska isn’t just surviving. It is evolving, thriving, and when performed with this much conviction, it can still change the temperature in a room. Streetlight Manifesto didn’t just play a show at House of Blues. They led a rally. And no one left unmoved.