Phoenix, AZ – Crescent Ballroom hosted a night of both rising and returning talent as Charleston-based Jack Fortune opened for Stop Light Observations on their Phoenix stop. Fortune’s grounded Americana set eased the audience in, his road-worn voice filling the room with raw sincerity. By the time Stop Light Observations stepped onstage, the crowd had settled into the groove, ready for a set that blended precision, soul and the band’s signature Southern pulse.
Jack Fortune — A Voice Built on Miles and Moments
At first, I wasn’t sure what to expect from Jack Fortune. I’d listened to a few tracks before his Crescent Ballroom show and came in skeptical, but like a lot of artists, he’s one of those who makes far more sense live. The Massachusetts native now based in Charleston, SC is on his first tour and almost through it, which wraps in Houston on Nov. 15, 2025. You could hear the road in his voice: a little rasp, a little wear and a lot of heart.
Opening for Stop Light Observations, Fortune’s set leaned into Americana country with an edge built on steady acoustic strums, a rough vibrato that somehow felt both fragile and fierce and the kind of stage banter that makes a room feel small. Between songs he told stories, pausing for a grin before “Smile”, and then introduced “Punches,” which he jokingly called “a happy song.” When he’d first played it for a friend, his friend commented that he wouldn’t go that far, “more melancholy if anything.” Fortune laughed as he recounted it, letting the truth of that statement hang before starting the song.
“Ghost” came next, faster and brighter, the kind of song that keeps a setlist balanced. Later he introduced “On Film,” a three-year-old song written while he was still with his ex. “Second verse is me foreshadowing us breaking up,” he said softly. The song carried a warm nostalgic pulse, something between Cat Stevens and a young Black Crow Medicine Show, mellow but heavy with truth.
He closed with “Spliffin’,” written and released while on the road. The backdrop glowed with an old projector loop of a grainy adult film, a choice he said he liked “just for the words together.” The song itself was about missing home, smoking and the kind of loneliness that lingers long after the lights go down.
Jack Fortune may still be at the start of his career but for those who find beauty in rough edges and road-worn voices he’s the real deal.
Stop Light Observations — Focused, Familiar, Fiercely Connected
Stop Light Observations returned to Phoenix a year after their Valley Bar show, this time headlining Crescent Ballroom with Jack Fortune opening. The room wasn’t packed yet but slowly filled as the band took the stage around 9 p.m., the quiet buzz of conversation giving way to cheers as the lights dimmed and the first notes rang out.
There wasn’t an official opening song—just a gradual start as the band found their footing and eased into Down Bad, Good 2 U and Let Me Go. Frontman Will Blackburn, calm behind his red-amber glasses, carried the room with that unmistakable voice, moving easily between grit and falsetto. Guitarist David Beam anchored the sound with sharp, expressive playing while new keyboardist Jeremiah King filled out the low end with tone and texture. Drummer Oleg Terentiev, set up on stage left, kept everything locked in, his timing tight and his presence steady.
Heals My Heart came early in the set, not as a peak moment but as a hint of the strong lineup that followed. It eased the crowd into Flowers and Transmutation, two tracks that showcased how carefully SLO builds dynamics live. By Levi, the chemistry was clear, each member tuned into the next. 8teen stood out for its layered lyrics and dense arrangement, and Good Goodbye brought the band’s energy into full swing, driven by Oleg’s rhythm and Will’s control on the mic.
The night’s midpoint hit a stride with 57 Chevy and Ozymandias, two songs that fit together so naturally it felt like one extended jam. Beam’s guitar tone soared across the room while Will bowed toward him in thanks as the crowd cheered. When the noise settled, a heckler shouted from mid-floor, and Will cut through it cleanly with, “Have some couth dude,” which earned a laugh and reset the energy before Purple People. The song’s layered writing and deep groove made it one of the highlights of the night.
As the set neared its close, 2 Young drew the strongest crowd reaction. It’s probably SLO’s most recognized song, and nearly everyone in the room sang along. 13 Bullets and For Elizabeth followed, rounding out the main set with a mix of precision and warmth. Before the encore, Will took a moment to introduce the band and thank the crowd before diving straight into Smooth Little Operator, How Do U Feel and Aquarius Apocalyptic. They never left the stage, just transitioned effortlessly into that final stretch, closing the night on a steady, reflective high.
SLO have grown more focused since their last Phoenix stop. Their energy feels honed now—less about flash and more about connection. It wasn’t a sold-out show, but by the end of the night, everyone there was locked in, eyes up, and fully with them.
Stop Light Observations Set List
Intro
Down Bad
Good 2 U
Let Me Go
Heals My Heart
Flowers
Transmutation
Levi
8teen
Good Goodbye
57 Chevy
Ozymandias
Purple People
2 Young
13 Bullets
For Elizabeth
—-
Smooth Little Operator
How Do U Feel
Aquarius Apocalyptic
