Doll Machine made her Hunnypot Live debut 8/8/22. The same day she shot her Day In The Life Of video…
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Mystical Joyride is the genre-fluid Psychedelic World Pop band flying their spaceship between the spiritual and the ratchet; formed in 2015 by married couple Leah and Joel Van Dijk, the band sought to explore Leah’s existential questions with the Wizardry of Joel’s production skills. Leah, born of the musical legacy of The Commodores, and Joel (guitarist for Aloe Blacc and producer for many) put their sounds together to form this new identity.
After their first EP, they added the sensational Bengali singer Arzeen to the band after having him feature on a few of their records and loving the results. Their live set combines electronic music with live instrumentation, sometimes as a duo and sometimes as an ensemble of Joyriders. Mystical Joyride is an experience of contemplation, meditation, and straight-up shaking that ass.
The band has been featured within the Ecstatic Dance community and played at such Festivals as Lightning in Bottle, Soulplay, and Love Long Beach, as well as featured vocalists like superstar Aloe Blacc and Ghanaian reggae/afro beats artist Rocky Dawuni. They just released their new afro-house-tinged album "House Magic" featuring more amazing global artists like QVLN, Evan Hatfield, and Gingee. They provide an unforgettable live experience with positive messaging and dancy vibes.
Legendary Rock Icons Graham Bonnet and Marco Mendoza Set to Rock the Stage on January 11
On Saturday, January 11, prepare to be transported to the electrifying heights of rock music history as two legends, Graham Bonnet and Marco Mendoza, take the stage for an unforgettable night of pure musical energy. Doors at The Mint open at 7 PM, and this is one event you don’t want to miss.
Starting the evening is Marco Mendoza, the globally celebrated bassist and vocalist whose career has solidified him as one of the most prolific figures in rock. With an impressive résumé that includes working with iconic bands such as Thin Lizzy, Whitesnake, Ted Nugent, and Journey, Mendoza brings his signature blend of rock, blues, and Latin influences to the forefront. His powerhouse performances combine jaw-dropping basslines, soulful vocals, and unmatched charisma. From original hits to crowd-favorite classics, Mendoza’s set at 9:15 PM promises a wild ride that will leave you craving more.
And then, it’s time for the main event. Taking the stage at 10:50 PM, Graham Bonnet and his band deliver a masterclass in hard rock and classic heavy metal. Known for his soaring, powerful vocals, Bonnet has fronted some of the most influential bands in rock history, including Rainbow, Alcatrazz, and the Michael Schenker Group. With hits like Rainbow’s “Since You’ve Been Gone” and Alcatrazz’s “Island in the Sun,” Bonnet has captivated fans for decades. His live performances, blending timeless classics with fresh material, are a testament to his enduring legacy and unmatched talent.
With ticket options ranging from General Admission at just $25 to intimate VIP experiences like a Booth for up to six for $60, there’s something for every music lover. Whether you’re ready to rock in the crowd or enjoy the show from a table with your crew, this event caters to all.
This one-night-only lineup brings together two icons at the top of their game. Graham Bonnet’s trailblazing contributions to heavy metal and hard rock, paired with Marco Mendoza’s genre-blending mastery, ensure a dynamic night packed with passion, energy, and pure musical genius.
Get your tickets HERE before they’re gone. Music history is being made at The Mint on Saturday, January 11, starting at 7 PM—don’t miss your chance to witness it live!
The Disco Biscuits brought a dynamic close to their fall tour with a trifecta shows on November 22nd and 23rd and 24th, and I was lucky enough to be there to photograph two of them. The first night at the Capitol Theatre in Rome, New York, set the tone with its grand, almost cinematic vibe. The following night at Buffalo’s Town Ballroom brought a raw, intimate energy that only a packed hometown crowd could deliver. These were two of three final shows of the tour that I had the chance to photograph, and there’s something special about that end-of-tour energy—it’s like the band and the fans know these moments won’t come again for a while, so they give everything they’ve got.
The November 22nd show at the Capitol Theatre was magic. The venue itself is stunning, with its ornate details and historic charm, and it felt like the perfect setting for the band’s sprawling jams. They opened with “Magellan,” and from there, it was a masterclass in improvisation. One of the standout moments came in the second set with a seamless transition from “Shem Rah boo” into “Also Sparch Zarathusta.” The band was completely locked in, pushing the music in directions that felt spontaneous and alive. The Capitol’s lighting rig didn’t disappoint either—waves of color and intricate patterns made the music feel even more vivid. Photographing this show felt like a gift; every angle captured a piece of the night’s energy, from the ecstatic crowd to the band in full creative flow.
The next night, November 23rd, brought the tour to Buffalo’s Town Ballroom, my hometown venue. If the Capitol Theater was about grandeur, this show was all about intensity. The Ballroom was packed, and you could feel the anticipation buzzing in the air before the first note. When they opened with a song titled “House Dog Party Favor,” the crowd erupted, and the energy didn’t let up for the rest of the night. The second set featured one of the best jams of the weekend, with “Pimp Blue Rikki” flowing effortlessly into “Munchkin Invasion.” You could tell the band was feeding off the crowd, and vice versa—it was one of those nights where the connection between the stage and the audience felt almost tangible.
Being able to photograph this show in Buffalo was especially meaningful for me. There’s something about capturing those moments of pure joy and connection in your hometown that hits differently. It was also my second time being able to shoot the Disco Biscuits at this very venue. The Town Ballroom’s lighting and intimate setup created a perfect canvas for photography, and the crowd’s energy made every shot feel alive.
These two shows felt like a fitting finale to the tour, at least from my perspective as a photographer. Unfortunately, I wasn't able to shoot the third and final show but I was most defiantly there in spirit. There’s an urgency and excitement that comes with the end of a run—everyone, from the band to the fans, seems to dig a little deeper, knowing the finish line is in sight. For me, it was a reminder of why I love doing this: being part of something fleeting yet unforgettable, and having the chance to capture it so the memories last a little longer.
2024 has been an amazing year filled with some of the best concerts I have been to. From getting to see some of the best up and coming artists like Charlotte Sands, Bailey Spinn, and Senses. To seeing some of the most established bands in the music industry like Def Leppard, Creed, and P!nk. To all the bands in between those levels. But there is always one concert that ends up being the last one you see of the year. For me it was Escape the Fate at the Glass House in Pomona. They were playing three final shows of the year with two being in Arizona, and one in Cali. The Glass House show was the first of their final three shows, and opening the night were some local megastars like Cascade Effect and Tornadic. Fans packed in the Glass House to sing their emo hearts out and rage in the mosh pit one last time in 2024.
The first band I got to experience this night was thrash metallers Tornadic. Within moments of their first song, fans pushed open one of the biggest pits I’ve seen at the Glass House. Tornadic is a thrash metal band, and the fans in the crowd were ready to rage and spin up the pit for their whole set. Vocalist Dylan Castiglione was channeling Jamey Jasta of Hatebreed’s energy with his vocal presence. It also happened to be his 19th Birthday that night, and the band got the whole crowd to sing him Happy Birthday. Guitarist Andres Vaca and JT Sawyer acted as a new form of the terror twins, bouncing riffs back and forth throughout the songs. Drummer River Spijkers was a beast on the double kick, unleashing furious beats that sent the mosh pitters into a frenzy. There tends to be a stereotype that bass players are either the most stoic presence on stage, or they are the most chaotic. Enzo Schifferle embodied the latter. From jumping, to full body head banging, and even throwing in some back bends. Schifferle was all over the place, but never missing a beat. Tornadic even sang us a thrash metal version of the Mariah Carey classic “All I Want for Christmas Is You,” which was a song the moshers probably never thought they would be raging to. Tornadic got the crowd's energy dialed up to 11 and ready to continue rocking out for the rest of the night.
Up next was a band known as Cascade Effect. These guys had a grittier look to them, and I was excited to see what they were about to bring to the people of Pomona. Opening with the tune “My Devil’s Hour,” guitarist Shaun Frude and Alex Peterson played with so much groove to their melodies. Even finding time to throw in solo’s that kept with the flow of the song. Vocalist Dustin Keimig was effortlessly floating between clean melodic singing and guttural screams that unleashed his inner fury. While bassist Bobby Fernandez and drummer Seth Roscamp were locked in with each other, holding up the backbone of the band. Along with the groove metal sound, Cascade Effect carried with them a big bombastic sound and bounce to the music that was infectious to people’s necks. Causing them to bop and headbang to songs like “Squall,” “Embodied,” “Suffering in Silence,” “Fear Romancer,” “Dirge,” and ending with “God Particle.” Cascade Effect was easily the heaviest band of the night, but never felt out of place on the bill.
It was then time to let our inner emo out for the mighty Escape the Fate. As luck would have it, December 19th is also National Emo Day, and the elder emo’s came out to support the band. Vocalist Craig Mabbitt was on top of his game this night, connecting with fans, and singing with such passion. Many times letting the audience take over his vocal duties while he took in our singing and stood there with the biggest smile on his face. He’s been singing with this band for the last seventeen years, and moments like this show he does not take any performance for granted. Lead guitarist Matti Hoffman proves that emo is not a phase, as he embodies the look of a mid 2000’s emo boi. Even playing his guitar with ease and an expression like he could be doing this in his sleep. Rhythm guitarist TJ Bell adds a more aggressive nature to his playing, often whipping his guitar around his body. Bassist Erik Jensen helps provide backing vocals that elevate Mabbitt’s own vocals and adds a dynamic touch to them. While founding member and drummer Robert Ortiz acts like the cool guy at the back of the stage with his sunglasses on in doors. But you can catch him standing and playing or shouting to the crowd, seeing just how much he still enjoys playing his music. Escape the Fate drafted a killer setlist of songs that included so many fan favorites like “H8 Myself,” “Lightning Strike,” “The Flood,” “10 Miles,” “Live Fast,” “Ungrateful,” “Gorgeous Nightmare,” “Low,” “Ashley,” “Something,” “Broken Heart,” and coming out for a three song encore with “Cheers to Goodbye,” “This War is Ours,” and ending with “One For the Money.” With he final song being one of the bands biggest sing a longs, it had the crowd screaming with every last bit of energy they had to give.
This was my final show of 2024, and it was one of the best ways to end my concert season for the year. What helped make this show so special was the people I got to see it with. Some of my best friends like Amanda, whose band has opened for Escape the Fate before, along with Sway and Holli. It was a night of amazing hangs, laughs, making the best memories, maybe a couple drinks, and all of us sing screaming in each other's faces until the music finally ended. When the lights finally came up, I couldn’t be happier than just taking in the show that occurred with the people I was with. There’s nothing like bonding over music and Escape the Fate with these three people was the perfect way to end the year. Here’s to what is to come in 2025.
BIO - GARY HO! HO! HOEY ROCKIN HOLIDAY TOUR
In 1995 Gary Hoey created the first ever full album of rock instrumental holiday classics in his bedroom on an 8-track recorder. His love for Christmas music came from his beloved mother and growing up in Boston set the backdrop for many great holiday memories. Gary’s Ho! Ho! Hoey Rockin’ Holiday Tour has become a cherished holiday tradition for families and radio stations around the world. His success behind instrumental rock Christmas music started after his version of “The Twelve Days Of Christmas” hit the airwaves with its classical arrangement and metal flavor. The show is a unique fusion of holiday cheer and electrifying rock 'n' roll, masterminded by the virtuoso guitarist. Hoey’s prolific career has spanned over 30 years and 21 albums in various genres. It’s his amazing talent and love for his fans that have made him immensely popular with audiences of all ages.
Hoey’s music is featured in Hallmark greeting cards and "Deck The Halls" which is featured in the movie starring Danny Devito. It has also made him fortunate enough to give back in the process, helping the veterans with clothing drives, Toys for Tots and food drives. Bring the whole family together and celebrate this holiday season as only Gary Ho! Ho! Hoey can.
Discography:
Ho Ho Hoey (1995)
Ho Ho Hoey II (1997)
Ho Ho Hoey III (1999)
The Best Of Ho Ho Hoey (2001)
Ho Ho Hoey; The Complete Collection (2003)
Still Got The Blues For Chrismtas (Single 2013)
Ho Ho Hoey Live In Lowel (DVD 2013)
The Nutcracker Sugar Plum Fairy (Single 2023)
Angels We Have Heard On High (2024)
Every band’s goal is to put out music that holds a special place in fans' hearts. Bands release an entire album of music that they put their heart and soul into, with the hopes that each song resonates with their audience. And though most albums have a few songs that stick with fans for a long time, it's sad to see that many songs can fall to the wayside. Though there are always those albums that each song stands out on its own. You can put that record on and listen to the whole thing front to back without the need to skip a single song. The Red Jumpsuit Apparatus’s debut album Don’t You Fake It is one of those perfect albums. Even listening to it today, the whole album still hits. The Red Jumpsuit Apparatus held their final show of 2024 at the Parish Room in the House of Blues in Anaheim, CA with support from The Dark. Dedicated fans of the band crammed themselves into this room like sardines for a chance to rock out with them one last time this year.
Opening the night was a band known as The Dark. Now, I have never heard of them before, so I was intrigued to see what they brought to the stage. Right from the start vocalist Craig Johns Jr. stood out with his personality and stage presence. Within moments he was already on the barricade singing into the faces of the fans, making sure they were engaged with the music. Guitarist Alan Ashby wore a fully spiked face mask, giving himself a dark and mysterious energy. You couldn’t help but be drawn into what he was doing on stage. Bassist Nicky G and drummer Derek Vautrinot kept the low end heavy, allowing for the crowd to at least head bang with each song. The Dark made the most of their time being captivating themselves on stage, but also playing music that was accessible to new listeners with songs like “Slip Away,” “Head of the Snake,” “Letting Go,” “In Heaven,” “Shiver,” “Tainted Love,” “Chemicals,” and ending with “Circles.” The Dark is ready to make their mark on the music scene and have a look that can take them far.
Then it was time for our headliner, The Red Jumpsuit Apparatus. This band has been performing for 21 years, and they continue to show their love and appreciation for their fans, and their fans continue to show up for them. Kicking things off with “False Pretense” I’ve never felt the Parish Room shake as much as it did as fans started jumping and singing with the band. Vocalist Ronnie Winter still sounds as great as he does on their debut album and sings with love and affection that he still has for his music. Guitarist Randy Winter backs his brother up with harsh vocals, while playing those guitar licks we have all air guitared to in our bedroom for the last two decades. Bassist Joey Westwood was lost in the groove of his bassline, as he encompassed his area on stage. Drummer John Espy was all smiles while he kept the beat alive on the back of the stage. Though Red Jumpsuit’s music tends to sound more upbeat and rocking, they did take a moment to slow down the pace with Ronnie handling solo acoustic duty for “Cat and Mouse” and “Your Guardian Angel.” During this moment many fans could be seen swaying in the crowd while accompanying Ronnie on vocals. The shared experience of everyone singing in the crowd added warmth and community to the whole show. While the rest of the setlist had people constantly jumping around with songs like “Waiting,” “Damn Regret,” ‘Home Improvement,” a cover of Blink 182’s “All the Small Things,” and ending with the seminal “Face Down.”
Two decades later and all the music that The Red Jumpsuit Apparatus wrote is still cherished in the hearts of every fan in attendance. We hung on every word that came out of Ronnie’s mouth, singing right there in tandem with him. Don’t You Fake It is a staple post-hardcore/emo album that will go down in history as one of the best in the scene. This was most likely the last concert of 2024 for many fans in attendance and for them this was a great way to send out the year. For those of us that may have another concert lined up before the year ends, The Red Jumpsuit Apparatus set the bar high for how a live show should feel and be enjoyed.
The music scene should always be a welcoming place where anyone can find music that speaks to them on an emotional and spiritual level. Many people can get stuck in their ways of listening to the same bands, and only experiencing new music when said bands puts out their latest album. But there are always new bands and artists emerging every day and trying to find their audience. One successful way some new artists have found an audience is through the app TikTok. There is a trend of non-musical TikTokers jumping headfirst into the music scene and using the platform to launch their careers. One of the latest artists to make this jump is Bailey Spinn. So as to not get stuck in only listening to the bands I already love, I wanted to see what kind of new emo and pop punk artists are connecting with the younger generation now. I headed to the Parish Room inside the House of Blues in Anaheim, CA for Bailey Spinn’s Happy Ending Tour, with support from Senses and Glimmers. The front row was lined with girls roughly aged 10 – 12 hanging on the barricade, as well as teens and young adults helped to fill up the room. I knew I was in for a treat seeing emerging bands that have been connecting with the next generation.
Opening the night was a two piece alt pop rock band known as Glimmers. This band consists of vocalist Maggie Schneider and guitarist Alex Downtain. Maggie is a ball of joy dancing around on stage. From her infectious smile to peppy attitude as she sings. While Alex adds the rock flavor to the music. The two could often be seen dancing next to each other with the biggest smiles on both of their faces. You could see the joy that they had getting the chance to perform live every night on this tour, and to all the new people in each city. Glimmers rounds off their sound with bassist Stephen DeFoor and drummer Devin K O’Rourke. Whether you were familiar with their music or not, the entire crowd could be seen dancing and moving to the music. Even seeing the youngest ones in the crowd jumping for joy at the experience of the live music. Glimmers fit as many songs into their set as they could with songs like “False Hope,” “Bad Influence,” “Midas Touch,” “Scared to Lose,” “Bad Romance,” where Maggie even ran into the crowd to sing along with the other Lady Gaga fans, “Back to Hell,” “Not Good At Goodbyes,” and ending with “Jaded.” Glimmers was nothing but a fun show to kick the night off with, and the crowd was amped up for what was still to come.
Up next was the only band I was familiar with prior to this show, that being Senses. I was fortunate enough to see them earlier this year, and they created an instant fan out of me, so I was even more excited to get to see them again when I knew the music. Starting off the night with a high energy song known as “Can’t You Tell.” Vocalist Madison Taylor is probably the most animated person on stage of their entire night. She exudes high octane energy that just pumps up the crowd. Even the kids in the audience could be seen singing along and jumping on the barricade with her. Senses is another dynamic duo with drummer Nick Sampson being the backbone to the band. Not only are his sticks floating around the kit, while tossing some stick tricks in from time to time, but he himself is constantly making faces and being just as entertaining as Madison while stuck behind the kit. Senses also has a guitarist, Jordan Keigher, who helps round out the sound of the band, but Madison herself also grabs an acoustic guitar for a couple songs. Showing just how multitalented of a performer she can be. Senses had the crowd rocking out with songs like “Gonna Make Sure,” “No Fun,” “Every Little Thing,” “Me Against Me,” “Good Luck, Babe,” “Pull me Under,” “Better Than This,” and ending with “Sleepwalking.” Whether feeding the crowd high energy songs or bringing the melody down for a more introspective ballad, Senses captivated every person in the Parish Room.
Finally, it was time for our headliner Bailey Spinn. As the lights dimmed and the intro track played over the speakers, you could see all the young fans in the front row losing their minds with excitement. This reminded me of how happy little girls were when they got to see Britney Spears in her heyday. Before the lyrics to the opening song “Romance is Dead” could be sung, Bailey was already reaching out to her fans on the barricade shaking hands and embracing them. Bailey has amassed 15.6 million followers on TikTok and it was great to see her showing her appreciation to the ones that are transitioning into her music fans as well. A lot of Bailey’s songs have to do with romantic heartbreak and mental health issues, to the point that I don’t know if the youngest fans in the crowd may be able to sympathize with, but the teenagers and young adults certain were connecting with the lyrics of the music. Bailey Spinn also included three cover songs in her set, that of Pierce the Veil’s “Emergency Contact,” Avril Lavigne’s “Girlfriend,” and Evanescence’s “My Immortal.” With the latter being a challenging vocal song as Amy Lee has one of the most powerful voices in rock. But Bailey took the challenge and created her own beautiful rendition of the piece. Other original songs she performed included “Runner Up,” “Superglue,” “In Loving Memory,” “Front Row Psycho,” “What if I,” “Loser,” “Cheap Motel,” and ending with “Happy Ending.” Bailey Spinn was nothing short of a true performer live on stage, even given how new she is to the medium.
Each and every band to perform on this night brought their new and unique sound to the masses, and the music is fantastic. Glimmers music was filled with pop rhythms and vibes that lifted the energy in the room. Senses is an emo pop punk band to watch, that should already be performing to bigger crowds on their own headlining shows. While Bailey Spinn’s is proving that she is more than just a face on a TikTok video and that she has so much more to offer the world creatively. Each band had a woman singer, and I could only imagine how inspiring these three were to the younger girls in the crowd. If nothing else, these three bands showed the younger generation how much fun live music is, and that they need to go to more concerts. I can already see these kids hit with the concert bug and want to experience this joy more often.
“Welcome to the Wiltern!” was the first greeting I heard upon arriving at The Belasco. Just kidding. From undersold arena tours to waves of downgraded shows, artists have been struggling to balance intimacy with fans and limited budgets—especially in major cities like Los Angeles, where the entertainment scene is both saturated and expensive. And yet, Australian psychedelic rock band POND was completely unfazed by the change, delivering an electric performance from start to finish that left me thinking half the time, “He’s still got some juice, huh?”
Playing at a smaller venue meant only one thing for singer and performer Nick Allbrook—better interactions with fans. While his talking was kept to a minimum, Nick communicated through his movements, inviting the audience to dance, lose themselves in the music, and fall into a trance induced by the magnetic psychedelic riffs and synths. The only time he truly addressed the crowd was to encourage them to move their “bums without shame.”
And Nick had no trouble moving his. The upbeat, almost pop-driven moments gave Tame Impala’s former bassist the freedom to dance around, delivering a full-on performance with his mic and stand. From swinging the mic in circles to kicking the stand up, he rocked out with those two ferociously whenever he wasn’t on the guitar.
Drawing from their extensive career spanning ten full-length albums, POND delivered a mix of long-time hits from their 2013 album Hobo Rocket (“Aloneaflameaflower,” “Giant Tortoise”) and more recent projects, including fan-favorite tracks from 2021’s The Weather (“Sweep Me Off My Feet,” “Fire In The Water,” “Paint Me Silver”). The well-balanced setlist proved to be an excellent choice, showcasing the band’s musical evolution over the 16 years since their inception.
But you didn’t need to have followed them from the beginning to lose yourself in their entrancing melodies, powerful vocals, and electrifying riffs. The crowd was constantly clapping (even without prompting) or throwing up the horns during the heavier songs. The energy was palpable, as if the entire room was caught in a shared psychedelic groove.
You know you’ve got the right crowd when they can carry you effortlessly through the Belasco’s pit. Crowd surfing—often a dream for many singers—felt completely natural for the Australian frontman. I couldn’t help but envy all the lucky fans who got to shake his hand, both mid-flight and at the front of the stage.
There is, however, one thing I was fortunate enough to experience: standing at the front of the stage, camera in hand, gave me a perspective I’ll never forget. The performance felt so personal and immersive that I often found myself lowering my camera just to shyly dance along, soaking in the moment. Every riff, every melody, every movement felt like it was meant just for us. The way they commanded the stage made it impossible not to pause, vibe to their songs, and absorb the raw, magnetic energy they delivered with every note.
It was a reminder of the magic of live music—the connection, the energy, and the moments that stay with you long after the final note. I can’t wait to see them again. Thanks, POND!
- Lio
Well, Hunnypot readers, the Holiday season is upon us once again. Around this time, not many bands are touring as they would rather be in their homes enjoying time with their families. However, there are a handful of groups that are willing to continue the spread of autumn’s dark pleasures and metal debauchery. One of which is the unholy King Diamond. Known for putting black metal into the mainstream fold, King Diamond decided to take his band of misfits, and metastasize their wickedness before Santa Claus takes flight. Dubbed the Saint Lucifer’s Hospital 1920 tour, the head priest of Mercyful Fate joined forces with the likes of Overkill and Night Demon. Wanting to get one last ride in before we say goodbye to 2024, Rabit and I headed to the YouTube Theater in Inglewood to endure Abigail’s insanity straight out of the asylum.
Getting the night started was Ventura’s own Night Demon. It has been a while since I saw the trio, but I did enjoy hearing them play those classic metal riffs that were reminiscent to the 70s and 80s that we all loved listening to. Frontman and bassist Jarvis Leatherby was smooth & rough with his vocals, and razor-sharp on his musical weapon. Guitarist Armand John Anthony cranked out stellar licks that could rival riffs that KK Downing and Glenn Tipton created in Judas Priest. This is the first time checking out their newest drummer, Brian Wilson. I have to say I was really impressed with the way he handled those crunchy beats that his predecessor Dusty Squires created, while also showing off his own skills. On the heels of their latest album, Outsider, Night Demon performed like demons. With the crowd still coming in, they took the opportunity to give those that came early their best show LA had ever seen. From “Outsider” to “Screams in the Night,” “Dawn Rider,” “The Howling Man,” “Ritual,” “The Chalice,” and “Night Demon,” the heavy trio did their part and woke the crowd up.
More of the faithful metalheads of LA filled the floor just as Overkill took the stage. Celebrating their 20th release, Scorched, the hell raising thrash metal legends of New Jersey were just as bad as the last time I saw them in Anaheim. Starting with “Scorched,” frontman Bobby Blitz showcased his infamous guttural voice that still packs a punch that goes straight for the throat. Blitz’s partner in crime, bassist DD Verni, sparked intense bass riffs that helped Overkill’s loyalist followers get in the head-banging spirit. The guitar duo showmanship of lead player Dave Linsk and rhythm player Derek Tailer was a lethal combination of volume and fierceness. Linsk especially was a tsunami of sheer persistence that fans were yearning to hear. Each solo was terrifying, as it made Blitz’s screams even tougher. The passion they love to bring to the masses was very strong. This performance also marked the shortest we’ve ever seen from Overkill, but they still created an explosive set. With songs like “Rotten to the Core,” “Bring Me the Night,” “Hello From the Gutter,” “The Surgeon,” “Ironbound,” “Elimination,” and the Subhumans cover, “Fuck You,” Overkill overcharged our senses and helped set the mood for what was about to come our way. It is always a fun night for Overkill.
After a near 30 minutes set change, us metalheads were ready to return to the Asylum as King Diamond graced us with his presence. Beginning their set with “Arrival,” King Diamond belted out his iconic falsetto voice that was heard throughout the theater. It still amazes me how high this man’s voice can go, and you can feel the wickedness as well as the terrifying joy he brings to the masses. Helping the high priest with backing vocals as well as offering keyboard delight was special guest Amalie Bruun, aka Myrkur. Her presence on stage gave the show a dark folk feel that really helped make the mood even more sinister. Lead guitarist Mike Wead was an electrifying nightmare as he churned out ghoulish solos that gave me goosebumps that was truly what I needed that night. Along with rhythm guitarist Andy LaRocque, drummer Matt Thompson, and bassist Pontus Egberg, St. Lucifer’s hospital staff was prepped and gunning for our souls with their killer rhythmic beats. King Diamond was truly king of the YouTube Theater.
Their whole stage set up was a demented mental hospital, where grandma sat in her chair, waiting for the right moment to prop up and horrify us. King Diamond overall had an eclectic setlist, primarily with songs coming from Abigail and Others. No matter what kind of song they performed, Rabit and I were constantly riffing & headbanging to those devilishly sweet songs. There was not one moment where we were sitting down. From “A Mansion in Darkness” to “Halloween,” “Voodoo,” “Spider Lily,” “Sleepless Nights,” “The Invisible Guests,” “The Candle,” “Masquerade of Madness,” and “Eye of the Witch,” the king did not show us any mercy, for our fates were sealed. The song that did it for me though was the iconic “Welcome Home.” Of course, no King Diamond show is complete without the encore that is “Abigail.”
At the YouTube Theater, we went to the holiday side, and it was glorious. King Diamond brought last minute Halloween style yuletide excitement to LA. Overkill was a thrashing machine that showed no signs of slowing down, while Night Demon brought a classic revival sound any true metalhead would love to embrace. Five years ago, King Diamond was the first group I saw after the passing of my father. Back then, I was obviously an emotional wreck for I was in pain of losing him. So, seeing this group along with Overkill and Night Demon help provide me with nothing but good memories of him. I honored him the way he would want me to, live my life the way I know how, surrounded by my Metal brothers and sisters. I love you, Dad. As for King Diamond, I look forward to hearing their newest record next year, The Institute, and by then, grandma will know what it’s like to be on the holiday side. To King Diamond, Overkill, and Night Demon, I salute you. Horns up!!!
PHHOTOS BY MATT 'RABIT' MARTINEZ
The metal community can be a bunch of gatekeepers at times, and if you are not “true metal,” people can shun what’s new. One of the most divisive bands to come into the metal scene in the last decade must be Babymetal. When they broke into the scene with their hit single “Gimme Chocolate!!,” it set the metal community on fire with fans and detractors. Since then, Babymetal has been welcomed into the community with open arms by some of the biggest names in the scene, and by millions of fans worldwide. They embarked on a 2024 World Tour culminating with a final show at the House of Blues in Anaheim, CA. That show sold out in minutes! Due to the overwhelming support from fans, two additional show days were added at the House of Blues in Anaheim. I was fortunate to be able to make it out to Night 2, where fans came dressed in Lolita dresses, anime apparel, or anything kawaii ready to rock out with Babymetal.
Opening the night was an artist known as Scene Queen, who has originated the music genre now known as Bimbocore. Many of Scene Queen’s songs revolve around feminism and how women are treated unfairly in the music scene, and just in the world in general. Specifically, her song “18+” calls out the constant news cycle of emo and pop punk bands getting caught flirting or being with underage fans. Even her song “Mutual Masturbation” talks about how established women in the music scene get ignored by guys who think they’re just the band’s girlfriend. Scene Queen contrasts this harsh lyrical content with a Malibu Barbie attire and cheerleader perky attitude. It almost comes off as a false sense of security to lure scumbag guys into her trap just to rip them to shreds and call them out for their sexism. Looking into the crowd you could see fans eating up Scene Queen’s aesthetic and intentions. She even took a moment to jump into the crowd and give high fives to everyone she could. Scene Queen kept this love up with other empowering songs like “Pink Push-up Bra,” “MILF,” “Pink G-String,” “Pink Panther,” “Pink Rover,” and ending with “Barbie & Ken.” Scene Queen even made a speech about how she always dreamed about touring with Babymetal, and this tour has been everything she hoped it would be. Scene Queen is worth keeping an eye on as it’s only up from here.
Once it was time for Babymetal to take the stage, the fans cheered with excitement. Babymetal even has their own version of the classic metal devil horns, where you touch your thumb to your extended middle and ring finger, in turn making a fox head. These fox heads infested the House of Blues as the band came out for their opening song “BABYMETAL DEATH.” What makes this band so unique is that the instrumental section is playing Slipknot-esque material. Music that has you headbanging and the mosh pit roaring. While the vocal duties are handled by J-Pop idols known as Su-metal, Moametal, and Momometal singing with clean high pitch cutesy style vocals. Because the singers are idols, they are dressed in matching gothic/metal Lolita dresses and perform with choreographed dance moves. This combination sounds like it should not work, but Babymetal has found the right way to create a new form of heavy metal that fans love. The band even has interactive moments with the song “PA PA YA!!” where fans are constantly twirling small flags or handkerchiefs above their head. Other songs even have choreographed dance moves that the crowd can join in on with the band. One of the biggest sing-along moments occurred when Babymetal performed their latest song “RATATATA” which features Electric Call Boy. As the featured band could not be there to help perform, the music video was projected onto a giant LED screen behind the band, with their vocals being backing tracks that Babymetal could sing with. However, the crowd was singing louder than the speakers filling in for the live co-vocals. All of this excitement was kept up for their whole set which also featured “Distortion,” “BxMxC,” “METAL!!,” “Monochrome,” “Light and Darkness,” “Megistune,” “Gimme Chocolate!!,” “Headbangeeeeerrrr!!!!!,” and ending with “Road of Resistance.”
I still see people online that try and take away any credibility from Babymetal, and all I can say is that they need to experience one of their concerts for themselves. The band clearly has a love and dedication for metal music, and the fans can see it and feed their love right back to the band. Scene Queen is forcibly creating a path for herself in the music industry, and these two bands combined are fighting metal stereotypes and gatekeepers to prove they deserve to be here. Babymetal has wrapped up their 2024 touring with these shows in Anaheim, CA, but when they undoubtedly come back in 2025, stop being a hater and go see one of the most fun shows you can in metal.