From basements to the Greek Theatre : Turnover’s full-circle moment with ‘Peripheral Vision’ ...Middle East

Under soft blue and magenta lights—echoing the washed-out hues of their 2015 “Peripheral Vision” album cover—Turnover took the stage at the Greek Theatre on Friday, May 16, and were immediately met with the kind of roaring welcome that only comes with a deep, decade-long connection.

It was more than just another concert to catch on a breezy weekend night after work in rush hour traffic.

For many in the sold-out crowd, it felt like a reunion with a version of themselves they hadn’t seen in a while—wide-eyed, heartbroken, twenty-something, and very much clinging to every lyric.

As the band settled in, frontman Austin Getz took a moment to connect with the crowd: “Has anyone in LA seen us before? Is it anybody’s first time seeing Turnover tonight? Welcome,” he said, scanning the completely sold-out Greek Theatre. “We’re so happy that you’re here and celebrating this album with us tonight. It means the world to us, more than we could ever express. Were a band called Turnover from Virginia Beach, Virginia.”

It was a sentiment that resonated deeply with the audience, many of whom had grown up alongside the band’s music.

“This album got me through the hardest breakup of my life,” said Sienna Vance, 31, who drove in from Orange County. “So when I heard they were playing it front to back, I knew I had to make the solo trip. This record is like a memory bank. For a lot of us in our thirties now, it tugs on the heartstrings in a different way, it got us through some of the roughest parts of our college years.”

“‘Peripheral Vision’ dropped right when I was figuring myself out,” said Carlos Mendez, 30, who came with a group of old college friends. “We used to play it on loop in our crappy apartment. Hearing it live tonight felt like time-travel—like I was right back there, broke, confused, full of feelings. It’s wild how music holds onto memories like that.”

And that’s the thing — for a generation of kids who came up during Tumblr-era pop-punk, who once saw Turnover as the moody older brother of the genre, this show hit differently.

It brought with it a flood of memories, a collective reflection on who they were back when “Peripheral Vision” first dropped. The pit may have been full of dancing, but in between the sways and shouts were lots of emotions. It was, in essence, a whole crowd of 30-somethings still in their Chucks or Vans, who already lived through a pop-punk phase, singing every word like it was 2015 all over again.

That sense of looking back and celebrating the past perfectly shaped the night’s focus.

Turnover dedicated the evening to “Peripheral Vision,” their pivotal second album that marked a move away from their early punk roots toward the dreamy, shoegaze sound that defines them today. They played the record in full — with tracks like “New Scream,” “Cutting My Fingers Off,” and “Dizzy on the Comedown” landing just as good live as heard on the record — while also weaving in newer songs like “Stone Station” and “Super Natural,” the latter introduced as a love song frontman Austin Getz wrote for his wife, who was in the audience.

“This is unbelievable,” Getz told the crowd. “We wrote these songs when we were between 19 and 21, and we had no idea it would allow us to reach all of you… It’s bigger than we are as a band.” His gratitude poured out between songs, from welcoming first-time fans to thanking his team by name.

Later, he reflected on the band’s long journey to this moment. “We started this band in 2009, and if you’re familiar with Turnover, we’re truly just some kids since 17 that have been using all our money to play in basements, people’s garages, house shows, anywhere that would have us,” he said. “So to be here at the Greek Theatre and selling it out on a Friday night is unbelievable. We’ll never be able to express our gratitude fully, but I promise we’ll continue to try and do it through our music, as long as you’ll have us.”

Throughout the set, the crowd turned into a sea of movement—moshing, dancing, belting lyrics like they’d been waiting ten years for this. It felt like a room full of people who had grown up with this album, whose relationship with it had changed alongside them. One minute, you could spot someone wiping away tears during “I Would Hate You If I Could,” and the next, see a pit break out during “Take My Head.” It was messy and honest, just like the era the album came from.

For a generation that grew up navigating heartbreak and identity to the soundtrack of “Peripheral Vision,” this show wasn’t just about nostalgia. It was about recognition. The kind that says, “We made it.” And that maybe, ten years later, the songs hit even harder.

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