Two years after their BeachLife Festival headlining slot was canceled, My Morning Jacket return in 2026 to deliver some sweet redemption

My Morning Jacket - Jim James - BeachLife Festival 2026By Josh Herwitt //

My Morning Jacket //
BeachLife Festival – Redondo Beach, CA
May 3rd, 2026 //

When the lineup for BeachLife Festival’s fifth edition was announced in early 2024, fans of My Morning Jacket could not have been more excited to see the Grammy-nominated rockers listed atop the poster as the South Bay event’s third and final headliner.

Not only did the two other headlining acts that year in Sting and Incubus differ significantly when you compare their overall sound and reach, but the Louisville quintet that’s widely regarded as one of the best live bands in the business had also never headlined a music festival in Southern California after forming more than a quarter century prior. The fact is, music festivals in California and along the West Coast haven’t been a big part of MMJ’s touring schedule (we had made it out to 20 shows in the past decade and a half but have never seen them previously at one for example). Given where the band is now and the limited amount of options in today’s scene though, most headlining slots at a festival can’t rival the two-and-a-half hour auditory rides we have become accustomed to from these road warriors.

There’s no doubt Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) were worthy of such a billing having played at the Hollywood Bowl for the first time — despite being booked as a co-headline performance with Fleet Foxes — just a few months before BeachLife revealed its roster (read our show review here), and with Dirty Heads, Devo, Seal, Local Natives, City and Colour, and Santigold, among others, gracing the stage for the fest’s first two days, it was shaping up to be a stellar weekend of live music in Redondo Beach.

By the time Sunday had arrived, the anticipation was certainly palpable. We hadn’t caught Jacket in the flesh since that night at the Bowl, and considering they only had 75 minutes to work with then, we were looking forward to having some more time for this encounter with the psychedelic-leaning, jam-adjacent five-piece. Of course the appeal of having Trey Anastasio & Classic TAB, Fleet Foxes, ZZ Top, Courtney Barnett and Margo Price on the docket as well made it feel like we were in for a banner day down at the beach. That is, until we weren’t.

It can sometimes be easy to forget and hard to remember it’s Mother Nature who ultimately calls the shots as we are all temporary visitors here on Planet Earth. Nonethess, a “high-wind emergency” that forced everyone to evacuate from the premises is not something you experience very often in sunny SoCal and let alone during the month of May. The decision by organizers to cancel the remainder of BeachLife roughly an hour later left thousands of folks stunned, frustrated and disappointed, especially because the winds had completely died down at that point. An announcement after more than a week stating that refunds would be issued to ticket holders offered some consolation, but not for those from out of the area who had traveled long distances to be there. Moreover, nothing could truly replace the hours that went into compiling such a well-curated bill, leaving us and plenty of others wondering if we would ever attend again (read our festival review here).

My Morning Jacket - BeachLife Festival 2026

That unfortunate day hasn’t stopped us from witnessing a number of MMJ concerts subsequently, even if it meant a visit to the Bay Area for their four-night run of no repeats at The Fillmore in San Francisco three weeks after the entire BeachLife fiasco (read our First Times coverage here). Last year’s release of is to mark the group’s 10th studio album provided more opportunities with its summer tour wrapping up in California, and we made sure to not miss all three dates — from Hollywood to Santa Barbara and Berkeley (see more photos from the shows here) — following another epic and awe-inspiring two-night stand at Colorado’s legendary Red Rocks Amphitheatre (read our show review here).

Jacket’s appearances in and around Los Angeles have become fewer and farther between if we think about those first three shows at The Wiltern we covered way back in 2012, and with their most recent one coming last August, any expectation for a return to the City of Angels this year felt rather unlikely. But having MMJ included in BeachLife’s plans for 2026 came as a pleasant surprise when its seventh installment was officially unveiled, and although some of the circumstances weren’t quite as ideal as they were previously (more on that below), there was real hope that the show would happen this time.

As we alluded to, BeachLife didn’t exactly give Jacket buffs the kind of do-over they arguably deserved. James Taylor, instead, had earned the honor to be one of BeachLife’s main attractions, relegating MMJ to sub-headliner status for 2026 and landing talent that wasn’t anywhere as enticing as it was a couple of years ago. Neither of those drawbacks were going to prevent us from making it to Seaside Lagoon where the Lowtide Stage had been designated for Jacket’s set, however. A “swatting” threat due to “a reported hostage situation involving possible explosives” at the Redondo Pier that morning nearly did believe it or not, sparking another moment of despair and uncertainty surrounding Sunday’s festivities that caused them to be delayed for almost two hours.

But any feelings of déjà vu would shortly thereafter be erased by 2 p.m. when the gates finally opened and the music got underway. For us, the preceding trio of Poolside, Peach Pit and Sheryl Crow merely represented a chance to warm up our ears until James and company totally infiltrated them with MMJ’s scintillating songwriting, poignant lyricism and electrifying guitar solos as the sun slid gradually into the Pacific Ocean and day turned to night.

No matter how many times we have seen Jacket or how long it has been between instances, there is something cathartic and genuinely uplifting when they let loose onstage. Z standouts “Off the Record” and “Lay Low” at the outset received loud cheers from the crowd, buttering us up for one of their most extended tunes in “Phone Went West” — except this iteration gave a nod to the late George Harrison with “Give Me Love (Give Me Peace on Earth)” tacked on at the end. Yet, the biggest highlight of the evening might have been the jam on “Everyday Magic” that has elevated the is track to be a new live favorite of ours. After all, the element of surprise is what has always made each MMJ gig special in its own way because when we step back and look at the current landscape, there aren’t a whole lot that you can say are still going this strong in the name of rock ‘n’ roll these days. BeachLife has made it a priority to shine a light on these artists since its inception and in this case, allow Jacket the chance to deliver some sweet redemption.

Setlist:
Off the Record
Lay Low
Phone Went West / Give Me Love (Give Me Peace on Earth)
Time Waited
Golden
Everyday Magic
Mahgeetah
Victory Dance
Circuital
Dancefloors

First Times: Experiencing a piece of SF history as My Morning Jacket take over The Fillmore for four sold-out nights with no repeats

My Morning Jacket - disco ball - The FillmoreBy Josh Herwitt //

My Morning Jacket //
The Fillmore – San Francisco
May 27th-28th & 30th-31st, 2024 //

Growing up in Los Angeles, I have always loved going to the Bay Area. Sure, there is definitely no love lost between SoCal and NorCal when it comes to certain professional sports teams and their fan bases, but that hasn’t changed my feelings or how I think of it now — even if I bleed Dodger blue.

With my aunt, uncle and late grandparents living in the City, I have many fond memories of our family trips up north and still consider SF to be one of my favorite towns in the world that I have ever been to (and to be honest, there are a lot I haven’t stepped foot in). But from beautiful parks and breathtaking views to world-class art and innovative cuisine among a plethora of tourist attractions, there’s never a shortage of things to do in “The City by the Bay” no matter where your interests lie or how much time and money (obvious tip: it helps to have a lot) you have on your hands.

Since I began covering concerts more than a decade ago in this space though, my adventures in “music journalism” — if we can call it that — had not yet taken me to the same city where this blog was founded for “work.” I had visited back in 2011 to attend Outside Lands and Treasure Island Music Festival before returning five years later to cover what ended up being a disastrous and largely forgettable 2016 edition of TIMF (read our festival review here). Nevertheless, the right opportunity to photograph any individual shows had not presented itself despite all the years I have lived in the Golden State. That is, until one of my favorite acts in live music announced by early March that it had booked four in the span of five days at the historic Fillmore and promised not to repeat songs.

The first time I saw My Morning Jacket in the flesh, Jim James (lead vocals, guitar), Tom Blankenship (bass), Patrick Hallahan (drums, percussion), Bo Koster (keyboards, percussion, backing vocals) and Carl Broemel (guitar, pedal steel guitar, saxophone, backing vocals) completely blew me away after a three-night run at The Wiltern in LA with a unique opener — featuring Portugal. The Man, Iron & Wine and Shabazz Palaces — and setlist (inspired by fan requests submitted online) each night serving as the impetus for the Louisville-bred band’s “Spontaneous Curation Series.” The five-piece by that point was in between albums, having already released 2011’s Circuital almost 18 months earlier and toured the country in support of it, and the circumstances in the 415 felt similar with 2021’s self-titled marking the group’s last proper studio effort (unless you are counting MMJ’s holiday-themed LP entitled Happy Holiday! that they released in late November comprised mostly of Christmas carols plus two originals).

The weeks in May leading up to The Fillmore were certainly bittersweet. After all, this wasn’t supposed to be the first time I was seeing Jacket since their rescheduled — thanks to Tropical Storm Hilary — co-headlining date with Fleet Foxes at the Hollywood Bowl in August (read our show review here) after two sold-out gigs at Red Rocks (read our show review here). That was intended to be the first week of May instead of the last one, when they were scheduled to lead the third and final day of BeachLife Festival with ZZ Top, Fleet Foxes and Trey Anastasio & Classic TAB also rounding out an excellent lineup. But after covering the event’s first two days in Redondo Beach (read our festival review here), the final four hours were unexpectedly canceled — and many would say prematurely — due to a high-wind advisory.

My Morning Jacket - The Fillmore

In the matter of an hour, the only LA date that MMJ had slated for this year had been completely wiped from the record. The decision had already been made, and with the staff and security being sent home and an earlier curfew for Sunday in place, there was no way all the remaining artists could still perform. Attendees left that day visibly frustrated and angry with the fest’s organizers for calling it off so quickly, considering the wind had died down by 7 p.m. with time left on the clock. Subsequently, we have been wondering in the aftermath why BeachLife doesn’t target a weekend in June or another summer month rather than early May when it’s not exactly “beach weather” — unless you think daytime temperatures that peak in the mid-60’s and high winds of 45-50 mph is for some reason.

Is there any chance MMJ will eventually announce a makeup date for their SoCal-based fans? No one knows right now, but alas, there we were driving along Interstate 5 through California’s Central Valley a few weeks later, excited and gratified to be making the roughly 800-mile trek roundtrip to catch them at least on one occasion in 2024 and use that, on a personal level, as a way to celebrate the beginning of a new decade. Assuredly it helps when the weather in the Bay Area cooperates over the course of your stay, and with warm, sunny days filling the forecast, the stars were finally starting to slowly align after the disappointment we had recently experienced at BeachLife. Because when I walked up those burgundy-colored carpeted stairs at The Fillmore for the first time and was greeted by hundreds of old photos and posters plus a large bucket of apples (we can’t confirm if they were organic even if they passed our taste test), I could immediately feel the history of the place. And in the leadup to these shows, I had curiously spent some time learning more about Bill Graham and became fascinated with his backstory as I dived deeper into it. The legendary promoter whose mother placed him in an orphanage that helped Graham escape Nazi Germany has been credited with hosting some of rock ‘n’ roll’s most legendary musicians — Grateful Dead, Jimi Hendrix, The Who, Janis Joplin, Jefferson Airplane, the Doors and Otis Redding — as the counterculture movement in the 60’s exploded all across Western civilization. Whether it’s the iconic Jerry Garcia photo that greets you at the top of the staircase on your way to the Poster Room or the bevy of ornate chandeliers that hang above the hardwood dance floor, there’s nothing quite like an evening at The Fillmore. It has been said that Graham wanted to make patrons believe as if they were hanging out in his own personal living room, and the warm, friendly staff we encountered matched the auditorium’s cozy vibe that he created thanks to entrepreneur and businessman Charles Sullivan, who owned the property’s master lease in 1965 and let him use his dance hall permit to put on concerts.

Holding only 1,315 guests, the former Majestic Hall built in 1912 is easily the smallest music venue that I have ever seen MMJ play. While they have never quite reached the level of an arena or stadium act like other popular rock bands, any room under a couple of thousand folks would be considered an “intimate” setting for them at this point in their 25-year-plus history. Between the live music industry shutting down during the COVID-19 pandemic and the ongoing demands of touring upon its resumption however, you also won’t find Jacket throwing down three- and four-night runs with much regularity nowadays outside of their own destination festival One Big Holiday in Mexico and a select few U.S. cities such as Denver and Chicago where some of the highest fan concentration in the MMJ community exists. That’s not to say there aren’t plenty who traveled great distances to arrive at the corner of Geary Blvd. and Fillmore St. on the edge of Japantown. One couple I met, in fact, came all the way from northeast Pennsylvania to catch all four performances, and that’s the kind of dedication you will see from longtime enthusiasts and loyal listeners.

But considering the setlists that were assembled, no one could have asked for much more when the final note of “Wordless Chorus” was struck. After an opening night that boasted a myriad of highlights, including “Master Plan” with a “China Cat Sunflower” tag as an ode to the Dead, a stretched-out “Only Memories Remain” that reached the 14-minute mark, the first “Librarian” since March 2018 and a Bob Dylan cover of “Knockin’ on Heaven’s Door” during the encore, there were more Fillmore fireworks on Night 2 when James and company broke into Neil Young’s “Harvest Moon” and later offered up “I Get Around” from The Beach Boys, which we were hoping to hear at BeachLife since MMJ performed the 1964 single last year during the GRAMMY’s televised tribute for the Rock and Roll Hall of Fame band. Yet, I knew Jacket would save some of their biggest bangers for the last two shows in SF and we can only imagine the 48-hour break between Nights 2 and 3 provided some necessary respite before they dove into another round of jams to unleash only the fourth “If It Smashes Down” ever, extend “Steam Engine” for a whopping 18 minutes, bring back “By My Car” for the first time in almost five years and close with a huge “Phone Went West” that included Journey’s “Lights” interpolated midway through.

That collection of songs would satisfy most Jacket fans on any given night, but I was sure they would save their best for last — and by “best,” I mean “Dondante” without a doubt. The Z finale has been my favorite MMJ tune for quite a while, and the nearly 22-minute version they uncorked at The Fillmore was by far the best (no pun intended) one I have witnessed out of four. You could tell by the end of it that the capacity crowd, having already been gifted “Cobra” at the onset as well as a cover of George Harrison’s “Give Me Love (Give Me Peace on Earth)” earlier, was officially on cloud nine. Something special had seemingly happened in that moment and nothing could bring us down to Earth from that point forward — only making James’ ensuing “State of the Art (A.E.I.O.U.)” all the more powerful to experience live (you would have thought “the power is going out” from the way they played it with such fervor) along with the apropos live debut of Otis Redding’s “(Sittin’ On) The Dock Of The Bay”, which was written following the 1967 Monterey Pop Festival in a Sausalito houseboat the “King of Soul” rented. The three-time Grammy nominees, on the other hand, have always made a point to mix in covers that correspond to a particular time or place, and this was one that couldn’t have been more perfect for the moment. It was just another example of what has us coming back around time and time again … and ultimately why we will have our fingers crossed for that makeup date in LA.

MAY 27TH

Setlist:
At Dawn
O Is the One That Is Real
Master Plan (with “China Cat Sunflower” by Grateful Dead tag)
Mahgeetah
Rollin Back
Run It
Evelyn Is Not Real
Carried Away (Carl Broemel song) (“Just My Imagination” by The Temptations tag)
Only Memories Remain
A New Life (Jim James song)
You Wanna Freak Out
Outta My System
Honest Man
Librarian (last played 3/5/2018; “Let’s Live for Today” by The Grass Roots tag)
What a Wonderful Man (preceded by a Jim solo version on omnichord)
In Its Infancy (The Waterfall)
Holdin On to Black Metal
Touch Me I’m Going to Scream Pt. 1
Here in Spirit (Jim James song)
Love Love Love

Encore:
Knockin’ on Heaven’s Door (Bob Dylan cover)
Feel You
Gideon
Dancefloors (with “China Cat Sunflower” and “China Cat Sunflower” > “I Know You Rider” by Grateful Dead transition teases)

MAY 28TH

Setlist:
In Color
It’s About Twilight Now
Strangulation! (instrumental intro due to technical difficulties)
War Begun
Slow Slow Tune
The Way That He Sings
X-Mas Curtain
Never in the Real World
How Could I Know (Oxen)
I Will Sing You Songs
Harvest Moon (Neil Young cover)
Come Closer
I Think I’m Going to Hell
Victory Dance
Aluminum Park
I Get Around (The Beach Boys cover)
Anytime

Encore:
Old Sept. Blues (with “Sleep Walk” by Santo & Johnny during intro)
It Beats 4 U
Spring (Among the Living) (with “Dear Prudence” by The Beatles tag)
One Big Holiday

MAY 30TH

Setlist:
Regularly Scheduled Programming
Compound Fracture
Off the Record
Tropics (Erase Traces)
Death Is the Easy Way
If It Smashes Down (only performed live three times & last played on 3/2/2018)
The Dark
Lowdown
Climbing the Ladder
Least Expected
Penny for Your Thoughts
Steam Engine
By My Car (last played 08/09/2019)
I’m Amazed
Picture of You
Believe (Nobody Knows)
Lay Low
Wasted

Encore:
Sooner
Rocket Man (I Think It’s Going to Be a Long, Long Time) (Elton John cover)
Smokin’ From Shootin’
Phone Went West (“Lights” by Journey interpolation > Phone Went West)

MAY 31ST

Setlist:
Cobra
If All Else Fails
Golden
Give Me Love (Give Me Peace on Earth) (George Harrison cover)
Circuital
Easy Morning Rebel
Nashville to Kentucky
Like a River
Thank You Too!
Lucky to Be Alive
Evil Urges
Dondante
State of the Art (A.E.I.O.U.) (Jim James song)
Remnants
Run Thru

Encore:
Highly Suspicious
Touch Me I’m Going to Scream Pt. 2
(Sittin’ On) The Dock Of The Bay (Otis Redding cover) (Live debut)
Wordless Chorus