Hot off the release of their new album, I Love You So F**ing Much*, Oxfordian pop-rockers Glass Animals have been traveling the globe, sharing their bouncy, anthemic hits with as many arena-sized venues as they can. The aptly named Tour of Earth took a break from insane festival appearances and headlining moments at Madison Square Garden to stop at Minneapolis’ wonderful Armory, bringing Irish sensation Orla Gartland along for the ride.

Orla’s opening set was—borrowing the pastiche of reviews—absolutely electric. There’s an immediacy and intrinsic charisma to Orla’s give-it-all performance that makes it irresistible. Featuring a delightful, star-studded stage with just enough negative space for Orla to prance about and strum her guitar with elbow-driven emphaticness, she and her backing band quickly took the little space available to them and made it feel as grand as possible.

Through a brief 7-song, 30-minute set, including one particularly daring and arresting Chappell Roan cover (“Red Wine Supernova”), Gartland and company left an unforgettable impression. This is something she’s apparently been an ace at ever since dropping Everybody Needs a Hero last year. Someone to keep an eye on, Orla Gartland will certainly be back soon and bigger than ever.

Ever ones for spectacle, Glass Animals’ arrival on stage was preceded by a celebration of a pineapple—as is tradition—before the massive I Love You So F**ing Much* banner dropped, and they launched into “Life Itself.” Retrowave patterns in impeccable blues created a scene of neo-futurism, contrasting beautifully with the surreal song content. It felt like a crossroads between a small, intimate show and a massive production, which is the fine line Glass Animals have been walking ever since ZABA catapulted them to meteoric success.

The Tour of Earth tour (a fun sentence to say) showcases the band’s dedication to bringing their sound to as many places as possible. The setlist mirrored this journey, offering a tour through their discography. Each time Dave Bayley made his way into the crowd for an up-close and personal rendition of “Gooey,” you could feel the connection they strive to create—and Minneapolis was no exception.

Some might say that Bayley wearing a Vikings jersey that evening was lazy pandering, but I think it’s a testament to how much these fellas from England genuinely love and care for their fans. Despite their meteoric rise, they’ve managed to maintain a sense of humility and connection.

Certainly, Glass Animals don’t have to put as much effort into their live shows as they do, but every performance is an absolute treat for the eyes. This tour’s charming focal point was a giant Tesla-coil-style glass sphere at the center of the stage, customized to display whatever the band desired—starting the night off by displaying “Minneapolis.” The synchronicity between sound and sight was a masterclass in precision. More than just boastful and explosive, the lighting design was thoughtfully crafted to complement the chosen setlist.

The group ended their night with a necessary rendition of “Heat Waves” for their encore, elevating the already rapturous crowd to previously unimagined levels of excitement and screaming.

The next time Glass Animals visit the Twin Cities, I expect they’ll be playing at Xcel Energy Center or Target Center. Fans should hold on to the memories of this show fondly, as it’s going to become harder and harder for the group to maintain the intimate connection they’re angling for.

In late 2023, Creed surprised the world by reuniting after over a decade-long hiatus. This was a reunion that many people never saw coming. In 2024, they hit the road on their Summer of ’99 Tour across North America, bringing back the classic sound that made them legends in the music scene. The tour was so successful that they announced a second Summer of ’99 Tour for 2025. This time, they aimed to hit new venues and cities they missed last time, including a stop at the North Island Credit Union Amphitheatre in San Diego, CA. Their Southern California stop featured hard rockers Daughtry and the legendary Wolfgang Van Halen with his band Mammoth as openers. Fans packed the outdoor venue for a night of dad rock classics.

Opening the night was the musical prodigy Wolfgang Van Halen with his band Mammoth. Wolfgang has been carrying on the legacy of his namesake with pride and determination. He’s set out to make a name for himself, refusing to play any Van Halen music and only performing songs he writes with Mammoth. This is incredibly commendable, and he doesn’t need the gimmick of playing his father and uncle’s music. Instead, Wolfgang infuses the spirit of Van Halen into his own music, creating the next evolution of the Van Halen legacy.

From catchy choruses to driving guitar lines and finger-blistering solos, Wolfgang delivers everything a rock fan could want. He’s essentially a one-man wrecking machine of a musician, who would play every instrument on stage if it were physically possible. Backing him is a stellar band featuring Frank Sidoris on guitar, Jonathan Jourdan on guitar, Ronnie Ficarro on bass, and Garrett Whitlock on drums. Together, they brought Wolfgang’s music to life with songs like “Another Celebration at the End of the World,” “The Spell,” “Epiphany,” “Take a Bow,” “Don’t Back Down,” and “The End.”

Wolfgang is set to hit the road on his own headlining tour later this year, supporting his upcoming third album, The End. If you love Van Halen or just rock music in general, Mammoth is worth the price of admission.

As the sun set behind the stage of the amphitheater, fog and lights filled the space as Daughtry took the stage. Led by vocalist Chris Daughtry, his energy was palpable, and fans screamed as the band launched into their opening song, “The Reckoning.”

One of Daughtry’s strengths is crafting big, catchy choruses that had the entire crowd singing along. Guitarist Brian Craddock wrote melodies that perfectly complemented Chris’s vocal lines, elevating them to a majestic tenor. Bassist Marty O’Brien was the biggest performer of the band, dancing and posing across the stage while plucking his instrument and playing up to every fan in the theater. Keyboardist Elvio Fernandes locked in with the melodies, adding brightness to the songs when needed. Meanwhile, newest drummer Anthony Ghazel easily found his footing, keeping the music rocking and staying in the pocket.

Daughtry had the crowd rocking out, swaying, and even shedding a few tears with songs like “The Day I Die,” “Separate Ways (Worlds Apart),” “Pieces,” “It’s Not Over,” “Waiting for Superman,” “Home,” “The Dam,” “Over You,” “Heavy Is the Crown,” and ending with “Artificial.” Daughtry has proven to be a standout support act for some of the biggest rock tours every year, but it feels like we’re overdue for a Daughtry headlining tour.

When Creed went on hiatus back in 2012, many fans weren’t sure if they’d ever get the chance to cheer for them again. Over a decade later, in San Diego, the name Creed was emblazoned on 30-foot-tall LCD screens as fans rhythmically chanted the band’s name. The anticipation was palpable as fans who had waited so long finally got to see these generational artists.

Opening their set with “Bullets,” vocalist Scott Stapp began with a somber build at the center of the stage before stepping to the foot of the stage as the chorus kicked in. Fifteen-foot pyro blasts ignited along the backline, signaling that Creed had officially returned to San Diego.

Hearing Stapp’s signature baritone voice live carries a presence that doesn’t fully come across on record. Fueled by the live crowd, Stapp is the perfect frontman, consistently playing up to the audience as a larger-than-life entity while frequently interacting with his bandmates to draw them into the show.

Guitarist Mark Tremonti has written some of the most iconic post-grunge riffs of the ’90s, and he still performs them night after night with passion and energy. His smiles and snarls on stage show just how much he enjoys performing this music again. Bassist Brian Marshall is calm and collected, delivering basslines filled with groove and feel that the crowd unknowingly locks into. Drummer Scott Phillips adds texture and nuance to his beats while staying in the pocket.

These four men have been performing together for three decades, and their tenure shows. They are locked in tight, knowing when to take the limelight and when to pull back to let others shine. Creed was in top form, performing all their classics, including “Ode,” “Torn,” “Are You Ready?,” “Never Die” (dedicated to Brad Arnold of 3 Doors Down, who is currently battling stage four cancer), “My Own Prison,” “Freedom Fighter,” “Say I,” “What If,” “One,” “What’s This Life For,” “With Arms Wide Open,” “Higher,” and closing with a two-song encore of “One Last Breath” and “My Sacrifice.”

During their heyday, Creed often found themselves the butt of jokes from hard rock gatekeepers. But there’s something you can’t deny: the longevity of their music. Fans turned out in droves to sing along with the band and experience one of the best live shows touring this summer.

If Creed really were a joke, there’s no way they’d be performing to massive amphitheaters and arenas on the second leg of this comeback tour. I can guarantee that even those old gatekeepers have been in the crowd, singing with their arms wide open

In recent years, we’ve seen some old-school Hip Hop acts release albums, bringing a resurgence to the classic era of Hip Hop. These albums have received mixed reviews; longtime fans and enthusiasts tend to rate them highly, while others have a more varied perspective. A few months after Wu-Tang Clan released Black Sampson, The Bastard Swordsman, the 55-year-old MC from Staten Island, NY, Raekwon launched his eighth album, The Emperor’s New Clothes.

This isn’t a case of an artist returning after a long hiatus and going through the motions or losing their edge. Instead, the album strikes a perfect balance between freshness and old-school authenticity. It’s impressive how Raekwon has managed to age gracefully within the Hip Hop industry, creating streetwise boom-bap tracks that feel contemporary rather than outdated.

After a brief introduction, Raekwon delivers a powerful boom-bap beat in “Bear Hill.” The sound is fresh and crisp, with Rae skillfully working the lyrics to provide us with a classic ’90s hook.

In “Pomegranate,” featuring Inspectah Deck and Carleton Fisk, we experience more boom-bap production as the trio exchanges impressive lyrics in a song that emphasizes the idea of the Dons never being compromised.

After the “Veterans Only Billionaire Rehab” skit, we are introduced to a soulful boom-bap track titled “Wild Corsicans,” featuring Conway the Machine, Benny the Butcher, and Westside Gunn alongside Raekwon. While the trio delivers impressive bars, Raekwon ultimately dominates the song.

Next is “1 Life,” which features Stacey Barthe and is produced by J.U.S.T.I.C.E. League. This track is a soulful exploration of how Hip Hop is often exploited for profit. Stacey provides beautiful vocals, while Raekwon once again delivers powerful verses.

The “Barber Shop Bullies” skit introduces the track “Open Doors,” featuring Tommy Nova. This song captures the essence of the classic Wu-Tang sound, with lively horns and a fast-paced beat. Raekwon delivers sharp and impressive lyrics while Tommy Nova handles the chorus.

In “600 School,” produced by Swizz Beatz, the track has an orchestral vibe that brings the original crew together. Ghostface Killah and Method Man trade verses filled with classic gangsta rap alongside Raekwon. This is undoubtedly one of the top lyrical tracks on the album.

“The Guy That Plans It” brings us back to the boom-bap beat, featuring a sample of Marvin Gaye’s “I’ll Never Stop Loving You.” This track delivers a concise and vivid crime narrative centered around a street fight, showcasing Raekwon’s storytelling skills.

On “Da Heavies,” Raekwon reminisces about the past, delivering more excellent storytelling over classic ’90s production, characterized by powerful drums.

Another skit, “Officer Full Beard,” leads us into one of the standout tracks, “The Omerta,” featuring Nas. The two artists trade verses over a beat by Nottz, discussing the importance of living up to their promises. This track may be the only one where Raekwon is somewhat overshadowed, as Nas delivers an outstanding performance with his flow and lyrics.

“Get Outta Here,” featuring Ghostface Killah, showcases Raekwon’s signature glamorous portrayal of crime while presenting more compelling storytelling from the duo.

After the skit “The Sober Dose Gift,” we are treated to Marsha Ambrosius delivering beautiful vocals over a soulful, old-school Mary J. Blige-inspired groove from the ’90s with the track “Debra Night Wine.” In this song, Raekwon guides us through his soulful and introspective lyrics.

The album concludes with Ghostface Killah joining Raekwon on “Mac & Lobster.” This track discusses their lives, successes, and possibly hints at sexual innuendo. With another slower R&B beat, it provides a fitting conclusion to the album.

Raekwon continues to showcase his ability to weave together images of glamour, crime, life, and death through his textured and intense lyrics. His well-crafted and unique verses are complemented by contributions from fellow Wu-Tang members, who bring their own distinct vibes that mesh perfectly with Raekwon’s style.

The inclusion of Griselda artists—Conway the Machine, Benny the Butcher, and Westside Gunn—and Nas adds an extra layer of depth and street credibility. As someone who appreciates the classics, I can confidently say that Raekwon has delivered an album that is fresh while still capturing that old-school essence and vibe.

One Love – Todd M. Judd

One of the best feelings is discovering a band and watching them evolve and blow up over time. Whether they start as a small club band or you first see them in a mid-sized venue, the next thing you know, they’re headlining major arenas around the world. This has been the case for me with Shinedown. I first saw them headlining the House of Blues, which was already after they had achieved commercial success. But it has still been amazing to see their music grow and their show evolve over the years since I discovered them. Now, they’re on a national tour, making a stop at the world-famous Kia Forum in Los Angeles, CA. Bringing along Bush and Morgan Wade, fans packed the legendary venue to experience the Dance, Kid, Dance Tour.

Opening the show was country music singer Morgan Wade. While this may seem like a surprising choice for a rock tour, Wade’s harder edge to her country style fit right into the tour package. Starting off with her song “High in Your Apartment,” Wade donned a guitar to play alongside her backing band. This kept her mostly behind the mic stand, though she stepped out to interact with her band when she could.

It was during her song “Meet Somebody” that Wade truly shined. The stage setup featured a long catwalk extending into the crowd, and Wade took the opportunity to run down the catwalk, getting face-to-face with the audience. This was when the crowd really started to connect with her performance. Wade made the most of her time with songs like “Roses,” “Meet Somebody,” “The Night,” “The Party is Over,” “Creep,” and ending with “Wilder Days.”

Shinedown is known for taking out artists they see as having major potential to become the next big thing. I can only imagine where Morgan Wade will go next after this tour.

Next up was the UK’s post-grunge outfit, Bush. I’ve always heard great things about them but somehow had never seen them live—until now. What followed was an hour of high-energy performance I wasn’t expecting.

Lead singer Gavin Rossdale was an uncontrollable ball of energy. Despite touring for over three decades, he performed with the vigor of a 20-year-old, jumping all over the stage and running down the catwalk at every opportunity. At the foot of the catwalk, Rossdale danced and moved as if the music was trying to escape his body, and the crowd loved every second of it. During “Flowers on a Grave,” Rossdale took it a step further, jumping the barricade and walking through the seats of the Forum, giving even those in the nosebleeds a chance to experience his brilliance up close.

Rossdale was backed by the rest of Bush, featuring Chris Traynor on guitar, Corey Britz on bass, and Nik Hughes on drums. Their high-energy set included classics like “Scars,” “Machinehead,” “60 Ways to Forget People,” “Everything Zen,” “The Land of Milk and Honey,” “I Beat Loneliness,” “Swallowed,” “More Than Machines,” “Glycerine,” and ending with “Comedown.”

On any other tour, Bush would have stolen the show. I’d love to see how much wilder Rossdale gets on a headlining tour.

As we eagerly awaited the headliner, a man wearing a TV as a head hyped up the crowd as the mascot for the night. When Shinedown finally took the stage, they stood at the foot of the catwalk, as close to the crowd as possible, to kick things off with “Dance, Kid, Dance.” Pyro blasted from the back of the stage, illuminating the entire Forum with some of the biggest pyro effects I’ve ever seen at this venue. The crowd was sufficiently woken up and ready to rock.

Vocalist Brent Smith oozes charisma and charm on stage, with a commanding presence that makes it impossible to look away. Guitarist Zach Myers has written some of the catchiest riffs that Shinedown fans cherish, and he plays them with precision and heart. Bassist Eric Bass brings a hard edge to the band’s look, getting lost in his playing while adding depth to the music. Drummer Barry Kerch, though stationed at the back, makes his performance as big as possible, with his long dreadlocks flying as he slams into his kit.

Throughout the set, Shinedown delivered some of the most creative lighting and pyro effects I’ve seen, with bursts of fire and fireworks enhancing big chorus moments and even accentuating Kerch’s drum fills. Despite the massive production, the band took a short break to move to the front of the catwalk for an acoustic set. This intimate moment allowed them to play songs they don’t normally include in their setlist, such as “Call Me,” “Misfits,” “I’ll Follow You,” and “If You Only Knew.” The emotional connection in the room was palpable, with many fans shedding happy tears.

After the acoustic set, Shinedown quickly picked up the pace, bringing back the fireworks, pyro, and lighting that made them feel larger than life. The emotional set featured highs and tear-jerking moments with songs like “Devour,” “Cut the Cord,” “How Did You Love,” “Devil,” “Three Six Five,” “Enemies,” “Diamond Eyes (Boom-Lay Boom-Lay Boom),” “A Symptom of Being Human,” “Planet Zero,” “Purple Rain,” “Simple Man,” “Monsters,” “Sound of Madness,” and finally ending with “Second Chance.”

It was incredible to see Shinedown in such a large venue, bringing a stage show that filled the space of the Forum. Brent Smith made a heartfelt speech about how this was their first time playing the venue and how much of an honor it was to perform in such a legendary place. But truly, it was our honor to support this band and help them reach these heights.

Bush nearly stole the show and deserves to return to the Forum as a headliner next time. Meanwhile, Morgan Wade is just getting started, and I’m excited to see how she evolves.

This tour is still making its rounds until the end of the month, and it would be a disservice to miss it. If they’ve already played your city, keep an eye out for the next time they come to town—you won’t regret it.

There are bands you see live one time, and you fall in love with their music. The first time you see them, you may not know their songs, or you may only know a couple. Then you get home, deep dive into their entire discography, and realize how amazing their music truly is. You eagerly await their return to your city so you can see them again and experience the greatness of their show for what it truly is. This happened to me when I saw Architects six years ago. Unfortunately, due to COVID and visa issues, it has taken them six years to make their way back to California on a headlining tour. They are finally back on their 2025 North American tour, and the first date to sell out was the House of Blues in Anaheim, CA. Bodies were smashing into each other to squeeze all the screaming fans into the venue for the chance to see Architects again.

Opening the night was Los Angeles-based alternative metal band Holywatr. Architects have a habit of bringing quality bands on tour with them, and they made a strong choice in selecting Holywatr to open this show. Holywatr blends multiple genres to create their unique sound. With guitarists mixing progressive styles and heavy riffs, they got the audience headbanging and grooving in the crowd.

The dynamic singing, alternating between harsh deep screams and clean melodic brightness, felt like the angel and devil on your shoulders both speaking into your ears—and it sounded brilliant. Holywatr’s sound was creating new fans with each song they played, including “Lip Service,” “Hiding in Plain Sight,” “Ashes,” “My Mom’s In There!,” “Fade,” “Without You,” “Give Me A Show,” “nail polish,” and ending with “loose ends.” If Architects see potential in Holywatr, then we can expect to see them doing even bigger things in the near future.

Up next were Erra, widely considered pioneers of the progressive metalcore scene. They kicked their set into high gear with their opening song, “Snowblood,” immediately getting the fans’ blood boiling. Lead vocalist J.T. Cavey delivered tenacious screams that riled everyone up, while clean vocalist Jesse Cash created a push-and-pull dynamic in their vocal melodies that had the crowd bouncing.

Instrumentally, Erra truly shined. Cash, pulling double duty as lead guitarist, teamed up with rhythm guitarist Clint Tustin to craft not just melodies and heavy chugs but also unconventional guitar noises and tricks that added an electronic flair to the band’s sound. Bassist Conor Hesse and drummer Alex Ballow didn’t just hold down the low end—they added layers of rhythm that elevated Erra’s progressive style.

Erra had fans spinning the mosh pit with songs like “Crawl Backwards Out of Heaven,” “Pale Iris,” “Blue Reverie,” “Scorpion Hymn,” “Cure,” “Gore of Being,” “Skyline,” and ending with “Gungrave.” They sufficiently marinated the crowd, getting them ready to be cooked by Architects.

As fans pushed their way into the House of Blues stage area, you could feel electricity surging through the venue as everyone awaited Architects to take the stage. Starting their set with “Elegy,” vocalist Sam Carter stood alone on stage, singing the softer opening verses under a spotlight. You could feel the energy boiling up inside him as the rest of the band joined in on the second verse, with Carter letting out a vicious roar that echoed across the room. This was the signal for the crowd to open up the mosh pit as wide as possible and for crowd surfers to start crashing over the barricade.

When Sam Carter sings, it’s not the usual growl or scream you expect from metal bands. Instead, it feels like he’s yelling the lyrics at you with raw emotion, adding an extra layer of aggression to his performance. Guitarist Adam Christianson attacked his guitar with a tone that ripped through the mix, shredding eardrums in the best way possible. Despite the high-paced ferocity of Architects’ songs, bassist Alex Dean added so much groove and feeling to his playing that you couldn’t help but dance to the music. Drummer Dan Searle tied everything together with finesse, delivering double-kick goodness for faster-paced songs and pulling back to stay in the pocket when the beat required it.

Architects were in top form, delivering a high-energy set that never let up. Their setlist included “Whiplash,” “when we were young,” “Black Lungs,” “Curse,” “deep fake,” “Impermanence,” “Brain Dead,” “Meteor,” “Everything Ends,” “Royal Beggars,” “Doomsday,” and “Blackhole.”

When Architects returned for their encore, the crowd realized they still had so much energy left to release. For the final two songs, “Seeing Red” and “Animals,” fans truly unleashed chaos upon the House of Blues. Crowd surfers barreled over the barricade three or four at a time, while the mosh pit expanded even wider as fans stomped around, carving footprints into the floor. By the time the final notes rang out, everyone was drenched in sweat, wearing the biggest smiles from finally experiencing Architects in California again.

I was at the 2019 Holy Hell Tour and have been patiently waiting six years for this show to return, and it surpassed every expectation I had. But what truly made this show magical was an eight-year-old boy sitting on the barricade, singing every single lyric to every single song Architects played that night. Seeing this kid radiating happiness while watching one of his favorite bands live gave me hope for the next generation of music lovers.

No matter how long a band has been around or how infrequently they tour certain areas, their music continues to be discovered and cherished by fans of all ages. This is why bands put out music and perform live—to see how their art impacts people’s lives. And though we have their records to keep us satiated in the meantime, Architects better not take another six years to return to California. We need another helping of their live energy.

One of the greatest things about the music world is that it is ever-evolving, with bands hitting the scene with new genres and musical styles. These artists take inspiration from multiple sources and create something fresh and exciting for the public. One band that has carved out a unique niche for themselves is Volbeat. For over two decades, they’ve been mixing metal, hard rock, and rockabilly styles to great success. With the release of their latest album, God of Angels Trust, they’ve hit the road again on their Greatest of All Tours to show why they are the GOATs of what they do. This multi-month tour sees Volbeat bringing different support bands with them, and when they came to the world-famous Kia Forum, the patrons of Los Angeles were ecstatic to see Halestorm and The Ghost Inside perform alongside them.

Opening the night were hometown heroes The Ghost Inside. Vocalist Jonathan Vigil made a point to let the crowd know that he had been attending basketball games and concerts with his dad at this venue since he was a little kid, and it was a surreal experience to now be performing on the Kia Forum stage. You could see Vigil taking in every moment of this milestone.

People were still trickling in for the start of the show, but Vigil performed as if they were headlining a sold-out arena. The dual guitar work of Zach Johnson and Chris Davis was an assault on the audience, delivering heavy riffs and chugs that got the crowd bouncing right from the start. Meanwhile, bassist Jim Riley pulled double duty as the band’s hype man, shouting at the crowd and pushing them to give more energy. All the while, drummer Andrew Tkaczyk pounded away on the kit, giving fans a beat to mosh to.

The Ghost Inside only had a short 30-minute set but made every second count, pouring their energy into songs like “Going Under,” “Dear Youth (Day 52),” “Earn It,” “Death Grip,” “Wash It Away,” and closing with “Aftermath.” This was just a taste of what The Ghost Inside can bring, and I’d love to see the kind of energy they deliver in a headlining set.

There are certain people who can enter a room and instantly captivate everyone in it. Lzzy Hale is one of those people. When Halestorm took the stage, the reaction Lzzy received shook the entire arena. As beloved as she is by fans, Halestorm is still a band, and every member gets their time to shine.

Lead guitarist Joe Hottinger writes driving guitar lines that amplify the intensity of Lzzy’s vocals but also takes moments to stand at the foot of the stage and dazzle with his iconic solos. Bassist Josh Smith is more reserved, holding down the low end and keeping the bassline fat and full. But it’s drummer Arejay Hale who often feels like he’s putting in the most work behind the kit. Along with keeping the rhythm flowing and contributing backing vocals, Arejay throws in stick tricks and wild antics, ensuring the audience never forgets he’s back there.

The band was in top form, delivering a setlist that included “Fallen Star,” “I Miss the Misery,” “Love Bites (And So Do I),” “WATCH OUT!,” “Amen,” “Darkness Always Wins,” “Freak Like Me,” “I Get Off,” “Everest,” and “Here’s to Us.”

Lzzy had recently performed at Ozzy Osbourne’s final show, and you could feel the love and admiration she carried for him in her performance. Donning a long, flowing cloak and a haircut that channeled mid-’80s Ozzy, Lzzy did everything she could to honor the Prince of Darkness. The entire band took a moment in the middle of their set to come to the foot of the stage and raise a toast with the crowd in Ozzy’s memory. They even ended their set with a cover of Ozzy’s “Perry Mason.” This wasn’t just a performance for Halestorm fans—it was a heartfelt tribute to a rock legend.

It was then time for some European rockabilly-infused metal as Volbeat took the stage. This band has always been an enigma, blending their Danish roots with rockabilly and psychobilly elements—genres that originated in the southern United States. Yet, by some glorious miracle, Volbeat seamlessly mixes their rock style with an American flair, creating a unique spin on metal music.

Vocalist and guitarist Michael Poulsen sings with a garbled twang that evokes the image of a southern storyteller. Paired with his upbeat and bright vocal delivery, there’s a romanticism to his inflection, especially in Volbeat’s more heartfelt songs. This is all wrapped around drummer Jon Larsen’s bouncing beats. Without playing a traditional dance rhythm, Larsen crafts a swing to his drumming that makes you want to grab your partner and start dancing. Bassist Kaspar Boye Larsen fills out the low end, while touring guitarist Flemming C. Lund rounds off Volbeat’s sound.

Volbeat had fans rocking out, screaming, and dancing through a set that spanned their entire career. Highlights included “The Devil’s Bleeding Crown,” “Lola Montez,” “Enlighten the Disorder (By a Monster’s Hand Part 2),” “Sad Man’s Tongue,” “Fallen,” “Shotgun Blues,” “By a Monster’s Hand,” “The Devil Rages On,” “Die to Live,” “Black Rose,” “Seal the Deal,” and “For Evigt.”

The band also honored Ozzy Osbourne during their set with an abridged cover of “Children of the Grave.” You could feel Ozzy’s presence throughout the show. For the finale, Volbeat invited the kids in the crowd on stage to sing along to their final song, “Still Counting.” It was heartwarming to see how many kids had been introduced to Volbeat by their parents and were rocking out because they’d found their own love for the music.

I had seen Volbeat once before as a direct support act, so their set wasn’t that long. Getting to now see them as headliners, fully immersed in a show they put their all into, showed me why this band is so beloved. Their music breathes so much life that you can’t help but be drawn into their world.

Halestorm also showed the crowd why they are so adored. It’s about time for them to headline their own world tour again—they’ve been traveling as a co-headliner or direct support for a while, and we all need more time with them performing the songs we love.

Volbeat still has a few weeks of dates left in the USA before heading back to Europe to finish the tour. If they haven’t passed through your city yet, don’t miss the chance to catch this show—you won’t regret it.

Hip Hop is back! In recent years, we’ve seen some classic Hip Hop acts "come out of retirement" to release strong, dope, and entertaining albums. The 50th anniversary of Hip Hop will do that. In my opinion, Hip Hop has been struggling with talent, messages, and meaning. But after sixteen years, brothers Malice and Pusha T have returned as Clipse with a vengeance, proving that great music never fades. Fellow Virginia Beach native Pharrell Williams also returns to produce and sing on four tracks, cementing his role as the unofficial third member of the group. The lyrical chemistry between Malice and Pusha T remains intact, and Pharrell’s expert production elevates the album to new heights.

Older and more mature, with changed priorities since their debut album Lord Willin’, Clipse still conveys the fierce energy of their younger days. However, they’ve also incorporated elements of personal growth, spirituality, and reflection on hard-earned lessons. The result is an album that shares insights without losing any of their powerful edge and ferocity.

The ferocity begins with “The Birds Don’t Sing,” featuring John Legend  and  Voices of Fire. The production is simple, highlighted by sentimental piano melodies that allow Malice and Pusha T to shine with their lyrics and flow. John Legend adds a soulful touch with his captivating hook, while Voices of Fire harmonize beautifully, creating a pure expression of artistry.

“Chains & Whips” brings back that classic Clipse feel, featuring an impressive verse from Kendrick Lamar that perfectly complements the sharp, cutthroat delivery from Pusha T and Malice. Pharrell provides a gritty, infectious beat that works seamlessly with the vocals.

Tyler, The Creator joins the track “P.O.V.,” delivering a nostalgic vibe reminiscent of early Clipse with their rhymes and flow. Pharrell showcases his versatility as a producer with an impressive beat that ties the track together.

The song “So Be It” features ornamental qanun strings that create a distorted, almost slow-motion effect, making it feel like you’re running through wet cement. Malice and Pusha T deliver ruthless bars, with Pusha taking direct and indirect jabs at Travis Scott, referencing the situation with Drake and the Utopia album. Pusha raps:

“You cried in front of me, you died in front of me;
Calabasas took your b**h and your pride in front of me.”*

“Ace Trumpets” showcases Clipse’s precision and lyrical dominance at its best. The duo shares a deep, brotherly connection and a fundamental mastery of their craft, delivering their verses with confidence. The track features a simple beat and drum, allowing them to control the overall tone effectively.

In “All Things Considered,” The-Dream and Pharrell contribute to a slower, funky R&B groove. Lyrically compelling, this song emphasizes a chill vibe and showcases the smooth vocals of The-Dream and Pharrell.

“M.T.B.T.T.F.” (Mike Tyson Blow to the Face) is another standout track that will resonate strongly with Clipse fans. It features impressive lyrical flow from Malice and Pusha over a nostalgic ’90s groove. This track feels like it could have come from the early 2000s, yet it remains relevant and impactful today.

“E.B.I.T.D.A.” (Earnings Before Interest, Taxes, Depreciation, and Amortization) features Malice and Pusha flowing effortlessly over a nostalgic Neptunes-style beat. While it feels somewhat out of place compared to the more hard-hitting beats and tough lyrics on the album, it still manages to fit well.

Stove God Cooks joins the duo on “F.I.C.O.,” delivering impressive lyrics and a strong flow in this motivational track about overcoming adversity and achieving success. The track uses the concept of a FICO score, typically associated with financial standing, as a metaphor for the duo’s rise to prominence in the music industry.

“Inglorious Bastards” features Ab-Liva from the Re-Up Gang, thrilling early Clipse fans as the crew trades bars like it’s still 2006. The production includes a synthesized horn over a booming beat, with the trio delivering sharp lyrics.

Pharrell brings his local talent to “So Far Ahead,” conveying a message about being ahead of the curve in the music industry. He sings:

“They don’t know what it is when I’m on it,
But once they figure it out, I don’t want it.
So far ahead, you guys are behind.”

King Push also delivers powerful lines with a double entendre, stating:

“Understand the art of war, all my guys draw, so we’re all Picassos.
Me just being me, respect to PnB.
I probably won’t ever eat at Roscoe’s.
There are a million ways to live and a million ways to die.”

“Let God Sort ’Em Out/Chandeliers” delivers a striking mix of gritty, smooth, and introspective Hip Hop with a powerful thump and bump. The track showcases the artists’ versatility and commanding presence on the mic. Notably, rap icon Nas contributes a guest verse in this two-part song, making his appearance at the climax of the record a significant statement. This collaboration positions Clipse alongside legends, highlighting the album’s intention as a legacy piece.

The album concludes with “By the Grace of God,” which serves as a shining capstone to Clipse’s career or the curtain closing on an astoundingly good comeback album. This song signifies a promising path forward for Malice, Pusha T, and Hip Hop as a whole. Together with the entire album, it delves into themes of faith, redemption, and their personal journeys—touching on their past in the drug trade and the impact of family losses. They express their reliance on divine intervention and acknowledge the blessings they’ve received despite their struggles, suggesting a potential to transcend the drug rap genre that initially brought them fame.

Ferocity is evident in every song, lyric, and beat, but the message has evolved. The growth and maturity are clear as Malice and King Push take control of the lyrics and flow. This album feels like a triumphant homecoming after a hard-won battle. It’s a project where Clipse lays everything on the line—the glory and the guilt, the pride and the pain. They bring a level of sophistication to their integrity, enhancing the impact of this incredibly powerful album.

One Love – Todd M. Judd

Volbeat, Halestorm, and The Ghost Inside joined forces for an unforgettable night of rock and metal at the Toyota Amphitheatre in Wheatland, CA. With Volbeat headlining, the evening promised a high-octane blend of melody, muscle, and metal mastery. Halestorm brought their signature storm of raw energy and theatrical flair, while The Ghost Inside opened the show with an emotional and cathartic performance that set the tone for the night. From crushing riffs to heartfelt moments, this lineup delivered a powerhouse showcase of resilience, passion, and pure rock ‘n’ roll magic. Fans of all three bands were treated to a night they’ll be talking about for years to come.

The Ghost Inside kicked off the show with a vengeance, and Wheatland bore witness to a band that has never sounded more powerful, focused, or grateful. From the first crushing notes of “Avalanche,” the band hit the ground running. Frontman Jonathan Vigil commanded the stage with a sense of purpose, his vocals alternating between unrelenting fury and heartfelt sincerity. Whether it was the defiant “Still Alive” or the crowd-igniting “Engine 45,” each track resonated deeply with fans who screamed every lyric back with conviction.

Zach Johnson and Chris Davis delivered punishing riffs with precision, while Jim Riley’s bass lines added depth and weight to every breakdown. Perhaps most inspiring was Andrew Tkaczyk behind the kit—his drumming was tight and thunderous, a true testament to perseverance after surviving the band’s horrific 2015 bus crash.

The band’s set was a perfectly paced rollercoaster: part throwdown, part therapy session. Midway through the show, Vigil paused to thank the fans for sticking with them during their long road to recovery. It was raw, it was real—and the crowd soaked up every word.

The Toyota Amphitheatre was packed with metalcore die-hards, longtime fans, and a surprisingly large contingent of new listeners clearly moved by the band’s story. The energy was electric—constant moshing in the pit, emotional outbursts during slower moments, and a deep sense of respect between band and audience. Security had their hands full but did a solid job managing the occasional flare-up in the circle pit.

The Ghost Inside didn’t just perform—they inspired. It was a night of resilience and release, proving once again that their story is far from over. Wheatland witnessed more than a concert—it saw a statement.

Carrying on in the sweltering summer evening in Wheatland, CA, the thunder rolled early—not from the sky, but from the stage—as Halestorm delivered a volcanic performance. Halestorm proved once again that they’re moving up in the world of rock and roll.

As the sun dipped behind the horizon and the stage lights flared to life, Lzzy Hale emerged in commanding fashion. Drenched in attitude and leather, she wasted no time, launching into “Fallen Star,” a slow-burning anthem that built into a crushing crescendo. From there, the band tore into a stacked setlist that mixed fan favorites, newer deep cuts, and a couple of curveballs.

The crowd—already buzzing—erupted during “Love Bites (So Do I)” and “I Miss the Misery,” singing every word back like a choir of rebels. Lzzy’s voice soared with surgical power, effortlessly transitioning from gritty growls to pure melodic fire. Her presence was magnetic, holding the entire amphitheater in the palm of her hand.

Let’s take a moment to talk about Arejay Hale—Halestorm’s drummer and wild man-in-chief. His extended solo was part performance art, part drum clinic. He pounded out rhythms like a man possessed, flipping sticks, standing on his kit, and egging on the crowd. If there were any doubters in the audience, they were believers by the time he wrapped.

Just as the band launched into the thunderous “Rain Your Blood on Me,” something surreal happened—a real storm rolled in. Rain came pouring down, lightning flashed in the distance, and the crowd lost its collective mind. Rather than retreat, Halestorm leaned into the chaos. The timing was so cinematic it felt scripted. Instead, it was pure, unscripted rock ‘n’ roll magic.

Each song was tight, yet alive with improvisation—showcasing not just talent, but passion. Guitarist Joe Hottinger traded blistering solos with Lzzy, while bassist Josh Smith kept the engine roaring underneath. Their set was loud, theatrical, and unapologetically raw. Lzzy Hale continues to prove she’s one of rock’s most commanding frontwomen, and the band remains a finely tuned storm of sound and fury.

Whether you came for Halestorm or Volbeat, this was a night no one in Wheatland will forget. Halestorm didn’t open the show—they nearly stole it.

Volbeat’s return to Wheatland brought a storm of metal, melody, and muscle to the Toyota Amphitheatre, and despite some unexpected vocal strain from frontman Michael Poulsen, the band delivered a gritty, high-octane performance that fans won’t soon forget.

From the moment they launched into their cover of “Children of the Grave” (a nod to their Black Sabbath roots), the energy was undeniable. Poulsen, though clearly battling vocal fatigue, powered through like a seasoned warhorse. When his voice faltered, the band didn’t retreat—they adapted. Tracks like “Seal the Deal” and “For Evigt” became mostly instrumental, with the audience picking up the slack, singing and whistling the melodies with communal pride.

Fan favorites like “Lola Montez,” “Sad Man’s Tongue,” and “Still Counting” lit the place up, backed by a rock-solid rhythm section and arena-worthy production. Smoke cannons, dynamic lighting, and the ever-charismatic Flemming C. Lund’s guitar work kept the crowd engaged. The band even played their newer material, slipping in cuts from Servant of the Mind and teasing fans with riffs from their upcoming album.

Though missing a few songs (“Temple of Ekur” and “Devil Rages On” were skipped), the crowd response was nothing short of reverent. Rather than complain, the audience rallied. It felt more like a giant metal family reunion than a concert—fans moshing up front, swaying in the back, and singing their lungs out like backup vocalists. One particularly unforgettable moment occurred during “For Evigt,” when the crowd collectively whistled the Danish chorus. This unexpected but beautiful turn showed just how locked in everyone was with the band’s every move. Volbeat’s ability to pivot mid-show without losing impact speaks volumes. Lesser bands might have folded under the pressure, but Volbeat turned a vocal setback into a communal triumph. Their connection to the fans was honest, raw, and loud.

Even with a few hiccups, Volbeat’s Wheatland show proved why they’re one of metal’s most dependable and dynamic live acts. The Danish rockers played with heart, humor, and heavy hooks—reminding everyone that the show must go on… and sometimes, even better than planned.

The Movement has been making waves in the reggae-rock scene for 22 years and continues their journey with their ninth studio album, Visions. This energetic, lively, and captivating album features impressive collaborations and some of the group's strongest material to date. Josh Swain, Jason Schmidt, Gary Jackson, Matt Goodwin, and Kyle Jerome continue to evolve and challenge themselves creatively, showcasing strong songwriting that truly shines. While many groups reach their peak and stop growing, The Movement is still on a steady rise, both musically and in popularity.

This musical journey begins with “Wake Up,” which poses the philosophical question, “What are we here for?” The track delivers a sweet, relaxed vibe and conveys a beautiful message: “We’re here to learn, to cultivate, to develop, to wake up.” This smoothly transitions into “Putting Up 2,” maintaining the chill music and vibe. The song captures The Movement’s signature style, with Josh pouring his heart and soul into the verses.

Next, Tribal Seeds joins in on “Deep Blue Sea,” featuring a trap-infused groove that showcases a captivating bass and drumline. Steve Jacobo contributes a compelling verse, perfectly blending Tribal Seeds’ groove with The Movement’s style. While having both Steve and Tribal Seeds on this track is fantastic, it is Josh who truly dominates with his lyrical flow.

As soon as the title track, “Visions,” begins, you can instantly tell that Stick Figure is collaborating on this song. The chill vibe of Stick Figure blends seamlessly with the distinct sound of The Movement. It’s a perfect combination, as Josh and Scott Woodruff complement each other both rhythmically and lyrically. The music makes you feel like cruising down the street with the top down.

In “River Guide You,” we get an upbeat groove that conveys a positive message: embrace the flow of life and trust the natural course of events instead of resisting them. The song’s optimistic nature, combined with an Indian-influenced loop, enhances the feeling of surrendering to that flow. Josh switches up the cadence, elevating the song to another level.

“Nice & Slow,” featuring The Elovaters, delivers a breezy, beachy, and reflective tune. This slower, chill song invites listeners to take a step back and appreciate what they have and what life has to offer. Josh sings:

“Do you see the past and future only?
Struggle with the moment and fight to hold the memory
Of the fallacy of the old me.
Because, homie, this scene seems so lonely.
Gotta cool down. Yeah, we want to take it nice and slow.”

Jackson Wetherbee adds a laid-back and smooth verse that effortlessly floats over the sweet reggae groove.

We also get another outstanding collaboration with Nick Hexum of 311 on the track “So Cool.” This song is indeed cool! It features a sweet reggae rhythm with a slight 311 vibe, especially noticeable in the guitar at the end. The chorus, where Nick repeats Josh’s words, hits just perfectly.

The rootsy reggae vibe continues with “Make It Through,” creating a chill atmosphere. This song is perfect for when you’re missing that special someone; it will help you get through those tough times. The lyrics describe the longing beautifully:

“Every time I close my eyes, I see your face.
And every time I hear the wind blow, it speaks your name.
It feels like since you left, the sun never shines.
But I can still feel your loving heartbeat next to mine.
Yes, I know I will make it through.”

Next, we have one of my favorite tracks, “Promised Land.” With its laid-back vibe and uplifting message, this song resonates deeply. Josh delivers wonderful lyrics and finishes it off with a nice rap flow.

Then comes “Selene,” another easy-listening love song featuring beautiful Spanish-style guitar melodies. This track is guaranteed to put a big smile on your face as you groove to the sweet rhythm.

We have the vibey, summertime anthem “Live It Up,” featuring The Green and Caleb Keolanui. This song celebrates life, love, and the joys of summer. It’s another top track that will be on repeat throughout the season and beyond. The Hawaiian groove brought by The Green, along with Caleb’s fantastic verse, makes this song a must-listen.

“This Is Your Life” is a bass-heavy, reflective track that blends hip-hop and dancehall influences. It stands out as a unique song that may not typically fit the album’s overall theme, yet it surprisingly works well, featuring hypnotic strings and a Balkan brass sound.

We conclude this musical journey with Johnny Cosmic joining the group on the reflective and soulful track “Hand Grenade.” The song begins with gentle acoustics and Josh’s sweet vocals, then transitions into an explosive wave of sound and instruments, creating an exhilarating experience. It’s truly a distinctive sound and a lot of fun!

The Movement has released an amazing album that takes listeners on a breathtaking journey and serves a powerful purpose. As they continue to grow, they are quickly establishing themselves as one of the top reggae-rock bands. Their latest album, Visions, is an energetic, dynamic, and mesmerizing experience. The remarkable collaborations featured on the album add diverse sounds and demonstrate their growth as artists.

One Love – Todd M. Judd

The news of Ozzy’s passing hit me like a freight train. It’s hard to put into words the impact he had on my life, even though I wouldn’t have called myself his biggest fan. Ozzy was more than just a musician; he was a force of nature, a cultural icon, and a cornerstone of the music that shaped me. His influence on hard rock and metal is undeniable, and his legacy will echo for generations.

I can still remember sitting in my Uncle Jim’s bedroom as a wide-eyed 12-year-old, spinning Blizzard of Ozz and Diary of a Madman on his turntable. Jim was like my older brother, and he would explain to me in no uncertain terms why hard rock like Ozzy’s was so important, not just as music but as a way of life. Those moments with Jim were the spark that ignited my love of music—a love that has burned brightly ever since.

Fast forward a few years, and there I was, out in an empty field with my friends Tom and Jeff, drinking Bartels & Jaymes and blasting The Ultimate Sin on Jeff’s brother’s oversized boombox. We’d stumble home afterward, singing every word, laughing and smiling like we didn’t have a care in the world. Those were the nights that made us feel alive, and Ozzy’s music was the soundtrack to it all.

My first of a dozen Ozzy concerts was on August 3rd, 1989, at Irvine Meadows in California. I’ll never forget the electricity in the air, the way the crowd roared, and the sheer power of Ozzy’s performance. It was an unbelievable experience that deepened my love for live music and showed me just how transformative a concert could be.

Then there were the memories with my dear friend Randy Allen (Rest in Peace) , who could play "Crazy Train" and those iconic Randy Rhoads solos with such precision it gave me chills. I can still picture him kicking open his bedroom door open, guitar in hand, shredding like a man possessed.  With his brother Brad and Darren in attendance (still to this day my best friends) , our collective jaws dropped in sheer amazement as Randy channeled his inner Prince of Darkness while we just sat and soaked in the magic of those priceless moments. Randy’s talent and passion for Ozzy’s music were a testament to the impact Ozzy had on musicians everywhere, and I am sure Randy is now jamming with Ozzy in heaven.

Of course, not every memory was perfect. I’ll never forget the heartbreak of my first Ozzfest on July 9th, 2006, when I found out Ozzy wouldn’t be performing. I was devastated. But even in his absence, his presence loomed large in bands like System of a Down, Avenged Sevenfold, Disturbed, and Black Label Society. That’s the kind of artist he was—his influence was felt even when he wasn’t on stage.

When I heard the news of his passing, I couldn’t hold back the tears. I put on "Mama, I’m Coming Home"  and let the emotions wash over me. The outpouring of love for the Ozzy was overwhelming but not surprising. He meant so much to so many people around the world. His career spanned over 50 years, and he influenced thousands of bands. He truly was the Godfather of Heavy Metal.

Even my shih-tzu, Izod, carries a piece of Ozzy Osbourne with him—his nickname is Ozzy. That’s how deeply ingrained he is in my life, in my memories, and in my heart.

Ozzy Osbourne may be gone, but his music, his spirit, and his legacy will live on forever. Rest in peace, Prince of Darkness. Thank you for the music, the memories, and the magic. You’ll always be a part of me.

- Matthew Belter