At some point this year we’ve likely all laid our souls bare while scream-singing to Olivia Rodrigo’s breakout hit, “drivers license.” The angsty chart-topper is an emotional powerhouse guaranteed to leave you feeling some sort of way.

However, most people likely haven’t thrown hands while the dramatic ballad played in the background. But that’s exactly what happened during the star’s performance at iHeartRadio Music Festival over the weekend.

Apparently, emotions were running high in the audience — and it wasn’t just because fans were vibing with the “Brutal” singer’s lyrics, either.

TikTok user @fww.shelli captured footage of two women all-out brawling as Rodrigo powered through the song’s poetic bridge.

“Bro we were just tryna enjoy olivia rodrigo,” @fww.shelli wrote over the video of the women squaring off and exchanging blows. A young girl even got a couple punches in the air before the fighters were separated. Through it all, other members of the audience continued to sing along with Rodrigo.

The original video has since been taken off TikTok, but it’s made its way over to Twitter. Check out the viral moment below.

Dexerto summed up another of @fww.shelli’s since-deleted TikToks that explained some of what went down before fists of fury started flying.

Apparently it all started when one of the women asked the other if her 8-year-old daughter could stand on a chair since she was too short to see the stage. The request was allegedly answered rudely, and things escalated from there.

According to @fww.shelli, the woman wearing a white cardigan started the actual fistfight. Other fans in the audience ended it, likely because they wanted to enjoy Rodrigo’s set in peace. The TikTok user added that security didn’t really get involved.

The original video went viral and spurred all sorts of questions online.

“How does one even start a fight at a f–king olivia rodrigo concert,” one person tweeted.

Another user seemingly understood how things unfolded: “Ngl i would also fight at an @oliviarodrigo concert,” they tweeted. “B—h gets me so emotional.”

Check out some hilarious reactions tweets, below:

Despite the fight, Rodrigo seemed ecstatic for the opportunity to perform what NME noted was her first show of the year. The publication reported that she referred to it as “a really special day for me.”

The singer is fresh off a performance at the 2021 MTV Video Music Awards.

Celebrities’ Worst Onstage Meltdowns

The past year-plus of the pandemic has put even more emphasis on mental health, and while Miley Cyrus has performed thousands of shows over the years, she revealed during her Milwaukee Summerfest performance Friday night (Sept. 17) that she felt a panic attack coming on.

The vocalist stopped her performance between songs to address the audience, revealing that just a bit earlier in the set she had told her drummer and musical director Stacy Jones that she felt she was having a panic attack. But rather than let it take control, she felt by taking a moment to address it with the audience she could perhaps move through it.

After revealing that she felt the panic attack coming on, the singer told the crowd, “Like everyone else, for the last year and a half I’ve been locked away and isolated and it is very stunning to be back in a place that used to feel like second nature. Being onstage used to feel like being at home, and it doesn’t anymore because of how much time I spent at home locked away. And this is very drastic.”

She went on to add that the pandemic was “startling and terrifying” and that “coming out of it is also slightly terrifying. So I just wanted to be honest with how I’m feeling. Because I think by being honest about that, then it makes me less afraid.”

Fan shot video of her onstage confession can be seen below, but Cyrus continued speaking beyond what is viewed in the video. “The last year kind of removed this divide, this curtain, and we’re allowing people to see us in our most vulnerable, our most isolated, our most hurt, our most scared states,” Cyrus said during her five-minute speech, according to the Milwaukee Journal Sentinel. “And I think that’s something really empowering … I think by being honest, that makes me less afraid. I’m getting used to being back onstage, but there’s nowhere else that I’d rather be.”

After the moment of openness with the audience, Cyrus completed her 19-song set that included a mix of her earlier pop hits and her more modern rock-leaning material from the Plastic Hearts album.

Cyrus has been making more inroads in the rock world over the last couple of years, bringing in Joan Jett and Billy Idol as guests on the Plastic Hearts album and delivering a star-studded cover of Metallica’s “Nothing Else Matters” for the band’s Blacklist set.

Celebrities Who Opened Up About Mental Health

Cut from the same jagged cloth as The Birthday Party and trash rockers The Cramps – Bone Architecture is a rambunctious new collaboration between Manchester’s Harry Stafford and Brazilian guitarist Marco Butcher.

With its threadbare production and discordant brass, the title track and current single sets the tone for what’s to follow.

A dark tale of a protest-cum-riot, it’s leavened, like the rest of the record by coal black humour and the raw energy of the music.

“Five friends in the protest group, five goons in the snatch squad swoop/Rows of shields and baton charged water cannon face enlarged,” croons Inca Babies’ frontman Stafford in a stage whisper.

As things go badly for the protesors, Stafford takes a perverse delight in recounting what the likes of Netflix tend to describe as ‘Injury Detail’.

“Black eyes, split ear, squashed marshmallow/Blood in my mouth, teeth on the floor, compound fracture shut in the door.”

This kind of comic book fiendishness runs through the whole record, the songs a series of vignettes, highlighting Satfford’s gift for painting lurid pictures with an economy of words.

It’s the aural equivalent of a graphic novel, think Sin City and you’ll be on the right lines.

The musical chemistry between the duo is keenly in evidence as they traverse multiple  genres, from the ramshackle rockabilly of Worst In Me, to the Big Beat of Hide The Knives!

Juniper Sunday plays like the soundtrack to a groovy ‘sixties spy movie like Matt Helm or Paul Newman’s Harper, while the dirty jazz of Savanah of Havana brings to mind Tom Waits at his scuzziest.

The influence of early Nick Cave is most keenly felt in the lurching stagger of tracks like Look Behind You Look Again and Horror Film House.

Demented Blues stomper, There’s Someone Trying To Get In, brings to mind Jon Spencer – its wonderful descending chorus sounding like the entire band is slowly falling down the stairs.

There’s even a full-blooded Bluesy cover of Syd Barrett-era Pink Floyd’s trippy Arnold Layne.

But rising head and shoulders above the rest in this great collection of songs is the stupendous Termite City.

Latin jazz meets crime scene guitars and loud hailer vocals as Stafford bellows “what have to you done to the fatal city?”.

“Parasites, cellar bar invites, crepuscular lights, inner city delights/Termites, Termites, Termites!”

It’s as mad as a sackful of badgers – a screaming junkyard joy – which in a better world would be Number One in every country.

Bone Architecture is loud, louche and a bit loose at the seams, but above all it’s Fun with a capital F – and hats off to Stafford and Butcher for that.