Road to Warped: Scranton’s 4‑Day Festival Reawakens the Spirit of Warped Tour

Scranton claimed its place in Warped Tour history—and might’ve started a new tradition.

By Scott Kucharski

Downtown Scranton was transformed into a full-blown music festival experience from June 12–15 as the city played host to Road to Warped, the only officially sanctioned Vans Warped Tour sideshow in the country this year. Over four days, more than 50 bands brought a surge of sound, spectacle, and subculture to the streets, filling The Ritz Theater and surrounding blocks with everything from high-energy alt rock to post-hardcore chaos, emo anthems, and genre-defying performances.

With the main Vans Warped Tour returning this summer for its 30th anniversary—after saying farewell in 2019—Scranton's role as the one and only sideshow stop felt unlikely, maybe even a little surreal. Washington, D.C. got the full-scale reboot. Orlando and Long Beach are still to come. But the spirit of Warped—the sweat, the street, the spontaneity—was alive and well in Northeastern Pennsylvania.

And for that, we have Josh Balz to thank.

Josh Balz - owner of The Ritz Theater

The Vision Behind the Chaos

Balz, former keyboardist of Motionless In White and longtime Warped Tour alum, is also the owner of The Ritz Theater—the historic venue at the heart of the festival—and a serial entrepreneur known for Noir Dark Spirits, The Strange & Unusual, Parlor Root Beer, and more. In an earlier interview with Three From The Pit, Balz explained that Road to Warped came together almost entirely through relationships. Every band on the bill was booked through a direct connection, whether with the artists themselves or through trusted friends in the scene. It was rock & roll networking at its finest.

Despite only a few months of planning and a skeleton crew of collaborators—many of whom juggle roles across Balz’s businesses—the vision came together fast and fierce. The lineup blended local heroes, Warped-era legends, and national headliners, all of whom delivered high-voltage sets across outdoor stages and the main Ritz stage each day. Balz’s DIY ethic and reputation gave him the trust to pull together something Scranton had never seen before.

Initially, the city hesitated. Shutting down part of Wyoming Avenue, inviting dozens of touring acts, and encouraging free, open movement across an urban block was an ambitious ask. But local businesses, fans, and community members stepped up. The city said yes. And once that door opened, Balz kicked it off its hinges.

Gallery of Sound: A Homegrown Heartbeat

One of the festival’s most important partners was Gallery of Sound, the iconic NEPA record store that has been a cornerstone of the region’s music scene for over four decades. Anyone who grew up in the area and fell in love with music—especially punk, metal, or alternative—has a memory tied to Gallery of Sound. Whether it was grabbing a new CD the day it dropped, flipping through vinyl bins, getting your first band tee, or meeting your favorite artist at an in-store signing, Gallery has been there for generations.

Balz himself spoke openly about how crucial the store was in shaping his musical upbringing. So when it came time to build Road to Warped, bringing Gallery of Sound in as a sponsor wasn’t just business—it was personal.

The Gallery of Sound Stage, one of two outdoor stages, bore that legacy proudly. From 1:00 to 6:00 p.m. daily, it became the epicenter of chaos, community, and catharsis—rotating acts with the Strange & Unusual Stage just down the block. And just like Warped Tour of old, fans moved between stages like they were choosing between punk subgenres instead of Spotify playlists—screamo here, ska-punk there, maybe an emo revival around the corner.

Gallery of Sound’s involvement also anchored the festival in its NEPA roots. This wasn’t a fly-by-night tour stop. It was homegrown, self-funded, and powered by people who’ve supported live music in the region long before it was trending again.

Sound, Sweat, and Standouts

While the outdoor stages held their own with a mix of locals and up-and-comers, the real fireworks came each evening inside The Ritz Theater, where headliners delivered sets that balanced nostalgia with full-force stage presence.

Fever 333 arguably delivered the wildest performance of the weekend. Frontman Jason Aalon Butler took chaos to new levels—climbing the balcony, leaping across the stage from stacked monitors, sprinting through the crowd with a corded mic, all while security scrambled to keep up. Fans were left stunned, breathless, and buzzing.

Red Jumpsuit Apparatus led an emotional, high-energy singalong through hits like “Face Down,” reminding fans why Warped Tour was once the heartbeat of every teenage summer. Scary Kids Scaring Kids, Escape The Fate, and Letterkills added to the wave of 2000s post-hardcore resurgence that pulsed throughout the weekend.

One of the wildest (and most talked-about) sets of the weekend came from Millionaires, the infamous MySpace-era electro-pop duo known for their party-starting beats, unapologetically bold lyrics, and neon-soaked stage energy. With songs like “Alcohol” and “Talk Sh*t,” their brand of tongue-in-cheek chaos fit right in with Warped’s legacy of disruption and fun.

Their set, loaded with bass drops and attitude, had the crowd dancing, laughing, and reliving the scene-kid era in full force. In a twist no one saw coming, the timing of their performance happened to coincide with a wedding taking place at a nearby church. Whether by fate or sheer volume, Millionaires may have become the unofficial background soundtrack for the happy couple’s ceremony. If they were Warped Tour fans, we can only hope they took it in stride—and now have the best wedding story of all time: “Millionaires played our wedding… sort of.”

It was another reminder that Road to Warped wasn’t your average festival. It was loud, unpredictable, and gloriously alive.

But perhaps the most unexpectedly electric set of the weekend came from The SoapGirls, the South African sisters (Camille and Noemie Debray) who almost missed their slot due to traffic delays and a fender bender on their drive in. Showing up nearly four hours late, they took the stage on Saturday evening and lit up the Strange & Unusual stage with a genre-defying mix of punk, glam, and dance-pop chaos. Crab-walking upside down, shredding in handmade outfits sewn in the van during their time in traffic, and blasting through bass-heavy anthems like “Society’s Reject” and “In My Skin,” the duo proved why they've become darlings of the international DIY scene.

Local acts like Pucker Up!, Traverse the Abyss, James Barrett, and Old Daggers proved they belonged on the same bill as the national names, delivering performances that were as tight as they were emotionally raw. NEPA talent showed out, and the crowd noticed.

Smash Master Wrasslin’: Steel Chairs, Stunners & Stage Invasions

As if the music weren’t wild enough, Road to Warped brought in another kind of chaos—Smash Master Wrasslin’, a local independent wrestling promotion that set up a full ring just steps away from the Strange & Unusual Stage. With matches happening on Friday, Saturday, and Sunday, fans were treated to no-holds-barred action that frequently spilled into the crowd, blurring the line between performance art and punk spectacle.

Wrestlers delivered Stone Cold Stunners, fireman’s carries, and even full-on brawls that made their way onto the outdoor stages—and at times, inside The Ritz itself. The unexpected crossover created surreal and hilarious moments, like seeing a body slam happen while a band shredded through a breakdown just feet away. It was pure Warped Tour energy: DIY, over-the-top, and unforgettable.

Smash Master’s presence added a layer of unpredictability that fans loved, and it helped solidify Road to Warped as more than a music festival—it was a full-on cultural mashup of sound, spectacle, and subculture.

A City Awakens

The layout of Road to Warped was a masterstroke in inclusive, community-first festival planning. No wristband zones. No fenced-in exclusivity. Just a free-flowing urban footprint that let fans dip into downtown shops, grab a bite from local restaurants, or jump on the ferris wheel in between mosh pits. Even the bounce house saw action.

The vibe? Pure Warped: sweaty, silly, unpredictable, and united by the sound.

Balz himself admits the effort left him exhausted—but exhilarated. When asked if he’d do it again, his answer was immediate: “Absolutely.” The community wants it, the artists want it, and judging by the nonstop crowd engagement—Scranton needs it.

Four Days, Zero Incidents: A Win for Scranton

For all the energy and unpredictability the music brought, Road to Warped went off without a hitch. Over four full days of programming, the festival saw no disturbances, no fights, and no major issues of any kind. City police were present at times primarily for light crowd monitoring and traffic safety, and even they seemed pleasantly surprised at how smoothly things ran. Fans respected the city, crossed at crosswalks, and mingled peacefully with downtown businesses and residents.

Credit goes not just to the crowd but to Josh Balz and his staff, who were constantly on the move—cleaning up trash, resetting barricades, and keeping the festival footprint as tidy and unobtrusive as possible. Their efforts helped ensure the event left a positive impression on city officials and the community alike, avoiding the kinds of backlash that often accompany large-scale music events.

In the end, Road to Warped didn’t just bring music to Scranton—it brought proof that the city can host something this big, this bold, and this community-centered with class and composure.

Final Riff

Road to Warped wasn’t just a concert series—it was a proof of concept. A validation that Scranton can be a cultural hotspot. That small cities can create world-class music experiences. That punk rock, DIY ethos, and hometown pride can fuel something massive.

And if this was only the first round? The road ahead looks even louder.

As Road to Warped wrapped its flawless four-day run, the Vans Warped Tour officially announced its return to Washington, D.C. for June 13–14, 2026 at RFK Festival Grounds. With pre-sale tickets already rolling out, the revival is clearly gaining momentum. But if D.C. is the main stage, Scranton proved it’s more than a warm-up act. This city delivered a seamless, high-energy, community-driven experience—one that Warped Tour would be wise to revisit. After all, Scranton didn’t just host a sideshow. It made a statement.