Whoop Whoop, Pittsburgh! The long-awaited day arrived on June 27th, 2026, when the Dark Carnival made its way to Stage AE on Pittsburgh’s North Shore. And let me tell you, not even a rainy Pittsburgh afternoon could dampen the spirits of the Juggalo faithful. The skies may have been grey, but inside that venue, it was a pure, unadulterated party for the entire gambit of the Juggalo family. There were guys like Butch Shipton (seen in the photo to the right) who is anticipating attending his 25th Gathering of the Juggalos this summer. Alongside him were fresh-faced fans who have become the next generation of Juggalos thanks to outlets like TikTok and Instagram. I witnessed grandparents enjoying the time of their lives with their children and grandchildren.

The weather didn’t matter one bit to the night of chaos and celebration. Neither did the fact that the city was absolutely buzzing with activity. While we were getting down with the clowns, the Pittsburgh Pirates were battling the Reds just down the road, Nelly and Three Doors Down were rocking Point State Park, and drone shows were lighting up the sky over the Point. But for the Juggalos packed into Stage AE, there was only one show that really mattered.

As the rain subsided and the Faygo began flying, they kicked off the evening with “The Show Must Go On”, setting the tone for a night that would feature a near-perfect mix of old-school Juggalo flavor.

Violent J and Shaggy wasted no time diving into the classics. Hitting hard with “Hokus Pokus” from their 1997 platinum album The Great Milenko. They had the crowd losing their minds and soaked with Faygo after just a few notes. That track actually went gold in 2022, selling over 500,000 units, and it was easy to hear why: that infectious “Streets of Cairo” melody had everyone bouncing from the front barricade to the fence at the back of the lawn.

“Birthday Bitches” and “My Axe” kept the energy sky-high before they dropped “Fuck the World”. There was not a person in the crowd who was not singing along to every word of the classic tracks. After a quick Faygo break (because you’ve got to stay hydrated for the mayhem), they launched into “Tilt-A-Whirl”, followed by “The Neden Game”, a notorious gameshow track that’s become a fan favorite. Then came “Boogie Woogie Wu”, a dark classic from The Great Milenko that describes multiple murders over a creepy, slick beat. It’s horrorcore at its finest, childishly describing mayhem in a way that only ICP can pull off.

DJ Clay took center stage for a solo to give J and Shaggy a breather before they brought back the wickedness with “Play With Me” and “Stomp” along with another Faygo break (the crowd was getting thirsty), and then they hit us with “Let’s Go All the Way” and “In My Room”.

One of the highest energy moments came when they did their version of the Geto Boys’ classic “Assassins”, a nod to the horrorcore roots that run deep in hip-hop history.

“Down With the Clown” brought the energy to a fever pitch before they closed with the epic “Pass Me By”. This track, also from The Great Milenko, is one of the more thoughtful Joker’s Card closers. It paints a picture of what it’s like to make it to the Carnival after death, hanging with Jimi Hendrix, Selena, and Eazy-E, with Faygo on tap and no more worries. It’s a song about finding peace, and the message of the Dark Carnival shines through lyrics like “We all gonna die, but I’m not gonna fry.” The crowd filled the stage and commenced drowning Pittsburgh in its own Faygo Armageddon. As the Faygo flew from the front to the back of the venue, fireworks exploded overhead, welcoming the Juggalos to Shangri La.

It was a glorious, sticky, sugary mess that you had to see to believe. The wicked clowns brought it proper to the Steel City and showed fans, both young and old, why they have remained a main stage in the music industry for decades. They delivered a fun-filled night of great music and excitement.

Here’s the best part, ninjas. The Carnival keeps rolling; the Pittsburgh show was just one stop on the Clowns’ massive 2026 tour, and the insanity is far from over. The boys are hitting cities coast to coast, so if you missed this one, you’ve still got plenty of chances to get down with the clown.

Not to mention the 26th Annual Gathering of the Juggalos is just around the corner. August 19th through 22nd will see the Gathering moving to a brand-new “river-infused realm of dopeness” at Mother Nature’s Riverfront Retreat in Macks Creek, Missouri. That’s right, after years in Thornville, Ohio, the family reunion is heading to the Lake of the Ozarks area for a four-day epic festival with music, wrestling, and enough Faygo to fill the Mississippi.

There are several dates remaining on the current tour until the group veer off course for the Gathering and multiple festival shows, and then they hit the road again for a slew of dates leading up to the infamous hometown Hallowicked show in Detroit.

So what are you waiting for, ninja? Grab your tickets, grab your hatchet, and get your face paint ready for the Gathering. The Dark Carnival never stops—it evolves, changes shape, and reconfigures into something so unexpectedly dope that it’ll blast the ghost right out of your body. This is the sign you’ve been waiting for.

See you in the pit, Juggalos. Whoop Whoop!

About Author

Josh Drespling

Josh is the Publisher and creator of Empire Extreme and it’s sister publication Kingdom Extreme Magazine. He is an accomplished writer, photographer and graphic designer. He is always conjuring up new ideas and has a amazing passion for the music industry and all the things that surround it.

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This Saturday, Mr. Smalls transformed into a haven for the punk, goth, and metal LGBTQ+ scene as PGH Pride in the Pit celebrated its second year. The genesis of Pride in the Pit came from a simple but vital idea of J.J. Ulizio: “I originally came up with the idea of having a pride event for the punk, metal, goth, and alternative [music] community, for those who feel out of place at mainstream pride events.”

Last year’s event proved there was a hunger for exactly this kind of space, generating over $1,300 for Allies for Health and Well-being and demonstrating that the concept works. The organizers described the aftermath as a moment of collective realization: “I immediately decided that I wanted to do it again,” explained Ulizo. Committee member Aaron Pepe added, “That was the moment for me too… sitting in the office looking at the number going, ‘Oh, damn. We did this. This is the start of something much, much bigger.”

This year’s proceeds will benefit the Hugh Lane Wellness Foundation, an organization founded in 2017 that focuses on improving the health of LGBTQ+ and HIV-impacted Pennsylvanians through services including youth mentoring, food and hygiene supplies, support groups, and mental health coordination.

Building a Movement, Not Just a Show: P3s, as it is affectionately called by insiders, ambitions extend far beyond a single annual event. The organizers are actively working on some smaller events to help generate income to fund the… big event next year.” They already have a Halloween party booked at Poetry Lounge. The organizer’s vision is long-term, as they hope to become a premier production company that touring queer and allied bands can trust when they come to the Pittsburgh area. “We want Pride in the Pit to be more than just the event,” said Ulizo. Community building remains at the heart of everything they do. Already, last year’s event created lasting connections: “There were bands that didn’t know each other, who have since played shows together. ” Dysphoric Void and Millie Dread, who met at Pride in the Pit, are now playing a show together the night before this year’s event.

The Lineup: A Guide to the Performers

Rory Watters – Solo death-core
Rory Watters brought a high-energy solo performance to Pride in the Pit. His deathcore screams filled the Funhouse at Mr. Smalls as he was accompanied on stage by only a laptop and microphone. His short set built the foundation of what the rest of the evening would hold.

Bad Spirits – Stoner/doom metal

Clad in all black, the four members of Bad Spirits took the stage with confidence, as they plowed through their brand of sludgy stoner metal. They oozed doom and Sabbath riffs all wrapped in blues. At one point the guitarist broke out a box guitar that he reportedly pulled from the dumpster behind the venue. His masterful playing brought out some southern swag as he caressed it with a slide on his fretting hand. It’s worth noting that three of the four members are part of the local Krampus band Sleigher.

LibCor – Punk/post-punk indie rock from Cleveland

Libcor performed a subdued set led by Olivia Lee on vocals and electric guitar while Corey Kurtz filled the sound with an acoustic guitar. The band had an interesting sound primarily due to the intentional mix/levels of their instruments. The lead electric guitar was buried low in the mix, leaving room for the bass lines and vocals to come to the forefront of the sound. I could hear hints of Sonic Youth, Hüsker Dü, and even Bob Mould

Disease of the Mind – Performance art/noisecore

Disease of the Mind is Mike Fischer, who defies an easy description or any description, for that matter. Rumor has it that the stage plot for this year’s performance was reportedly just a drawing reading “Mic, table, spaghetti, and a thousand wasps” followed by a question mark. With that glimpse into his mind, it was certain to be a spectacle

What transpired is quite difficult to capture with mere words. There was make-up, sheer stockings over one’s head, broken glass, bare feet, a bed of nails, a sledgehammer, candlelight, and Chef Boyardee spaghetti. All existing in the same space as a feedback-driven noise palette, and maybe there were bees; maybe not.

Psych Ward Grips – Queer, loud, dance punk

If there was a band that embodied the unapologetic, sweaty spirit of PGH Pride in the Pit, it was Psych Ward Grips. Describing themselves as “dance punk,” the Pittsburgh four-piece tore through of noisy punk rock set. Front and center was vocalist PINK, a blur of energy beneath a pink-colored mohawk that seemed to glow under the Funhouse lights. PINK commanded the stage with a presence that was equal parts punk rock preacher and underground club ringleader, channeling the raw, confrontational energy of queercore.

The band—rounded out by guitarist Jude, drummer Ashely, and keyboardist Cory—delivered a wall of noise that was as chaotic yet danceable. Their sound sits at the intersection of experimental rock and psych-infused punk, with jagged riffs and synth textures that refuse to stay in their lane . It’s the kind of music that makes you want to dance whether you know the steps or not.

Lyrically, Psych Ward Grips wear their identity proudly. Their songs are unapologetically LGBTQ-focused, tackling themes of queer resilience. This was band making a statement, and a reminder that punk has always been queer, and that the alternative scene belongs to everyone who’s ever felt like an outsider.

Sarah Halter – Solo metal artist Guitar & Vocals

Sarah was the second solo performer of the night. The sound blended progressive symphonic metal with vocals that transitioned from traditional metal to modern screams, reminiscent of Jinjer, and included screeches that briefly evoked Cradle of Filth. The ability to perform an entire set alone on stage, accompanied only by backing tracks, is a feat that only the bravest and most confident musicians can manage.

Terminal Intensity – Mathcore/grindcore

Terminal Intensity isn’t a band; they’re a sonic car crash at breakneck speed. One of the most intense bands to crawl out of the Pittsburgh area in many years. This four-piece are a lit fuse that wear their influences like battle scars—Dillinger Escape Plan’s chaos, Converge’s emotional brutality, and Napalm Death’s sheer velocity, but they twist it all into something uniquely unhinged.

Onstage, they don’t perform; they absolutely pillage. Their 20-minute set packs over a dozen songs, most barely surviving past the 60-second mark. Each song is a miniature apocalypse of squealing harmonics, guttural roars, and drum blasts that hit like artillery fire. The sole breather, a cover of a Weezer song. Yes, that Weezer.

Every song is a lesson in complete auditory destruction, bent on exploding your mind and heart at the same time. The guitar is bombastic, insane, jagged, and unhinged. The vocals: deep growls, piercing shrieks, and manic squeals that will make any death-metal fan smile. The bass lines drive the songs down your throat while the drums shatter what is left of your eardrums.

Keep your eyes on Terminal Intensity. This is only the beginning; when they turn up the heat, Pittsburgh might not survive.

Normal Creatures – Rock and metal with catchy hooks, dual vocalists, and hip-hop inspirations

Normal Creatures was the most polished act of the evening. Lead by vocalists Brian Sikes Howe the band performed a series of songs that transcended several genres. They tickled the audience with songs that touched on alt-rock and weirdness with an underlying hip-hop feel. Sike’s strained vocals were accompanied by the warm vocals of Mandy Montgomery who undoubtedly filled the gaps. Bassist Justin Campbell, lead guitarist Evan Thorsen, and drummer Leo Rogers produced a simple yet enigmatic sound that drove the energy of the performance upward. Most notable was Evan’s guitar tone.

Emcees and Special Guests

The hosting throne got a double dose of dazzle this year. Zelda Kollins was back for a second stint as co-host, and when the organizers came calling, her response landed like a mic drop: “Absolute fucking yes.” She was joined by fresh blood Bri Griffith, and together these two queens introduced bands and filled the spaces between them with multiple drag performances and banter that kept the energy crackling.

Beyond the stage, a vibrant bazaar buzzes with creativity and heart. Punk Rock Saves Lives returned with their signature mission-driven merch, while Octopus Designs tempted with their hand-stitched patches and keychains, and Dipped by Design lured folks with handcrafted sweets that are almost too pretty to eat. Over in the courtyard, Providence 12 sets up his easel for live painting sessions. Last year, he generously donated half his earnings to the cause, and this year he was back to create custom works on the spot as the music raged around him. Some luck raffle participants walked away with a gift certificate from Crayons Professional Custom Tattoos or some killer band merch.

Pride in the Pit is proof that there’s a place for everyone who’s ever felt too punk for a parade or too queer for a mosh pit. This is just the beginning—and the future sounds gloriously, defiantly loud. Until next year, keep your horns up and your flags high.

About Author

Josh Drespling

Josh is the Publisher and creator of Empire Extreme and it’s sister publication Kingdom Extreme Magazine. He is an accomplished writer, photographer and graphic designer. He is always conjuring up new ideas and has a amazing passion for the music industry and all the things that surround it.

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KITTIE CAME BACK INTO BALTIMORE SINCE AROUND 2012. ON TOUR WITH THEM IS GORE AND KINGDOM OF GIANTS. 

Gore opened the show, energizing the crowd with crowd surfing and moshing. This Texas metalcore trio kicked off the party in style. I really enjoyed the vocals of their singer, Haley. While I found the music to be quite basic, I know many people in the crowd truly loved it.

Kingdom of Giants was up next, and this band, hailing from Sacramento, California, took the energy of moshing and crowd surfing to a whole new level. The metalcore band truly engaged the audience. While I have never been a huge fan of the genre, I always respect others’ tastes in music. The band exuded a lot of energy, and the singer was particularly animated, moving around and getting the crowd pumped up.

KITTIE was performing now, and I hadn’t seen them since Blue Ridge Fest ’22. I remember watching them in 2000 at Ozzfest and have seen them many times over the years, always enjoying their performances. I was really excited about this show. 

Morgan, Mercedes, and Tara are incredibly badass and put on an amazing clinic. Rachel, filling in for Ivy on bass, added that extra spark. Playing 20 songs, Kittie pulled out tracks from different eras of the band. Hearing songs like “Cut Throat,” “Oracle,” “Spit,” “What I’ve Always Wanted,” “Suck,” and “Mouthful of Poison” was a real treat. They ended the set with their first single that made them famous, “Brackish,” and the song that brought them back together, “Eyes Wide Open.” 

The show was incredible and truly demonstrated why, after 30 years, KITTIE is still a phenomenal band that deserves to be riding the waves of rock and roll success.

About Author

Ron

Ron has keen eye for new talent, a love for the underground, and a tremendous passion for music of any genera. You’ll probably bump into him at a horror convention or some seedy club checking out the next need-to-know band.

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