Bob Moses and Cannons Shine at the Hollywood Bowl

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On the final night of their Afterglow Tour, Bob Moses and Cannons descended upon the Hollywood Bowl.

As one of America’s most revered venues and stages, the Hollywood Bowl tends to bring out the best in performers. There’s a certain undeniable magic in the air. For the finale of their co-headlining Afterglow Tour on July 19, Vancouver-raised, Brooklyn-made electronic duo Bob Moses and LA’s own indie pop trio Cannons cast two disparate spells that met in the middle. Collectively, they conjured a hypnotic, dreamy, and immensely enjoyable evening that was accessible for longtime fans and the uninitiated alike.

The 71-year-old dancing next to me had seen Bob Moses multiple times by now, he said, after walking past the Gobi tent at Coachella in 2016 and being lulled in by the thumping bass. The group seated a section over said they were unfamiliar with either act but had learned to “trust the schedule” when it comes to the KCRW Festival, which comprises events presented at the Bowl by the long-running, influential Southern California public radio station KCRW.

Both Bob Moses and Cannons have established themselves over the last decade. Several releases, tours, and major festival appearances have sharpened their sound and presentation on their way to this moment. Most notably, Bob Moses has a list of Grammy and Juno nominations behind their ever-evolving body of work.

Photo Credit: Niyaz Pirani

The appearance was a crowning achievement for Cannons, who recently released their fifth album. The band even had custom, autographed Hollywood Bowl posters made for the event. Lead singer Michelle Joy thanked the crowd for being there before promising to “share a bunch of new music” through the evening.

Cannons’ music pairs chillwave atmospherics with upbeat energy reminiscent of acts like Poolside, CHVRCHES, and Miami Horror. Little bits of soul and funk are mixed in, especially in the interplay between the thick, rich bass lines and plucky, disco-tinged guitar tones. Joy’s vibe is the perfect match for the music, creating an instant connection even if you aren’t familiar with their catalog. Her vocals give me the same warm, fuzzy feeling Gwen Stefani and Hope Sandoval do, but she’s far more glam than either in her delivery.

Photo Credit: Niyaz Pirani

I kept thinking, “This is really LA music.” It’s hazy, sun kissed, and perfect for late nights. On the way out, we were bathed in the moonlight with the LA skyline to our right on the Five. A bright yellow convertible with its top down sped past us. That’s the feeling Cannons gave me.

Back in the Hollywood Hills, Bob Moses producer-keyboardist Jimmy Vallance and singer-guitarist Tom Howie unraveled a sultry, downtempo soundscape across 15 songs that leaned heavily into last October’s BLINK, their fourth studio album. Accompanying them were two additional performers: a live drummer and a bassist-guitarist.

Photo Credit: Niyaz Pirani

Much in the way The XX, Jagwar Ma, and Moby slink across a track toward its emotional crescendo, Bob Moses’ music has never been about the dopamine-inducing payoff heard throughout modern mainstage EDM. Rather, they use a swirl of progressive percussion and swelling synths to craft deep house with indie rock inflections that feels almost tribal in its ability to send the listener into the subconscious, collective groove.

The percussive ear candy and cathartic energy are only half the equation. Paired with acoustic touches, Howie’s vocals have a yearning, nostalgic, sensual richness akin to Big Wild, Chris Isaak, and VAST’s Jon Crosby in his lightest moments.

Photo Credit: Niyaz Pirani

They came through heavier and punchier than I remember them being when opening for ODESZA a few years back. This was most evident in their nuanced run through the Nine Inch Nails classic “Closer” — a take that brought to light the clear parallels between Vallance’s plunky, weird synth work and that of Trent Reznor. It could have also been the Hollywood Bowl’s massive, 360-degree, AI-enhanced sound upgrade. It was the first in decades, which rolled out for the 2026 season.

“Love Brand New,” the ZHU collab “Desire,” and closer “Blink” were highlights of the evening, though every song received fervent applause. The visuals were understated but omnipresent, depicting ocean waves, passing clouds, strange shapes, and an array of colors. the stage was cradled by a light bar that arched across it, a presentation that achieved a cinematic look and feel.

“Beautiful night in Hollywood,” Howie exclaimed.

Indeed.