Saturday night at The Wiltern, everything shimmered — the kind of LA night where it feels like the city is humming with you. The crowd was an oddly perfect mix: 30-somethings who probably saw ODESZA in 2015, a couple parents with a kid wearing soundproof headphones, and groups of friends dressed like the afterparty was already waiting. The Wiltern itself felt alive, every beam of light ricocheting off the art deco walls like a pulse.

Shallou opened with this gentle, emotional EDM that felt more like floating than dancing. His set was all texture — fog, soft pink lights, and music that gave you space to breathe. It wasn’t a hype-up; it was a reset. The kind of songs that make you realize you’ve been clenching your jaw all week. His music bridges chill electronica and ambient warmth — something between introspection and escapism. It’s the kind of sound that doesn’t demand attention but earns it quietly, song by song.

Then Big Wild, the musical project of Portland-based multi-instrumentalist Jackson Stell, walked on stage barefoot-looking, peace-sign tee, floral pants, total California calm. From the first note, the air changed. The bass didn’t hit — it moved through people, like a shared pulse. His voice is this high, almost fragile contrast against the weight of the beats, and somehow that tension makes everything feel alive.

The lighting was its own language. The stage glowed in hues of pink, violet, and neon green, perfectly syncing with the rhythm, adding shape to the sound. At one point, Stell and his drummer entered a call-and-response — cajón versus kit — daring each other to go harder. It was raw, almost spiritual, the kind of live moment that reminds you why concerts exist in the first place.

Throughout the set, Stell bounced effortlessly between instruments — cajón, keyboard, and his signature clear rototom setup — each transition seamless and alive with intention. It wasn’t about showing off; it was about flow. You could feel his joy in the way he moved, in how the crowd mirrored it back to him. He was both conductor and conduit, channeling something bigger through rhythm and color.

What’s striking about Big Wild is how much of that joy feels intentional. His latest album, Wild Child, leans into the idea of protecting the inner child — the part of you that still finds magic in sound, color, and connection. On stage, that concept comes alive in real time. He doesn’t perform at people; he plays with them, like the most generous kid on the playground. Every synth swell and drum break feels like it’s built to remind you what wonder feels like.

The show wasn’t just music — it was movement, memory, and mindfulness stitched into one. By the end, people weren’t just dancing; they were glowing. The Wiltern felt smaller somehow, as if everyone inside had synced to the same heartbeat. It wasn’t just a concert. It was a moment of collective joy, loud and luminous, and deeply human.

Thank you for the music!

— Lio

A few days before the release of his latest album, Jesse Royal, also known as The Small Axe, was involved in a serious car accident in which his car flipped, leaving him with a broken arm. Thankfully, he emerged from the crash with no further injuries. Reflecting on the experience, Jesse described feeling “tears of joy” instead of sorrow, as the incident could have ended much worse.

Using this pivotal moment, Jesse Royal has taken time to contemplate the power of love, resilience, and faith in the Almighty. In an emotional Instagram post, he shared his recovery journey and expressed gratitude towards first responders, medical personnel, close friends, and, most importantly, his wife for their support during this traumatic time. According to Jesse, the accident and his healing process significantly influenced his decision to release this new project.

He has been working on the album for the past few years, with singles such as “Blessing,” “Light of Mine,” “Hope” (featuring Romain Virgo), and “Your Soul,” which showcase his current mindset. These singles are included in the album, along with six impactful new tracks featuring guest appearances from Canadian singer Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. Titled No Place Like Home, the album reflects Jesse’s love for his native Jamaica and aims to offer wisdom and inspiration, especially to the youth of his country and beyond.

The fun begins with Jesse delivering a staccato flow over a strong bass and beat in “Trod On,” while Royal contributes amazing lyrics. The song concludes with excerpts from a speech by Ibrahim Traoré, the young military leader of Burkina Faso. “Art of Love” offers a poignant portrait of everyday struggles, capturing the quiet battles people face in their pursuit of dignity and survival. Jesse continues with powerful lyrics flowing along a rootsy Reggae rhythm.

Next is a standout track featuring an emotional tribute to Jo Mersa Marley, titled “Blessing,” which includes Jo Mersa’s younger brother, Yohan Marley. The song conveys deep emotion from both Jesse and Yohan, unfolding as a soulful expression of gratitude—essentially a musical prayer filled with warmth and humility. Yohan’s vocals evoke the essence of Jo Mersa, elevating the overall impact of the song.

Another highlight is the powerful collaboration “Jungle Justice,” featuring two of my favorite Jamaican artists, Jesse and Kabaka Pyramid. This hard-hitting track addresses the harsh realities of violence and institutional neglect, while condemning criminals and warning them of the severe consequences of harming women and children. Kabaka delivers impactful lyrics that perfectly complement Jesse’s style, creating a strong synergy between their performances.

“Poor, but we ain’t broken!” This is the powerful message conveyed by Romain Virgo and Jesse Royal in their song “Hope.” Romain contributes his soulful and beautiful voice, while Jesse adds his poignant lyrics that focus on themes of perseverance and divine guidance, all set against a vibrant Dancehall riddim.

The title track, “No Place Like Home,” evokes a deep sense of connection to Jamaica. This song feels like both a meditation and a celebration—a heartfelt love letter to his homeland. The attractive riddim complements Jesse’s voice, which keeps the listener grounded with genuine sentiment.

“Light of Mine” exudes youthful optimism, innocence, and hope, featuring the voices of children from the Bronx Charter School for Better Learning. While this song stays true to its Reggae roots, it delivers a heartfelt affirmation that celebrates the sheer wonder of being alive and loving life, all set against a strong beat and bassline.

In contrast, “Too Late” introduces a different vibe to the album with an old-school, soulful Doo-Wop feel, featuring Canadian soul singer Melanie Fiona. This track explores the pain of romantic loss in a graceful manner, with both artists trading lyrics and harmonizing beautifully. Although it’s a duet, Royal and Fiona embody two different halves of a broken relationship, both content to accept the end of their love story.

“Your Soul” maintains an R&B feel while incorporating Reggae elements and featuring added horns that complement Jesse’s lyrics. His vocals on this track are fantastic, conveying deep emotion and making it a top club-ready love song that encourages listeners to “leave pride at the door” and get “deep down in your soul.”

The album concludes on a vibrant note with an Afrobeat energy, featuring Perfect Giddimani. “Kinda Like Me” will have you jumping out of your seat and heading straight to the dancefloor. This track is all about embracing self-love and celebrating individuality, while tying together the album's spiritual and cultural themes with rhythmic enjoyment.

Jesse Royal, a contemporary roots Reggae artist, excels at blending various musical styles, including Soul, Doo-Wop, R&B, Hip-Hop, and even a touch of Dancehall, into his latest project. He has taken a significant step forward as an artist, focusing on his beloved island of Jamaica and aiming to bring wisdom and inspiration, particularly to the youth of his country and beyond. His lyrics have matured, reflecting this growth in both meaning and depth. This album is undoubtedly one of the top Reggae releases of the year, and we eagerly await what Jesse Royal will create next.

One Love – Todd M. Judd

Ever since his debut in the mid-70s, there has been one rockstar who has kept his look consistent: bleach blonde spiked hair, leather skinny jeans, a studded leather vest, and an iconic snarl that would make mothers faint and teenage girls weak in the knees. I am, of course, talking about the legendary Billy Idol. His punk style has been the blueprint for generations. There have been many imitators, but they could never come close to touching the presence that Billy Idol brings. To prove it, Billy has set off on a North American tour dubbed the It’s a Nice Day To…Tour Again! Making his penultimate stop at the North Island Credit Union Amphitheatre in Chula Vista, CA, fans packed the place to relive their punk phase with a man who has never given up on the lifestyle.

This tour was to promote Billy’s new album, Dream Into It, so he hit the stage opening with “Still Dancing” off this latest album. The song kicks off with another striking guitar line from longtime guitarist Steve Stevens before Billy Idol comes in with the vocals. Even for a song that came out in 2025, Billy knows how to infuse it with his iconic smooth baritone vocal lines before launching into a big screaming chorus. Even if you hadn’t listened to the new album yet, Billy wrote a catchy song that you could be singing with him by the second chorus.

Billy Idol has always been known for his fit and toned body image, and he wanted to show off that he has continued to take care of himself. For the song “Flesh for Fantasy,” he stripped his shirt off and gave us a classic look, wearing just his leather jacket. You could see the look in the eyes of all the screaming women. He just took them back to their high school days when they were ogling his poster hanging above their beds.

We are all still reeling from the loss of Ozzy Osbourne, and Billy let his other guitarist, Billy Morrison, take a few minutes to talk about Ozzy's passing. Billy mentioned that he and Steve Stevens both had opportunities to work with Ozzy and that Ozzy would often call Billy to let him know that he “really likes that Billy Fucking Idol guy.” This led to the entire venue chanting Ozzy’s name in hopes of him hearing us all the way in the afterlife.

Though Billy Idol is mostly known for his solo career, he did give us a taste of his original punk band’s music from when he first hit the music scene with Generation X. We got two songs: “Ready Steady Go” and “Dancing With Myself.” The rest of the set was filled with banger after banger like “Cradle of Love,” “77,” “Eyes Without a Face,” “Mony Mony,” “Love Don’t Live Here Anymore,” “Too Much Fun,” “Blue Highway,” “Rebel Yell,” “Hot in the City,” “People I Love,” and ending with the ultimate fan favorite, “White Wedding.”

After the final notes rang out, instead of walking off stage, Billy Idol wanted to take a few moments to praise and honor his band and crew. As a credits-style thank-you played on the LED screen for his crew, Billy took the time to say something nice and eloquent about each band member before they took their bow, ultimately turning his thanks to the crowd. You could hear his voice crack as he was truly honored to be performing for this long thanks to all of us in the audience and giving him the chance to be the person he is. This moment didn’t feel rushed, like we just had to get it over with; Billy wanted to take the time to make sure his crew and his fans felt truly appreciated.

After a high-energy show where Billy Idol showed he still has what it takes to inhabit the ideology of: women want him, and men want to be him, the final speech to honor the crowd left us leaving on such a high. For nearly 50 years, Billy has been a performer, and he still has it. He’s not just someone going through the motions to play songs people want to hear, but he is still giving us his all every night because he knows how much we cherish his music, and he doesn’t want to do a disservice to us. The tour ends with the next stop at the world-famous Kia Forum in Los Angeles, CA. But the next time Billy Idol hits the road, just buy a ticket because you won’t regret seeing this man live.

One of the most legendary outdoor venues in Southern California has to be the Greek Theatre, nestled in the literal hills of Los Angeles. This historic venue has hosted countless iconic artists over its nearly 100-year run of summer concerts. The latest legendary acts to grace its stage were the co-headlining tour featuring Coheed and Cambria and Taking Back Sunday. This double-header had fans hiking up the notorious hills of Los Angeles, eager to rock out with two of their favorite bands.

Opening the night was indie rock band Foxing from St. Louis, Missouri. Their opening song, “Secret History,” began with a somber tempo and vibe, making it feel like we were in for a mellow groove. However, Foxing quickly switched things up, catching the crowd completely off guard as the song transformed into a hardcore-punk anthem. Vocalist Conor Murphy was at the foot of the stage, screaming into the faces of the front row, while guitarist and co-vocalist Eric Hudson added a second layer of passionate screams, sharpening Murphy’s edge. Bassist Brett Torrence and drummer Jon Hellwig carried the groove of each song, anchoring the heaviness when needed. Foxing seamlessly floated between softer, rhythmic tunes and frantic, crashing energy with songs like “Spit,” “Hell 99,” “Grand Paradise,” “Nearer My God,” and ending with “Rory.” Foxing delivered an unexpected jolt of energy that set the perfect tone for the night.

Next up was the first co-headliner, Taking Back Sunday, who took the stage dressed to the nines in custom-fitted blue suits. The entire band exuded a debonair and sophisticated vibe, but their set was anything but reserved. It was filled with emo music classics that had the crowd singing along at the top of their lungs. Lead vocalist Adam Lazzara was a smooth criminal, gliding and dancing across the stage, frequently swinging the mic like a lasso and getting tangled in the mic cable. Rejoining the band for this tour was longtime co-vocalist and lead guitarist Fred Mascherino, who hadn’t been part of the group since 2007. Fred’s joy was palpable as he danced and jumped around the stage, clearly thrilled to be back. Bassist Shaun Cooper was the most reserved on stage but made his presence known when it counted, stepping front and center to play to the fans during key moments.

Taking Back Sunday crafted a setlist that spanned their entire discography, from 2000s emo hits we’ve been playing for decades to songs from their latest album, 152, released in 2023. The crowd devoured every song, including “A Decade Under the Influence,” “What’s It Feel Like to Be a Ghost,” “S’Old,” “Error: Operator,” “Set Phasers to Stun,” “The One,” “Liar,” “Amphetamine Smiles,” “You’re So Last Summer,” “My Blue Heaven,” “You Can’t Look Back,” “Miami,” “This Photograph Is Proof,” “Flicker, Fade,” “Cute Without the E,” and ending with the seminal “MakeDamnSure.” This was my first time seeing Taking Back Sunday, and they delivered the fun, nostalgic experience I had been hoping for.

As the sun fully set and a cool breeze swept through the hills, the anticipation for the second co-headliner, Coheed and Cambria, was palpable. They kicked off their set with “Goodbye, Sunshine,” a high-energy track with a driving beat that immediately got the crowd rocking. Vocalist and guitarist Claudio Sanchez has a voice that cuts through the speakers with power, igniting the energy of the screaming fans. Despite being anchored to the mic for much of the set, Claudio found plenty of moments to jump around the stage like a bunny in a field, even stepping to the edge of the stage to shred the iconic guitar solos that Coheed and Cambria are known for.

Sharing guitar duties was Travis Stever, who played with a more reserved stage presence, allowing Claudio to be the manic focal point. However, Stever’s guitar work was just as eloquent, crafting blistering dueling solos and catchy riffs that have hooked fans for decades. Bassist Zach Cooper held down the low end, adding gravitas to the band’s sound with his groove. Drummer Josh Eppard, despite playing on a relatively simple kit, showcased incredible technique, creating intricate textures and rhythms. His effort was evident as he seemed to constantly catch his breath between songs, all while maintaining a cool and controlled demeanor.

Coheed and Cambria maintained their relentless musical assault throughout their set, featuring songs like “Shoulders,” “Blood Red Summer,” “Blind Side Sonny,” “Everything Evil,” “Number City,” “The Suffering,” “Searching for Tomorrow,” “The Continuum II: The Flood,” “A Favor House Atlantic,” “The Liars Club,” and “In Keeping Secrets of Silent Earth: 3.” They returned for a four-song encore, starting with an acoustic rendition of “Corner My Confidence” before electrifying the crowd again with “The Continuum III: Tethered Together,” “Mr. Brightside,” and ending with the iconic “Welcome Home.”

Foxing brought their heavy indie-hardcore sound to kick off the night, Taking Back Sunday delivered a set of emo favorites that had us all singing along, and Coheed and Cambria transported us into the fantasy world they’ve been crafting for three decades. No matter which band was on stage, the fans were fully along for the ride, as each act brought their unique musical signature to the masses.

There’s a saying in the music industry: “Once your work has been parodied by Weird Al, that’s when you know you’ve made it.” It must be such an honor to be renowned enough that people desire to have their work parodied by him. “Weird Al” Yankovic has cultivated that exact reputation—not only as one of the nicest people in the music industry but also as a beloved icon to millions around the world. His parodies have helped musicians reach new heights and audiences, while fans continue to laugh with him on every track. After nearly five decades of creating some of the most cherished reworks of art, Al hit the road again on his Bigger & Weirder Tour. His hometown show at the Kia Forum in Los Angeles was a sold-out celebration of a career like no other.

Weird Al has had an iconic look since his debut in the 1970s—his curly permed hair, later evolving into long, flowing curls, and his vibrant Hawaiian shirts. Walking into the venue, it was clear that fans had embraced his signature style. The audience was peppered with curly-haired wigs and a sea of Hawaiian shirts, all ready to celebrate a man who has been a musical hero to so many since childhood.

Opening the night was Puddles Pity Party, a singing clown with a melancholic twist. I first discovered Puddles years ago through his appearances with Postmodern Jukebox, and seeing him now opening at the legendary Forum was surreal. Known for reworking songs into lounge-style covers, Puddles’ baritone voice and unique stage presence have carved out a special niche in the music world.

During his cover of “Come Cry With Me,” Puddles pulled out his “Cry Cam,” live-streaming the audience onto the screen at the back of the stage. He snuck up on a security guard, who burst out laughing when he noticed Puddles inches away. Then, he turned the camera on the audience, drawing everyone into his performance.

A standout moment came during his soulful rendition of “Crazy Train,” where Puddles invited a young fan on stage. Armed with a cardboard guitar, the kid channeled the spirit of Randy Rhoads, strumming along as Puddles delivered a heartfelt performance. The crowd quickly caught on to the rhythm and sang along by the second verse.

Puddles kept the audience captivated with renditions of “I’m Always Chasing Rainbows,” “Americana Day,” “Estoy Sentado Aquí,” “Come On Up to the House,” “In the End,” “Stairway to Gilligan’s Island,” and “My Heart Will Go On.” His angelic voice contrasted beautifully with his clownish, depressive persona, creating a performance that was both humorous and moving. By the end, the Forum erupted in a thunderous standing ovation—Puddles had won over every single person in the room.

As the band stepped onto the stage, the man of the hour was nowhere to be seen—yet. Instead, the LCD screen lit up, showing Weird Al in his dressing room as the band launched into “Tacky.” Al began singing while walking through the backstage area, passing Forum workers, Puddles Pity Party, and even Jack Black. When he finally emerged on stage, the crowd erupted in cheers. The tone for the night’s kookiness was officially set.

Weird Al is known for his ability to perfectly imitate the artists he parodies, and he brought those moments to life with a series of costume changes. He dressed as Kurt Cobain for “Smells Like Nirvana,” donned a yellow radioactive jumpsuit for the Devo pastiche “Dare to Be Stupid,” and got into the iconic fat suit for the Michael Jackson parody “Fat.” He even rode a Segway in full P-I-M-P mode for the blazing-fast rap “White & Nerdy” and took us back to a rural time with long beards and candles for “Amish Paradise.”

Between costume changes, the audience was treated to video compilations of Al’s TV appearances, movie clips, and other comedic segments. These vignettes, many filmed in the 1980s, 1990s, and early 2000s, felt timeless—proof of Al’s lasting influence on modern comedy culture.

Weird Al isn’t just a one-man show. He’s backed by an immensely talented band that has been with him for four decades: Jon “Bermuda” Schwartz on drums, Jim “Kimo” West on guitar, Steve Jay on bass, and Rubén Valtierra on piano. These musicians are the backbone of Al’s ability to cover any style or genre, and they fully embraced the show’s theatricality with their own costume changes.

For the encore, Al performed “The Saga Begins” and “Yoda,” with the stage transformed into a Star Wars spectacle. Al dressed as Obi-Wan Kenobi, the band donned Star Wars character costumes, and an army of Stormtroopers flanked Darth Vader at center stage. These songs, steeped in nostalgia, felt like a perfect way to end the night.

This hometown show at the Kia Forum was more than a concert—it was a celebration of a man who turned an accordion, other people’s songs, and an endearing personality into a cherished career. Weird Al has become a cultural icon, beloved by fans and respected by the very artists he parodies. He may not be the “best” accordion player in the world, but he’s undoubtedly the most famous in his extremely specific genre.

Weird Al, you nailed it.

These girls work hard and kick ass, playing over 300 shows all over the world every year and selling beaucoup merchandise wherever they go. I'm here to testify to the legitimacy of the band and encourage everyone to listen and discover THE DARTS, 6 albums available, including the just-released Best Of album Nightmare Queens. - John "Hot Tub" Anderson

Hunnypot is proud to be THE DARTS' official sync representative, master & pub. Ask us about LICENSING!

FULL CATALOG (DISCO)

THE DARTS (US), now based in Seattle, Washington, formed in 2016 to make great all-girl garage-rock noise, see the world, and have a fab slumber party every night. The four women threw on vintage black slips, kicked off their shoes, and set out on the adventure. In the first year, the band released two self-produced EPs and signed with Dirty Water Records (UK), which then re-released their first full-length vinyl, Me.Ow.  (2017). Dirty Water then re-released the first two EPs as a second full-length vinyl, The Darts (2017). The band immediately went on tour with The Living End and Billie Joe Armstrong’s The Longshot, and soon found themselves on big European stages like Sjockfest, Cosmic Trip, and Roots n Roses.

In 2018, Jello Biafra signed The Darts to his label, Alternative Tentacles, released their first 7-inch, "Bullet" (2018) and then put out the third full-length record, I Like You But Not Like That (2018). The band supported their heroes The Damned on a US tour, performed on main stages at big festivals like Punk Rock Bowling, Hipnosis Fest and The Bash, and got placements on top TV shows like Peaky Blinders and reviews in top publications like Rolling Stone. During the pandemic, Vox hosted an Instagram Live session with over fifty thousand viewers. In 2022, The Darts released the EP Love Tsunami on Adrenalin Fix Music (France), toured it around the US and Europe, and performed on KEXP.

In 2023, Alternative Tentacles Records released The Darts’ fourth LP, Snake Oil, funded entirely by fans and co-produced by Jello Biafra himself. The band went on a 100-day European tour, with unique European editions of Snake Oil and sold-out shows in Madrid, London, France, and Scotland, plus appearances at top festivals Munster Raving Looney Party (Spain), Relache Fest (France), Festival Beat (Italy), Loungefest (Holland), and Muehlen Madness (Germany). The first pressing of Snake Oil sold out in both the US and Europe in less than two months, and second pressings were rushed out on both continents during the tour.

While juggling the Snake Oil tours, the band recorded their fifth full-length record, Boomerang, with Grammy-winning producer Mark Rains (Hoover iii, Death Valley Girls) at Station House Studio in Los Angeles. Once again, the album was released by Alternative Tentacles on different US and EU editions in March 2024 – and again followed by over four months of touring in Europe, UK, and USA. The album catapulted the band into feature articles in Rock n Folk, Rolling Stone, and many other major publications, plus appearances on France 24 television, BBC Radio, a live show at Barlinnie Prison in Edinburgh, and inclusion on numerous best-of 2024 lists. During the massive tour, the band recorded two new singles in Lyon, France.

In 2025, The Darts released the new singles on a compilation of sold-out essential tracks, Nightmare Queens (2025) Adrenalin Fix Music. The band completed significant US tours with Dion Lunadon and SERVICE and performed at many more huge international festivals (Binic Blues Fest in France, BearStone Fest in Croatia, Relache Fest in France, Celebration Days Fest in France, Boneyard Fest in UK, LunaFest in Portugal, CornRock fest in Switzerland, Dollfest in USA, Tough Enough Fest in Belgium, and more).

PRESS

"Nicole Laurenne is a playful minx, luring fans into her grasp. Dancing and bouncing across the stage, she captivates anyone who happens to lay their eyes on her. - Hunnypot Unlimited

"Gets even the most apathetic nerds moshing. Crank it!" - Rolling Stone (FR)

“Intoxicating..a completely wild ride from start to finish..best of 2024.” - Vive Le Rock (UK)

“Such f**king energy..damn, this blast of rock'n'roll is so good” - La Grosse Radio (FR)

"They have clearly conquered Europe..incandescent..these four girls kick ass." - Rock n Folk (FR)

“Songs like ghost trains on mushrooms and the manifestos of bad girls. The albums get better each time.” - Rolling Stone (FR)

"One of my new favorite bands." - Dave Vanian, The Damned

“The Darts put on an incredible live show.” - BBC Radio (Scotland)

"The Darts smolder and shine like a serpent at the end of a rainbow." - Blag Dahlia, The Dwarves

"The Darts 'Take What I Need.' Very cool." - Stephen King, author

"Fabulous...I'm hooked." - Ken Foote, CBS (Dallas)

"The Coolest Song In The World" - The Underground Garage (SiriusXM Radio)

"Cramps' spooky punk and Stooges/ raw chaos, by a quartet of garage goddesses." - RockNYC

"A majestic album of aggressive, wild garage rock. Explosive." - Rockerilla (Italy)

"The talent in this band is off the charts." - 50thirdand3rd (FL)

"Like getting hit by a freight train full of inflatable dolls." - Rumore  (Italy)

"One of the most exciting bands on or off the stage" - Turn Up The Volume (Belgium)

"One of the greatest revelations of dirty American rocknroll" - Musica Inclasificable (Mexico City)

"The Darts f*ing rock" - Phoenix New Times

"Best new band I have seen." - John Carlucci, The Underground Garage

"A knock-out punch." - Rich's Rants n Raves (Las Vegas)

"The best girl band in the universe." - Blog Da Buzzo (Brazil)

"Exciting, sweltering..consumes all of your garage rock desires." - Java Magazine

"Move over Vincent Vega, I'm going with The Darts. Bloody Ace." - Mass Movement (UK)

"Oh yeah, Nicole Laurenne does it again!" - Genya Ravan, Chicks and Broads"

Damien Beckett, better known as Baby Cham or simply Cham, hails from Saint Andrew Parish, Jamaica. With a career spanning 30 years, Cham has solidified his place as one of Dancehall’s most celebrated artists. His fourth studio album, Sherlock, is a testament to his enduring creativity and ability to evolve. Over the years, Cham has collaborated with numerous Hip-Hop and R&B artists, including Alicia Keys, Carl Thomas, Foxy Brown, Mis-Teeq, Shawn Mims, Akon, Che’Nelle, Jentina, Keke Palmer, T-Pain, and Rihanna, as well as countless Reggae and Dancehall legends.

The album cover features Cham’s silhouette against an aerial view of his hometown community, Duhaney Park, located in Sherlock Crescent, a Kingston neighborhood that significantly shaped his music and identity. In a recent interview, Cham explained, “The cover is inspired by the community I grew up in for most of my life—Duhaney Park, Kingston 20. Some call it ‘the ghetto,’ some call it ‘inner city,’ but I call it ‘home.’ I wanted people to see the streets that made Baby Cham, the avenues I walked as a child. I want the youth to know I walked the same roads as them, but I didn’t succumb to them. They can make it too.”

Sherlock opens with a commanding intro that sets the tone for the album, showcasing Cham’s signature style and offering insight into his background and the challenges he has overcome. The hard-hitting anthem “Hustling in My Blood” kicks off the journey, featuring Stephen “Ragga” Marley on the hook and Damian “Jr. Gong” Marley delivering an impressive verse. Cham’s vivid lyrics capture themes of street survival and resilience, making this track a standout. It has already amassed over 250,000 views on YouTube within its first two weeks, proving Cham’s ability to stay fresh and relevant.

In “Maddest Life,” Cham explores his fearless lifestyle, delivering a powerful flow over a strong beat and rhythm. His bold persona aligns perfectly with the production, creating a track that exudes confidence. No Dancehall album is complete without a romantic or sensual track, and “Miss Seductress” delivers just that. Cham’s sizzling lyrics and the sultry rhythm make this song an irresistible addition to the album.

Another standout is “Lamborghini Boy,” where Cham emphasizes his global superstar status over a marching band-style drumbeat with strings floating in the background. The impressive production and captivating storytelling quickly earned the song spots on key Apple Music playlists.

The club-ready, high-energy track “What’s Poppin” is designed to get crowds moving. Its infectious call-and-response section, featuring “Ho! Hey!,” makes it a guaranteed hit in clubs across Jamaica and beyond.

In “Hall of Fame,” Cham slows things down, paying tribute to a special muse with a smooth groove and a beautiful hook. The track’s heartfelt tone adds depth to the album, showcasing Cham’s versatility.

The album concludes with “Starlight,” a melodically haunting and reflective track that evokes feelings of gentle sadness, longing, and nostalgia. This final song leaves listeners with a lasting impression, closing out the album on a poignant note.

At just eight tracks and 21 minutes long, Sherlock is a concise yet impactful project. Cham brings an intensity rooted in Dancehall, delivering sharp, fearless, and brazenly real lyrics while displaying a willingness to evolve. For Cham, the focus has always been on the lyrics and their message. “Songwriting,” he stated, “remains a central pillar of my artistry. I’ve got a degree in Literature and two in English,” he joked. “Writing has always been important to me. You’re not always going to write your best song today, but if you keep writing, you might create something great tomorrow. Dave Kelly probably has 1,000 songs with me that never got released—but that’s quality control.”

Cham’s latest work, Sherlock, marks a new chapter in his career and life, emphasizing his status as one of Jamaica’s most celebrated Dancehall artists. With its blend of resilience, storytelling, and musical craftsmanship, Sherlock is a must-listen for fans of the genre and beyond.

One Love – Todd M. Judd

Smooth sailing and rocking nostalgia took center stage tonight as Toto, Christopher Cross, and Men at Work shared the stage for a spectacular evening of new wave humor, progressive pop brilliance, and yacht rock greatness. This lineup felt like a time machine, transporting fans to an era when FM radio was king, yacht rock ruled the airwaves, and arena rock anthems reigned supreme. Fans packed the Toyota Amphitheatre for a night of sing-alongs, soaring musicianship, and a celebration of why these artists are the undisputed kings of smooth rock from the '70s and '80s.

Men at Work kicked off the evening with Colin Hay leading the charge. The band brought a storm of familiar songs from the past, with Hay guiding his group through an upbeat set featuring hits like “Overkill,” the super hit “Who Can It Be Now?,” and the universally beloved “Down Under.” These classics reminded fans just how deep the Men at Work catalog runs.

Hay shared the stage with a group of spectacular musicians, and their camaraderie and sheer talent were palpable. The crowd joined in with enthusiastic sing-alongs, setting the tone for an evening of nostalgia. Though Hay is the only original member of the band, it didn’t matter—his timeless vocals and dynamic stage presence captivated the audience. His wife, Cecilia Noël, added an extra layer of energy with her impressive dance moves, infectious enthusiasm, and playful use of maracas and a cowbell. Men at Work delivered a performance that was both nostalgic and electrifying, proving why they remain a standout band and a cherished part of the '80s soundtrack.

Christopher Cross took the middle spot, seamlessly delivering the calm seas of yacht rock. Backed by a full band and backup singers, Cross transported fans into a sweet sailing experience through soft rock classics. Opening with timeless hits like “Sailing” and “Arthur’s Theme (The Best That You Can Do),” Cross impressed the crowd with his understated yet masterful musical craftsmanship.

The setlist continued with fan favorites, as Cross’s velvety vocals and smooth melodies created a dreamlike trance. The energy turned up a notch when he performed “Ride Like the Wind,” a track that had the crowd swaying and singing along. With no need for flashy production, Cross and his band delivered a seamless performance that celebrated the timelessness of his music. The audience was left in awe of his ability to evoke nostalgia while showcasing his enduring talent.

The night reached its peak with powerhouse headliners Toto, led by the legendary Steve Lukather. From the moment they took the stage, the band delivered a masterclass in musicianship and technical brilliance. Joseph Williams, one of the best vocalists in rock and roll, flanked Lukather for an unforgettable performance.

The setlist was perfectly curated, featuring extended versions of hits like “Rosanna,” which included a jaw-dropping guitar solo from Lukather. Other highlights included “Pamela,” “99,” and the emotional “I Won’t Hold You Back.” The band got funky with “Georgy Porgy” and impressed with the deep cut “White Sister,” showcasing their dynamic range and ability to captivate the audience.

The night ended with a triumphant performance of “Africa,” where members of Men at Work and Christopher Cross joined Toto on stage. The arena buzzed with nostalgia as fans sang along to the iconic anthem, celebrating the hits that defined a generation.

This show was more than a concert—it was a celebration of an era and a reminder of why these bands remain legends. The charisma, musicianship, and timeless hits brought the '80s back to life, leaving fans both old and new in awe. If you have the chance to catch this lineup, don’t miss it. This is a must-see show that will leave you reminiscing about the golden age of smooth rock and arena a

What is the most random way you’ve ever discovered an artist? For me, it was reading a review of Cal Jam 2018, an event I didn’t even attend. Among the major artists that performed that year, one up-and-coming artist stood out to me. The photos showed a young man with red, manic-styled hair, bright-colored shorts, and a crop top shirt, running around the stage and flailing like a madman. These images captivated me, and I had to know more. That curiosity led me down the rabbit hole of discovering Yungblud, and his music turned me into an instant fan. Ever since that day, I’ve been anxiously awaiting the chance to see him live. That opportunity finally came when Yungblud hit the road on his Idols World Tour, with the second stop bringing him to the Observatory North Park in San Diego.

Opening the show was Sawyer Hill, an artist hailing from Fayetteville, AR. I hadn’t heard of him before, but within moments, I was blown away by his sound. Hill’s warm baritone voice crept into my ears, commanding my body to start bopping and moving with the music. While Hill describes his music as alternative rock with a progressive twist, to me, it carried a 1950s crooner aesthetic, as if he were whispering soft nothings to each of us.

Hill’s energy was infectious, and his ability to connect with the crowd was undeniable. Playing guitar while delivering his smooth vocals, he exuded a bit of early Elvis mojo, enticing the screaming women in the audience to go wild. His setlist included songs like “Firestarters,” “For the Hell of It,” “Need Me Now,” “Aiming at My Head,” “Folsom Prison Blues,” “Masochistic Lover,” “Nothing Matters When I’m With You,” “Look at the Time,” and “High on My Lows.” Sawyer Hill was the perfect foreplay to warm everyone up for the electrifying experience we were about to have.

As we eagerly awaited the headliner, the front row of the venue was overtaken by screaming fans. When Yungblud finally took the stage, opening with “Hello Heaven, Hello,” the energy in the room exploded. The surge of excitement was reminiscent of Beatlemania, with fans screaming so loudly that it overpowered the music coming from the speakers.

Yungblud started the set wearing lowrider pants, a vest, and sunglasses, but within moments, the vest and glasses were gone, leaving him shirtless and exuding raw sexual magnetism. Even with earplugs, the deafening screams of joy, excitement, and hysteria rattled your eardrums. Fans were crying, overwhelmed by the chance to see him live.

Yungblud wasn’t just a performer; he was a magnetic, sexual fiend, gyrating and thrusting on stage. Channeling the energy of Iggy Pop and iconic English performers like Robert Plant and Mick Jagger, he teased the crowd, knowing they wanted him but couldn’t have him. During “Fleabag,” he gave himself over to the audience, walking over the crowd as fans held him up, basking in their cheers. He had us wrapped around his finger, and we were ready to follow him wherever he wanted to take us.

A poignant moment came when Yungblud paused to talk about the passing of Ozzy Osbourne. Over the past few years, the two had cultivated a strong friendship, and Yungblud had even performed at Ozzy’s farewell show. Acknowledging that many fans may have discovered him through that performance, Yungblud expressed his eternal gratitude to Ozzy.

It was clear how deeply the loss affected him, as he struggled to hold back tears while giving his speech. To honor Ozzy, Yungblud performed a heartfelt cover of Black Sabbath’s “Changes.” The entire crowd joined in, singing with him as tears streamed down his face. Looking around, many fans were crying too. It was a beautiful, unifying moment, allowing everyone to grieve together while celebrating Ozzy’s legacy.

After the emotional tribute, Yungblud kicked the show back into high gear, returning to his enigmatic, sexual stage presence. The palpable tension between him and his fans fueled the energy in the room. The setlist kept the crowd on their toes, featuring songs like “The Funeral,” “Idols Pt. 1,” “Lovesick Lullaby,” “Strawberry Lipstick,” “Lowlife,” “Fire,” “Tin Pan Boy,” “Braindead!,” and “Loner.”

For the encore, Yungblud returned with two final songs: “Ghosts” and “Zombie.” The crowd erupted, giving every ounce of energy they had left.

When the music finally ended and the lights came on, the entire venue was drenched in sweat, as if we had just experienced the wildest one-night stand of our lives. Where Sawyer Hill was the clean-cut nice guy we arrived at the bar with, Yungblud was the charismatic, dark, and sexual being we went home with.

This was the type of musical high that every concertgoer chases—a one-night stand with an artist that will never be forgotten. You’ll go to other concerts, and you’ll have a great time. But you’ll always reminisce about your night with Yungblud and wish to experience it just one more time.

Dancehall artist Jahmiel has released his latest six-track EP, Sound of Greatness. This courageous and melodious collection reflects themes of resilience, love, and personal growth, showcasing his unique creativity and versatility. The EP features a mix of motivational tracks alongside heartfelt love songs that honor women, creating a well-rounded offering for both longtime fans and newcomers. Jahmiel’s music effortlessly blends dancehall with elements of hip-hop, R&B, and authentic island rhythms, making Sound of Greatness a standout project in his discography.

The production, led by Minto Play Da Riddim, combines sharp beats and riddims that enhance the depth and sonic appeal of the songs. Drawing from his life experiences—emphasizing fortitude, validation, and self-assertion—Jahmiel’s lyrical storytelling remains personal and relatable. Minto’s smooth and polished production style provides the perfect backdrop for Jahmiel’s vocals, allowing the themes of the EP to shine through.

The EP opens with “Can’t Fail,” an inspirational tune set to a sweet riddim. Jahmiel delivers incredible lyrics right from the start, encouraging listeners to persevere and believe in themselves. The song’s message is impossible to ignore, leaving listeners feeling uplifted and motivated.

In his previously released track, “Self Worth,” Jahmiel addresses overcoming challenges, recognizing who is genuine and who is not, and promoting love over conflict. The lyrics remind us that time continues to pass, whether we come first or last, so it’s essential to love ourselves. Once again, Minto’s production brings a smooth and relaxing vibe, perfectly complementing Jahmiel’s reflective lyrics.

The love song “Girl It’s You” features a collaboration with Projexx, where Jahmiel showcases his lyrical flow over a captivating beat. Projexx complements Jahmiel perfectly, smoothly flowing over the riddim and adding depth to the track. The chemistry between the two artists is undeniable, making this song a standout on the EP.

“Leave Me Alone” takes a slightly different approach, featuring a stronger riddim and beat. The guitar guides Jahmiel as he delivers emotionally intense and imaginative vocals, creating a track that is both powerful and deeply personal.

One of the most heartfelt tracks on the EP is “2025,” a plea for a better year. Jahmiel’s lyrics are raw and honest, reflecting on past struggles while holding onto hope for the future:

“Dear 2025, We passed Di Past. Been Through a lot, and I’m alive. A worse, but me out here. A survive, and is a true fight. All me see, when me look pon me lyff. Dear 2025, Yo Patriots. A nuff me go through, ina me past years. Me hope this year better than last year.”

The vulnerability in Jahmiel’s delivery makes this track a deeply moving highlight of the EP.

The project concludes with “Jeezam Peez,” a track featuring a smooth, engaging rhythm that allows Jahmiel to flow effortlessly with the beat. The phrase “Poverty Is A Disease, Success Is The Cure” encapsulates the song’s message, leaving listeners with a sense of hope and determination.

Jahmiel’s talent for combining inspiration, creativity, and educational entertainment has firmly established him as a key figure in the revitalization of modern dancehall. His ability to seamlessly blend meaningful content with captivating sound sets him apart from his peers. In Sound of Greatness, Jahmiel continues to redefine what it means to be a dancehall artist, showcasing a productivity that is both symbolic and expressive.

The themes of resilience, love, and personal growth explored in this EP reinforce Jahmiel’s position as a trailblazer in the genre. His music not only entertains but also inspires, making Sound of Greatness a must-listen for fans of dancehall and beyond.

Jahmiel’s Sound of Greatness is a courageous and melodic exploration of life’s challenges and triumphs. With its blend of motivational anthems and heartfelt love songs, the EP offers something for everyone. Whether you’re a longtime fan or new to Jahmiel’s music, this project is sure to leave a lasting impression.

If you haven’t already, take the time to listen to Sound of Greatness. Jahmiel’s ability to inspire and connect through his music is unmatched, and this EP is a testament to his growth as an artist. Don’t miss out on this incredible collection of songs—stream it today and experience the greatness for yourself.

One Love – Todd M. Judd