Ministry has been a revolutionary force in the music industry since its formation in the early 1980s. Founded by the enigmatic Al Jourgensen, the band has continually pushed the boundaries of heavy music, blending elements of industrial, metal, and punk to create a sound that is both aggressive and thought-provoking. Ministry's influence on the industrial and metal genres cannot be overstated, with their pioneering approach shaping (and reshaping) the musical landscape for decades.
Ministry's music style is characterized by its relentless energy, uncompromising lyrics, and industrial sonic palette. The band's confrontational and politically charged themes have resonated with audiences, making them a prominent voice in addressing social and political issues through their music. Their ability to craft intense, visceral soundscapes while delivering poignant social commentary has solidified their place as a powerhouse in the music industry.
The latest offering from Ministry, HOPIUMFORTHEMASSES, continues the band's tradition of unapologetically confronting societal issues. Their 16th studio album delves into current themes of societal decay, political corruption, and the struggle for individual autonomy in a world dominated by misinformation and manipulation. Musically, HOPIUMFORTHEMASSES retains the trademark aggression and industrial edge that Ministry is known for, while also incorporating modern production techniques to create a searing sonic experience.
Coming in at just over 40 minutes in length, HOPIUMFORTHEMASSES isn’t the longest Ministry release by any stretch. However, it may very well be their most complete album (top to bottom) in recent memory. Kicking it off with “B.D.E.” (or Big Dick Energy) and wrapping up with “Ricky’s Hand”, HOPIUMFORTHEMASSES transports listeners on a sonic battering ram filled with all the intensity one has come to expect from a traditional Ministry release. I won’t ruin all the juicy goodness that this one brings to the table, but it certainly tackles all the madness our society is currently facing in a way that leaves little (if any) doubt where ‘Uncle Al’ stands on the current issues we as a society face. My favorites included “Aryan Embarrassment” (with Jello Biafra), “Just Stop Oil”, and “Cult of Suffering” (with Gogol Bordello’s Eugene Hutz).
The production quality on HOPIUMFORTHEMASSES is outstanding, with each track meticulously crafted to maximize impact. The album's sonic landscape is dense and immersive, featuring layers of industrial textures, blistering guitar riffs, and pounding rhythms. Jourgensen's vocals cut through the mix with raw intensity, delivering the album's potent lyrical content with unwavering conviction. The musical performance across the board is exceptional, showcasing the band's mastery of their craft. Hats off to Paul D’Amour, John Bechdel, Roy Mayorga, Cesar Soto, and Monte Pittman for their incredible contributions to this album.
HOPIUMFORTHEMASSES stands as a powerful testament to Ministry's enduring relevance and uncompromising artistic vision. The album's unapologetic stance on contemporary issues, paired with its blistering musical execution, cements its place as a significant addition to the band's immense discography. While it maintains the core elements that have defined Ministry's sound, it also demonstrates a willingness to evolve and adapt to the modern musical landscape. That said, this album may very well stand out as another era-defining classic by Jourgensen and company, solidifying their status as a continued force to be reckoned within the music across the music industry at large. HOPIUMFORTHEMASSES is collectively one of my favorite Ministry releases over the past 10 years, and one that I simply can’t take of repeat. I’d highly recommend grabbing a copy when it drops on March 1st. After giving it a few spins, you’ll know exactly where I am coming from, and mark my words, you will be glad you did!
Growing up in the late 90’s and early 2000’s, the heyday of MTV and the TRL generation. Some of the music that caught my eye were pop punk bands like Blink 182 and Green Day. These bands were my introduction to the world of pop punk music. No matter where my music adventure has taken me, falling back into the world of pop punk always feels like coming home. In the early 2010’s the world went through a musical renaissance, and we had a new generational explosion of pop punk bands. One of these bands that has found its way across my headphones from time to time is Neck Deep. I actually got to see them open for Blink 182 in 2019 before I truly knew who they were. Ever since that show I knew I had to give them a proper listen, and see them on a headlining tour to truly experience what they have to bring. It finally happened this year when Neck Deep announced their Live in America 2024 Tour with Drain, Bearings, and Higher Power. They came to the Fox Theater in Pomona, and this show sold out so quickly they had to announce a second show. I was fortunate to be there for the first show, and all the hell this tour was about to bestow upon the venue.
Opening the tour this night was Higher Power, a hardcore punk band from Leeds, England. Kicking into their first song “Rewire (101)” guitarist Max Harper whipped up a frenzy of an opening riff that rang out over the speakers, while drummer Alex Wizard built a crescendo-ing flurry of snare blasts to hype the crowd up. As vocalist Jimmy Wizard came in, he blends whiny emo singing along with harsh screams. The two styles combined both allow the crowd to feel the heartful emotion in the more melodic parts, and then immediately want to tear apart the pit when the screams come in. Fellow guitarist Louis Hardy traded off lead lines with Harper, while bassist Ethan Wilkinson could be seen two stepping through his bass line. Higher Power played a set consisting of songs like “Shedding Skin,” “Low Season,” “Fall From Grace,” “Absolute Bloom,” “Can’t Relate,” and ending with “Seamless.” Higher Power proved to be the best opening band for this show as they left the crowd wanting to unleash more energy, and we still had three more bands to go.
Up next was a band known as Bearings. I wasn’t familiar with these guys, but this show sold me on them completely. When I think of more new age pop punk, Bearings is the sound I hear in my head. Lead singer Dougie Cousins sings with an uplifting sound to his voice that reminds me of Pierre Bouvier of Simple Plan. Guitarist Ryan Culligan crafts melody and grooves with his instrument, while bassist Collin Hanes playing is pushed right to the forefront of the mix to let you feel the low end of their sound. Drummer Mike McKerracher knows how to push the beat when the time comes but holds the pocket like any master musician. Culligan and Hanes also lend their talents to backing vocals that heighten the call and response aspect of some of their songs, helping the audience pick up the lyrics and start singing with the band by the second chorus. Bearings played a solid set of music including “Shaking Your Mind,” “Where You Are,” “Gone So Gone,” “Live Forever Never Die,” “Eyes Closed,” “Human,” “Scenery,” and ending with “Sway.” One of my favorite things is experiencing a new band, and just being drawn into their sound and performance so much I become an instant fan. Bearings converted more than just me this night, and I can’t wait to see where they go from here.
Hitting the stage next, and literally trying to destroy the place, was some hardcore punkers from Santa Cruz, CA known as Drain. Before the music could even start, lead singer Sammy Ciaramitaro called out for the venue to turn on all the house lights, followed by telling every fan in the crowd that he wants nonstop crowd surfers and stage divers if you can get on stage. I feel it was this moment the Fox Theater realized they didn’t truly understand the band they booked. Within the opening moments of the first song “Feel the Pressure” bodies were already coming over the barricade. Ciaramitaro promptly jumped on the barricade to sing right in the faces of the screaming fans. Guitarist Cody Chavez looks like a beach bum but can be found ripping away on his axe. Bassist AJ Hoenings and drummer Tim Flegal are in sync creating the perfect beat to send the crowd into a circle pit frenzy. I am used to seeing a wall of death where the crowd is split into two sides, and they charge at each other. Instead, at a Drain show Ciaramitaro called for the entire crowd to run at the wall and push through the doors to the backstage area so he could greet every single person. Security was able to hold off the crowd who shortly diverted back to creating crashing waves of moshers, while surfers rode high over the crowd. Drain only played a 30 minute set, but the fans made that time count during songs like “Watch You Burn,” “FTS (KYS),” “Evil Finds Light,” “Good Good Things,” “Army of One,” “Sick One,” “Intermission,” “Living Proof,” and ending with “California Cursed.” During the final song Ciaramitaro tossed the mic to a fan to finish singing, while he stage dived and crowd surfed himself. I actually had the pleasure to experience five minutes of the end of Drain’s set two years ago when I stumbled upon them at Psycho Las Vegas. I was informed that I missed the best band of the entire event and they’ve been on my radar ever since. I am now happy to say I’ve experienced a full Drain set, and I need more!
As the fans recouped from the experience of Drain and eagerly awaited our headliner, a giant inflatable Neck Deep sign was lowered across the stage. Opening their set with “Dumbstruck Dumbf**k” Neck Deep reignited a second wind into everyone in the crowd. The band didn’t even need to call for it, as more bodies started and continued to hurl themselves over the barricade crowd surfing for the entire set. Oh, to be young again! Lead singer Ben Barlow was there to make a statement. Wearing a shirt with a hand designed “No War” logo, and even performing while holding a Palestinian flag for parts of the set. It’s always a great sight to see punk bands truly bringing back what it means to be punk. Lead guitarist Sam Bowden and rhythm guitarist Matt West craft driving guitar lines that rile up the crowd and gets them pumped with energy. While bassist Seb Barlow and drummer Matt Powles drive the low end creating the rhythm that gets people’s feet moving. Though Neck Deep is a pop punk band who advertise themselves as “Generic Pop Punk,” their music really transcends multiple genres of pop punk, thrash, hardcore, and a bit of metal. Because of all these genre’s crashing into each other, it is a beautiful site to behold to look at the mosh pit. You have fans two stepping, you have fans crowd killing, you have fan circle pitting, and it’s almost as if they’re taking turns as the mosh pit continued to rotate through every song like “Sort Yourself Out,” “Kali Ma,” “Motion Sickness,” “Lowlife,” “Lime St.” “Losing Teeth,” “We Need More Bricks,” “Sick Joke,” “She’s a God,” “Heartbreak of the Century,” “It Won’t Be Like This Forever,” “December (Again),” and ending with “In Bloom.” Sadly, it seems Neck Deep was recovering from illness, and a lot of the band members were still “rough around the edges” according to Barlow. Powlesy even needed a moment to run off stage and hurl. None the less, Neck Deep are professionals who understand how important their music is to the people that showed up and made sure to give us their all. To me, if Barlow never said anything, I don’t think the majority of the crowd would have even known.
This show filled my pop punk heart with so much joy. I fall into the habit of listening to my favorite early 90s/mid 2000s pop punk bands a lot. But this show helped to remind me that the new generation of pop punk is releasing bangers that should be held to the same level of Blink & Green Day. Higher Power set a strong tone for the night. Bearings converted me to a full time fan. While Drain tested the resolve of the Fox Theatres security and their ability to handle a show like this. Drain won. But it was Neck Deep that cemented the night with a set that should not be missed. This tour still has plenty of stops left, and I recommend anyone who needs a massive energy release to get themselves to one of these shows.
In the world of modern music, lyricists are held to such a high regard. Wordsmiths who can craft sentences, stanzas, entire songs that connect with every person listening to it. They are the stars of the music world. However, in the rock and metal genre, the guitarist can be held to just as high of a standard. A person who can write rhythms and melodies that can convey expressions and feeling without every hearing a single spoken word. A few guitarists have ascended past the need of a vocalist and carry themselves as such a prolific musician that their instrument does all the talking, and they pack venues with people who want to see them. One of the masters of their craft is John 5. A man who rose to prominence as the guitarist for megastars like David Lee Roth, Marilyn Manson, and Rob Zombie. He has become such an icon himself that he sells out entire tours to fans who want to see him excel at his craft. John 5 brought with him Jared James Nichols and The Atomic Punks to the Observatory in Santa Ana during NAMM week and sold out the venue with screaming fans.
Opening the night was a bit of a curve ball, but a highly welcomed one. As we had the infamous Atomic Punks opening the show. This Van Halen cover band performing the early years of Halen put on an hour long show that demonstrated their love for these rock gods. Helmed by Brian Geller on vocals, he embodied David Lee Roth in spirit and showmanship. From dancing around the stage, to hitting high kicks over his fellow band members, and gyrating his hips to infatuate the audience. It felt like the spirit of Roth had inhabited Geller. Shredding on guitar was Frankie Lindia, letting his fingers do the talking. The man could waltz across the neck of a guitar with ease and precision like Eddie himself. Draped with long curly hair and letting his 6-pack shine for the audience, Lindia was the spitting image of 80s Eddie. Bassist Danny Spree carried a fat tone that really displayed his love for Michael Anthony as he chugged away on the opening riff of “Runnin’ with the Devil.” While drummer Scott Patterson had to reign in his chops that I know he has to honor Alex Van Halen. As Peterson’s drum kit was neutered from being the size of Alex’s notoriously large kit, to a more basic piece. Nonetheless, Peterson knows how to finesse the kit, and make it sound just as big. The Atomic Punk’s gave us all the classic Halen hits like “Panama,” “You Really Got Me,” “Ain’t Talkin’ Bout Love,” “Hot for Teacher,” “Eruption,” “Unchained,” “(Oh) Pretty Woman,” “Jamie’s Cryin’,” and many more. We will sadly never get to see another Van Halen show due to Eddie’s passing a few years ago, but if you have the chance to catch the Atomic Punks, you’re in for just as high quality of a show.
Up next was a blues guitarist known as Jared James Nichols. Surprisingly enough, I first heard of this man during the NAMM convention 2020 when he was about to walk on one of the many stages to perform. Sadly, since I didn’t know who he was at the time, I ended up leaving before he got on stage. I have since found out how big of a mistake this was as this man is a phenomenal musician. Hearing that he was going to be performing at this show, during NAMM 2024, I was excited to make up for my mistake years ago. As Nichols hit the stage, I was shocked again to see he is actually a singer as well. Not only can this man turn blues guitar into heavy rock riffs, but he’s also got a voice to match his guitar tone as his singing voice carries grit and passion to it. Not wanting to be stuck behind the mic stand, Nichols writes his songs with plenty of guitar solos and sequence’s that allow him to step out to the front of the stage and just let his guitar wale over the crowd. The man really inhabits blues players traditions as he foregoes a pick and plays with his fingers. For solos his hands often turn into octopus tentacles as he uses each digit to manipulate his instrument and craft some of the most creative solos I have heard in a while. Jared James Nichols brandished his kind of blues rock for songs like “Easy Come, Easy Go,” “Down the Drain,” “Threw Me to the Wolves,” “Skin ‘n Bone,” “Bad Roots,” “Keep Your Light on Mam,” and more. As Nichols walked off stage, all I could think of is how much I regret not having given him the time of day those years ago. The man is a master of his craft and deserves to be heard by the masses.
As the stage was lined with LED screen guitar cabinets, the house lights dimmed, the LED screens started flashing the name John 5, and the crowd screamed in anticipation to be awed and entertained by this guitar virtuoso. Starting the set off with “Season of the Witch,” John 5 was angelic. Wearing a floor length all white duster type coat, his favorite style telecaster guitar also in white, with a guitar trap brandished with the word Crüe across it. John 5 is normally also known for his ghoulish face makeup and Halloween filled set dressing that he covers the stage in. Though for this show, he decided to forego any makeup and stripped his stage dressing down to a minimum of those LED cabinets. It seemed that John wanted to forego the superfluous extravagance that he normally brings with him, and truly let himself shine on the instrument. And oh boy does he shine. John implements multiple techniques when it comes to choreographing his songs with his fingers. From running arpeggios across the neck, to slipping in almost Eddie Van Halen-esque tapping techniques, to just fingering his kill switch button to cut out the noise in a rhythmic fashion. A John 5 instrumental song is nothing short of jaw dropping. Though it was a stripped back show, John 5 still brought out a couple fan favorite moments, like using his LED mouth guard to his LED telecaster that lit up the Observatory with its vibrance. John 5 even talked to the crowd about how honored he was to now be a part of Mötley Crüe, and if you haven’t gotten a chance to see them, he wanted to give the fans a quick taste of what John 5 playing the Crüe sounded like. Launching into a Crüe melody consisting of classics like “Live Wire,” “Too Fast for Love,” “Shout at the Devil,” “Dr. Feelgood,” “Kickstart My Heart,” and many more. The John 5-afide Crüe songs were a genuine pleasure to the ears and lit up the crowd as we sang the vocals to every song he played. But it was a small departure from his own original classics like “Qu Pasa,” “Six Hundred and Sixty Six Pickers in Hell, CA,” “Howdy,” “Crank It,” “Zoinks!,” “Strung Out,” “I Am john 5,” “How High the Moon,” “Constant Sorrow,” “Creepshow,” “The Ghost.” We even got a three song encore which included John covering other rock classics like “Detroit Rock City” and “Thunderstruck.” Which he ultimately ended the show with his original “For I Have Sinned.” Even with John 5 cutting back on stage entertainment, when the man is handed a guitar, it is impossible to look away from what he can do.
I, myself, walked into the Observatory this night expecting to enjoy the overall show, but really came to see John 5 in his element. However, I left with a deep appreciation for every band that performed this night. I got to see Van Halen twice during their reunion tours with David back in the late 2000’s. Seeing The Atomic Punks took me right back to those shows, and I felt like I was back in the Honda Center singing with the real band. While Jared James Nichols reminded me why you don’t skip the openers, especially if you’ve never heard of them before. As you truly don’t know what kind of amazing music is still out there until you start listening to new stuff. But the cherry on top was John 5 sharing his love for a piece of wood with some strings on it, and showing the people of Santa Ana that anything can be possible with some creativity.
Not many electronic dance artists can pull off what Illenium just pulled off on February 2nd and February 3rd, 2024. In addition to filling the $5.5 billion dollar Sofi Stadium twice on back-to-back nights, he also played three full length sets at each show. Each set commemorated one of his previous albums Ashes, Awake, and Ascend. The first installment of this series was back in 2021 when Illenium became the first dance music artist to headline a football stadium alone in Las Vegas. The second installment was in Denver where he broke records as the largest non-festival dance music concert in North American history. He’s now brought the series’ third installment to Sofi Stadium. This is Illenium: Trilogy.
Let that resonate. Three sets. Three sets in a single night. Three sets spanning nine years of Illenium’s career. The fans really got their bang for their buck on this one. Doors opened at 4:00 PM. They poured into the stadium and were greeted by the reverberating sounds of both Trivecta and Netsky. Both of these artists were tasked with warming up Sofi Stadium before the headliner and delivered. Netsky and Trivecta each captivated the crowd with their infectious sounds and energy and tee’d things up for the headliner.
Once the clock struck 6 PM, the lights dimmed and the crowd erupted into thunderous cheers. Illenium emerged in the center of the stadium in a pod surrounded by fans dancing their night away. Elevated platforms that I perceived to only be stages (maybe for guest appearances) revealed themselves to be housing for visual artillery that fired smoke, fire, streamers, confetti, and lasers all night. The production (powered by Insomniac Events!) was top notch. They did not hold back. On the audio side, Illenium wasted no time and jumped into seamlessly weaving together tracks old and new, each one building upon the last to create a sonic tapestry which left the crowd in pure ecstasy.
One of the things that dawned on me throughout all three sets is this is a man of many hats. He can not only throw down a hard future bass beat, but he is able to tap into divergent music styles and reel them into a single, harmonious sound. For example, he brought out Avril Lavigne for their famous hit song “Eyes Wide Shut”. This song teeters on the edges of pop and Illenium’s signature future bass sound. Conversely, he brought out Teddy Swims to bring the R&B melodies on their collaboration track “All That Really Matters”, only to then bring out Motionless In White to perform their collaboration track “Nothing Ever Fuses” which aggressively fuses the likes of metalcore and dubstep. In addition to defying all genre norms, Illenium breaks out of the standard “DJ box” by playing drums and guitar at various points in his sets. Also, while in his DJ bag, three moments I recall clearly was when he had every person in the stadium singing at the top of their lungs to “Numb” by Linkin Park, “Cinema” by Skrillex, and “Levels” by Avicii.
All in all, Illenium absolutely crushed his back to back nights at Sofi Stadium. The production may have been the best at a solo headline show that I have ever seen. The audio and visual experience did justice for all of Illenium’s original work and remixes all night long. Whether you love his aggressive dubstep sounds or his trance-y, angelic vibes, Illenium: Trilogy has something for you on this wild roller coaster of a show. If he does another one of these, you need to get show tickets (and maybe even some plane tickets) and go see one of these. You will not regret it.
With the start of 2024 coming together, that means one special thing for the Orange County area of California. It is NAMM weekend! NAMM brings a flurry of music industry companies, insiders, traders, and most importantly musicians from every genre. Because of this special gathering, it has opened the door to a metal supergroup known as Metal Allegiance to put on a show every year. Celebrating 10 years of Metal Allegiance, this supergroup packed the House of Blues Anaheim with a slew of special guests to put on a one of a kind performance for the screaming metal fans. Playing with them for this one off show was Dieth, Held Hostage, and QUOR. As the battle weary fans trudged on from the convention center to the venue, they were woken up when the music kicked in and the fans found a second breath that brought them all back to life. Ready to rage on all night.
Opening the night was a band from San Diego known as QUOR, who was more than honored to be opening a show of this magnitude. Guitarist and vocalist Brian Corn captivated the audience with his Viking demeanor. However, it was when his vocals cried out to the audience the people were truly drawn into the band. His voice carries so much weight and strength to it, that you can’t help but listen in. Bassist Doug Smith handles the low end with ease, perfectly sync’d with Corn to add more heft to the rhythm. Drummer Danny Gordo setup with a double bass drum can be seen blasting away in the back. The way he can float between powerful blast to flowing grooves helps to add layers and depth to QUOR’s sound. Playing songs like “Shallow,” “Fly little Bird,” “Raising the Dead,” “Unicorn,” “Life is A Hard Thing,” “December,” and ending with “Sam Meets Sara.” QUOR was the perfect fit to start the night as their sound helped to light the fire of metal that would continue to burn through the night.
Up next was a band known as Held Hostage who was bringing a dirty hard rock and roll sound to the masses. Fronted by singer Tom Collier who caried himself with a presence that screamed he owned this stage. This was his bands time to perform, and you were going to hear what they have to say no matter what. Guitarist Scott Gregg looked like he just walked off the Sunset Strip in the 80s and played guitar just like those Sunset strip bands. With tenacity and screeching guitar licks. Bassist Dave Carroll refused to let his role in the band be passed over as he was all over the stage. Playing it up for the crowd and making sure he was noticed by every member in the crowd. Drummer Jeff Murray brought the grit to Held Hostage with a playing style that let the fans head bang to the beats. Held Hostage’s old school 80s rock and roll style was eaten up by the patrons of the House of Blues.
With the next band, we were treated to a truly amazing surprise with the band Dieth. To those who were not in the know, like myself. Dieth is a supergroup that has been making waves in the metal community. Consisting of vocalist/guitarist Guilherme Miranda of Entombed A.D., drummer Fred Aching of Bullet Boys, and bassist David Ellefson of Megadeth. I have been a huge Megadeth fan since my teens when I discovered metal, and not knowing who was about to walk on stage and then to see David Ellefson standing in front of me, I was star struck. Followed by one of the biggest screams of joy I have let out in a while. Ellefson is a maser of his instrument who easily plays these blisteringly fast licks with precision while playing it up to the crowd that have been following him for years. Miranda has probably the most ferocious roar of the entire night, while bringing the heaviest riffs that make your head seize trying to headbang to them. Aching layered his blast beats with grooving fills that lit up the crowd and forced the crowd to move to the music. Though we were only allowed to indulge in the presence of Dieth for a 30 minute set, they made it count with songs like “To Hell and Back,” “Don’t Get Mad…Get Even!,” Wicked Disdain,” “Free Us All,” “Heavy is the Crown,” “Dead Inside,” “The Mark of Cain,” and “In the Hall of the Hanging Serpents.” I was truly awe struck with the performance from Dieth that I can only hope that they will soon announce a full National tour, as I need to experience them again.
Finally, it was time to say our pledge to the Metal Allegiance. This is a supergroup that officially consists of Mark Menghi (BPMD) on bass, Alex Skolnick (Testament) on guitar, David Ellefson (Megadeth) on bass, and Mike Portnoy (Dream Theater) on drums. But what truly makes a Metal Allegiance show special is that they bring in all their friends to swap in and out through the entire set. Opening with “The Accuser” and moving into “Bound by Silence” they brought out John Bush (Armored Saint) and Andreas Kisser (Sepultura) to sing and play guitar respectfully. Other guests that got brought out during the show include: Chuck Billy (Testament), Bobby Blitz (Overkill), Phil Demmel (Vio-lence), Chris Poland (Megadeth), Doc Coyle (Bad Wolves), Troy Sanders (Mastadon), Brann Dailor (Mastadon), and Gary Holt (Exodus). With members swapping out almost every other song, you never knew what kind of line up you would get from song to song. The surprises helped keep the crowd screaming and cheering all night long. Metal Allegiance gave us two hours of this one of a kind excitement with original songs and covers like “Can’t Kill the Devil,” “Gift of Pain,” “Hellraiser,” “Rapid Fire,” “Wrecking Crew,” “Wake Up Dead,” “Let Darkness Fall,” “Mother of Sin,” “The Preacher,” “Blood & Thunder,” “Only,” and “Pledge of Allegiance.” With a three song encore the stage was barely able to contain the performers as every person came out on stage to all play “Damage, Inc.,” “Damage Case,” and ending with “Iron Maiden.”
Hearing that this many artists would be performing throughout the show seems like it would be overkill. But just like how Anthony & Joe Russo balanced over 70 heroes in Avengers: Endgame. Metal Allegiance balanced their multitude of musicians to give each person multiple spots to shine throughout the night. This mix match of artists also allowed the fans to enjoy team ups like drafting a fantasy football team. No matter who was on stage, they all carried themselves with an air of casualness like they were all just jamming in a garage. Walking over to just chit chat throughout the set. Yet still playing with the finesse and tenure of the exalted musicians they are. This is an annual NAMM show that I always look forward to, and highly advise anyone who is in town next year to make sure they make it out to pledge their loyalty to the Metal Allegiance.
In a whirlwind of musical fusion and boundless creativity, Oliver Tree's Alone in a Crowd tour descended upon Boston, transforming the MGM Music Hall into what I can only describe as a vibrant canvas of sonic entertainment. With Jasiah and FIDLAR setting the stage on fire, and a brief DJ set from Super Computer that went as hard as you would expect from 2 guys with literal computers on their heads, the evening unfolded as a journey through Oliver's eclectic discography, each phase of the concert representing a distinct persona from his three albums.
The night commenced with Jasiah's explosive set, channeling the raw energy and intensity reminiscent of Oliver's earlier work. Jasiah's rapid-fire delivery and gritty beats had the pit bouncing up and down throughout most of the set, but it was the switch-ups in his set that truly surprised me. The way Jasiah was able to bounce back and forth between punchy trap to this one lo-fi ballad was really refreshing. It’s a versatility that not only fits right along with Oliver’s repertoire but made me a fan of Jasiah.
Following Jasiah’s electrifying performance was FIDLAR, a band I know very well. Having the privilege to not only have seen them before but have been at the studio for some of their practices, it was exactly what I expected – they played hard, they played fast, and it ruled. Delivering a relentless barrage of sound, infusing the venue with their punchy riffs and their energetic stage presence, it was pure energy. They put their all into every performance, and the tradition continues.
As the venue buzzed with anticipation, Super Computer took the stage, weaving together a pulsating tapestry of beats and rhythms that bridged the gap between genres. With amazing visuals both up on the big screen as well as on their computer helmets, it was such a unique and engaging set, that you couldn’t really take your eyes off the stage.
Then, like a phoenix rising from the ashes, Oliver Tree was rolled out on a florescent pink couch, back turned to the stage, and in iconic Oliver Tree fashion, announcing that the show was cancelled. While that certainly wasn’t true, what unfolded was unlike any live show I’ve been to. Ranging from filmed skits, full blown commercials, and interviews, let alone scooter stunts, all while performing was a tried-and-true spectacle in every sense of the word.
Splitting the show up into phases with each one covering each album (and each character) that Oliver has created, it was a testament not only Oliver’s evolution as an artist, but to his fans with the setlist curated to reflect the diverse sounds and themes present across his discography. From the introspective ballads to the high-octane anthems, Oliver took the audience on a rollercoaster ride of emotions, leaving no stone unturned in his quest for musical and comedic transcendence.
In the end, Oliver Tree's Alone in a Crowd show was more than just a concert—it was a celebration of artistic expression, individuality, and the unbreakable bond between artist and audience. It was an unforgettable experience that no doubt left as much of a mark on all who were fortunate to attend as it did with me. Do yourself a favor and go see this for yourself. I promise you won’t be disappointed.
In the ever-expanding realm of musical collaborations, Medusa stands out as a unique alliance between two veterans of the rock scene. Jack Russell, with his roots deeply embedded in the blues-infused rock sound, rose to prominence as the frontman and founder of Great White. Known for their melodic hard rock with a substantial blues nuance, Great White became a force to be reckoned with during the heyday of Sunset Strip classic rock. Russell's soulful vocals and his band's ability to blend bluesy elements with rock rhythms created an enduring legacy.
On the other hand, Tracii Guns, a cornerstone of the Los Angeles hard rock scene, carved his niche as the founder and guitarist of L.A. Guns in 1983. With a career spanning decades, Guns has been a prolific figure, contributing to various musical partnerships most recently Sunbomb with Stryper’s Michael Sweet, and and Blackbird Angel leaving an indelible mark on the genre. His guitar wizardry and sleaze rock vibe have made him a recognized force in the industry. The rest of the band’s lineup pulls some familiar faces from the current LA Guns lineup with drums; Shane Fitzgibbon, bass; Johnny Martin; and Alessandro Del Vecchio on keyboards
Medusa unfolds as a testament to the bluesy nature that both Russell and Guns have expertly woven into their musical journeys. Throughout the album, the duo seamlessly integrates their respective influences, offering listeners a glimpse into the evolution of their sound. The bluesy roots that Russell and Guns cultivated in their earlier ventures are palpable, providing a cohesive and authentic musical experience. In a musical landscape often saturated with hastily assembled collaborations, Medusa not only pays homage to the rich histories of Jack Russell and Tracii Guns but also manages to carve a distinct identity.
The album kicks off with "Next in Line," a track that immediately sets the bluesy rock tone. Jack Russell's soulful vocals blend seamlessly with Tracii Guns' guitar prowess, creating a straight-up rocker that serves as a powerful opening statement. It’s a nice balance of their past work and a completely new vibe. The blues-infused foundation laid here resonates throughout the album.
The more AOR driven "Tell Me Why," hits next and showcases their prowess in delivering classic, guitar-driven, melodic hard rock with a distinctive blues undertone.
"Coming Down" maintains the momentum, delivering the boastful, grimy glam reminiscent of the glory days. With a nod to Great White's solid catalog, this track slides effortlessly into the blues-infused rock narrative. The heel stomping "Where I Belong" weaves its way through blues-infused rock, placing a spotlight on the rhythm section and showcasing the duo's proficiency.
The sleaze rock vibe makes its presence felt on "For You," reminiscent of the genre's heyday with elements that really has a classic Great White vibe. Alessandro Del Vecchio’s keyboards are a real highlight here and elevate the track to one of my the strongest on the album.
Transitioning back to a stadium atmosphere, "Give Me the Night", hits with more of a guitar hero vibe, strong riff and really showcases why Tracii Guns has been such a sought after six string collaborator for decades. It encapsulates everything loved about 80s rock within a tight three-minute package.
A standout moment arrives with "Living a Lie," a ballad where Jack Russell's vocals shine against the backdrop of acoustic guitars. Tracii Guns delivers a dynamite solo, showcasing the emotive depth of the track and highlighting Russell's often underrated singing prowess. This would
The pace shifts with the energetic "In and Out of Love," featuring a visceral riff that really has a nice hook. This anthem combines awesome vocals, powerful guitars, Shane Fitzgibbon and Johnny Martin’s rhythm section really shine here, creating a track that encapsulates the quintessence of 80s rock.
The title track, "Medusa," introduces a mid-tempo, punchy rocker, deviating slightly from the bluesy rock vein. While it may be considered the weakest link, it still maintains a distinctive edge. The bluesy roots are revisited in full force with "Back into Your Arms," a track that settles into a groove echoing decades past but with an undeniable contemporary flair.
Closing the album is "I Want You," where the drums take the lead before transitioning into a solid blues rock swagger. It has notes of a classic Randy Rhodes era Quiet Riot, which was a nice surprise.
Medusa is a really solid effort that blends the enduring blues-infused rock legacy of Jack Russell and powerful riffs of Tracii Guns. Each track unfolds as a chapter, revealing the duo's musical journey and their mastery of a genre they've embraced and elevated over the years. It's a compelling exploration of bluesy rock that solidifies their places as stalwarts in the rock landscape.
Medusa Track List:
1) Next In Line
2) Tell Me Why
3) Coming Down
4) Where I Belong
5) For You
6) Give Me the Night
7) Living A Lie
8) In And Out of Love
9) Medusa
10) Back Into Your Arms again
11) I Want You
The Nothing but Noise tour lived up to its name on January 21st,2024 at 1720 in Los Angeles. Even when the night's first act graced the stage, the crowd was already roaring with energy. The opener being none other than the radiant Minmi. She brought both energy and her unique sense of humor to her performance, giving off the energy of someone who could easily headline their own show. One of the best moments being when she got the whole audience to joke around with her and everyone laughed along. Which ended up leading into a song that’s fun to dance along to, regardless of what language you speak. Although one of the songs that the audience seemed most hyped for was Minmi singing a song from Evangelion. The room was filled with people waving their hands up in the air, cheering, and people singing along to the song. You can even see visuals from the anime playing behind Minmi. It was just one of those songs that everyone knows and loves. One of the songs Minmi is known for is "Shiki No Uta" from the classic anime Samurai Champloo. Minmi also took up the keys, for a hopeful song about how it’s never too late to change your life and follow your dreams. The song was beautiful and had the audience clapping along to it. She gave off a very memorable performance and when she got off the stage, you can tell the audience wanted more.
Getting us ready for our amazingly talented headliner, DJ Hyper Potions takes up the stage dazzles the packed house prior to announcing Nano. With fans literally loosing their minds, Nano made quite the entrance wearing a hoodie with the stage lighting and the hood concealing part of their face. This to me felt like a call back to their early days when their identity was concealed. During that time, there were a lot of cool anime-style drawings that represented nano and in a sense their identity was genderless. One of the turning points of her career was when she did an English cover of the song "Gallows Bell", a song that is incredibly sad and dark but beautiful. Nearly makes me cry every time I listen to it. I’ve been listening to Nano since the very beginning and have been wanting to see them live for several years now. The way Nano expresses herself has made me as a person more confident in how I express myself and even though her being mysterious before was an interesting experience, I’m happy that she’s now able to be more free with her music and be who she is. While a faceless artist is always cool, nothing can beat seeing them smile while doing what they love up on stage and Nano’s smile lit up all of 1720 that night. Nano’s appearance during her first song of the night, which is "Nevereverland", somewhat resembles the boy wearing a hood in the music video which is playing in the background while she sings. The audience during the beginning of the song brings up the energy by chanting “hey hey hey” and clapping. Towards the end of the song, the boy in the video is no longer wearing a hood and the same goes for Nano.
Her third song on the set list, "No Pain, No Game", is a personal favorite of mine and has the same characters from Nevereverland in it. The song came out over 10 years ago but is timeless. When Nano threw her hands in the air during that song, it was an epic moment. If you need a song to energize you, "No Pain, No Game" is definitely one of those songs. After that one was "Magenta", a song with a different type of energy to it - but just as exciting. The visuals for this one were especially beautiful. I really loved seeing the trees without leaves combined with the pink lighting. "Magenta" is also the kind of song that reminds you that you’re not alone and even if the world is falling apart you will get back up. Right before starting another one of her songs, Nano tells the audience “No Matter what if you really want something you gotta always keep believing in it” and I feel like those are words to live by. Her next song "Dreamcatcher" embodies those beliefs and will give anyone who listens to it strength to not give up. Her song "Blue Jay" was the one where everyone stayed silent and listened with Nano’s voice enchanting the entire room. If you’ve ever lost someone you hold dear, this song will resonate deep in your heart. The angel wings falling in the background along with Nano sitting down for this one, helped make the feeling of the bittersweet beauty of the song even stronger. At a certain point we had a break period where DJ Hyper Potions took over and the space briefly felt like a really fun anime rave. Hyper one hundred percent lives up to his name and knows what songs anime fans get down to most. He kept the energy high. Nano reenters the stage with the song "All I Need", a powerful song that I’m sure everyone has related to at least at one point in their lives.
Nano’s dancing especially in "Savior of Song" and "Fight Song" was incredible. Being as a photographer as well as a fan, it was engaging to watch and filled me with excitement. Nano ended her set with the song "Freedom is Yours", where everyone moved their arm back and forth in sync. Now luckily even though I say ended, truth be told it wasn’t the actual end of the set. What happened next was the longest chant I’ve ever heard for an encore in probably my entire life. Probably one of the loudest encore chants I’ve ever heard too, I think it went on without stopping for at least several minutes. This is just a testament to how amazing Nano is, her fans were all willing to risk losing their voices for this encore. She came back out wearing a Nothing but Noise t-shirt, that ended up completely selling out that night before Nano even finished performing.
The final two songs would be "Let’s Make Noise", which is the reason for the name of this tour, and "Oblivion" a newly released song. During "Let’s Make Noise", the audience had the cool experience of Nano taking a video of all of us singing along while she was singing and yeah we all made noise. Nano wrapped up the night with "Oblivion" and the audience singing along the lyrics “listen to your heart”, was the perfect way to end the night. The audience singing along to even the Japanese lyrics is proof that even speaking different languages, we can all come together. Seeing Nano live after waiting several years was worth it and something I will always remember, looking forward to catching her again soon
The calendar may have said January 11, 2024, but for a couple of hours it was 1984 at The Canyon Club in Montclair. Fan Halen stormed the stage, put the sold-out crowd in a time capsule, and threw a party with the music from the ultimate party band played to perfection.
Tribute bands are an iffy thing. The crowd is looking/listening for the performances and songs they love to be played they way they remember. Or played to the classic album, note for note. If the singer’s even slightly off, guitarist a little tinny, harmonies not really there, it’s like “Okay, they tried.”
Fan Halen is different. They are billed as “The World’s Most Authentic Tribute to Van Halen.” That’s a mouthful and a lot to live up to. This is Van Halen of the David Lee Roth era, no Sammy tunes here. It would be far too easy to say, “Close your eyes, they sound like the real thing.” That’s because they look and act like the real thing. So keep your eyes wide open, because you don’t want to miss anything.
Let’s start with Ernie Berru, aka Diamond David Lee Roth. Every yelp, scream, and howl on heard on any VH song is in play, because Ernie can do them all. This is not the “live” Diamond Dave that talks his way through songs, this is “album” Dave. Besides actually being able to sing, Ernie brings to life the swagger and banter that made DLR “The Toastmaster General.” And he can do the splits off the drum riser.
The rhythm section of Michael Thompson as Alex Van Halen and Andy Catt as Michael Anthony is beyond solid. These guys are excellent musicians. Andy’s bass playing provides that hidden groove in early Van Halen and his high harmony vocals gives the band and the audience exactly what is needed for the authentic Van Halen sound. Thompson is something of a smiling beast on drums. He makes the difficult seem effortless as he’s pounding a 1981 era double-bass Ludwig drum kit. Once you hear his intro to “Hot for Teacher,” you know he’s capable of anything.
Finally, there’s Derek Fuller. He’s more than just riffs and EVH-style tapping. He’s got the Brown Sound down. It’s one thing to play like Edward Van Halen, it’s a whole other thing to make it look as effortless as the king did. Derek’s grins, expressions, and thumbs up, and yes, jumps, remind us of what a truly different kind of guitar hero looks like. He also provides backing vocals, rounding out the full VH sound.
The setlist ran the gamut from albums of the DLR era with the original lineup, what fans call “The Six Pack.” The majority came from Van Halen and 1984 with a highlight being Ernie/Diamond Dave on acoustic guitar before kicking in to a roaring “Ice Cream Man.” Another highlight was Derek/Edward’s solo on “Eruption” before going into “You Really Got Me.” But who’s kidding who? The entire night was like a greatest hits album with everything played to perfection. These guys can play anything in the VH catalog, including legendary unreleased tunes. (Their show in Pasadena last year opened with “Let’s Get Rockin.”) They even do “Happy Trails” to end the night.
We lost Edward Van Halen in 2020 and we lost the original VH line up years before that. But Van Halen’s music, and spirit, will always live on. And as long as Fan Halen is around, we’ll be able to pay our tribute as they play their tribute.
FAN HALEN SET LIST
I have been a big fan of Matisyahu for quite a long time. Anyone that knows me, knows my love of reggae; the sound, the rhythm, the message, the beat, the one drop, the vibe. When I first heard Matis I was so intrigued, who is this Jewish guy with this amazing reggae sound, an amazing voice, lyrics with so much meaning (and the beatboxing)?. The message was basically the same as reggae! While not the same roots reggae coming out of Jamaica, he made it work so well, combining reggae, hip hop, alternative rock and more. Such a unique but familiar vibe and message. He has evolved over the years, changing up styles and genres with each new album, but the one standard was the voice, message and storytelling. I love seeing and hearing that growth and that evolution. And while I may like the earlier, more reggae-esque vibe, Matis brings us new and interesting music all the time, testing the limits to his creativity.
I was given the Hold The Fire bio and there is a statement that sums this up so perfectly; “All the while his musical parameters were expanding into a shapeshifting collision of reggae, hip-hop, alt rock and boldly inventive pop. His 2014 album Akeda, for example, hit Billboard's Top 10 in not one, not two, but four album categories: modern rock/alternative, rap, rock, and independent.” While there is nothing like hearing Matis do one of his classics live (“King Without A Crown,” “Jerusalem,” “One Day”), I had the pleasure hearing him in 2017 at The State Theatre in State College, PA (we are still waiting for him to return) right before Undercurrent was released and he played a few songs from that album for the first time live. The style, the vibe, was really different, but the crowd loved every second of it. That album didn’t have songs, it had journeys.
The new Hold The Fire EP starts off with “Fireproof,” it touches on a universal harmony, especially given the current events in Israel. A song that slides into themes of perseverance, gratitude and appreciativeness. It is a nice mellow groove, his voice so nice to follow through the song with a wonderful message. It is a song that was conceived by a dream he had. He walks us through the dream and his message, he really pulls you into this voyage. And the little touch of beatboxing is a great addition to the song. He brings us to “End Of The World,” a unique sound with this song an almost sonic sound, reminds me of songs from Undercurrent, not the same reggae vibe we are used to, but a strong message, “We move through our lives building bridges and burning some. Preparing for battles with the experiences we have and using discernment to make the best choices we can,” shares Matisyahu.
Track three is “Fools Gold” and possibly my favorite track on the EP. I love the chill beat and bass and Matis’s message. He changes up his tempo and flow throughout, I only wish the song was longer. It is about being created in the likeness of God, but that does not mean we are Gods. We should have a sense of modesty and accountability. Matis brings us to “Love Supplier” with a nice guitar riff throughout, a nice upbeat song. My head just keeps bobbin’ to this joint. I love the sound of his voice during the chorus. “Baby I’ve been running low, hope you know it in your soul, you are my Love Supplier.” We finish off with “Lifetime,” another one of my favorites, a tribute to community. He hits us with a little “scat” then flows in with his lyrics, a great flow switching up the vocals and sweet harmonizing in the background. A good up-tempo song, you want to get up out of your chair and groove to this, head bobbin’ up and down.
Hold The Fire is simply a great EP, and its amazing to see the one thing that never changes in all of his releases is his beautiful voice and his wonderful and meaningful messages. The music creation and production just keeps growing, changing and evolving, while still standing true to what makes Matisyahu, well, Matisyahu. I am craving more after listening to this, we get a little mix of older Matis, but a touch from his nearly two decades bringing us significant, emotional and soulful tunes. This is a must listen, there is a little bit of everything mixed in this five track EP. Be sure to grab a copy when its released on Feb 2nd!
One Love- Todd