Wu-Tang Clan and producer Mathematics are back with a new raw, classic Wu sound, featuring fresh production that hits like a throwback but still feels modern and innovative. The beats are hard-hitting, and the verses are raw, intense, and incisive, delivering exactly what fans want and need. The album, Black Samson, The Bastard Swordsman, features performances by Method Man, The RZA, Cappadonna, Inspectah Deck, Ghostface Killah, Raekwon, The GZA, U-God, Kool G Rap, Nicole Bus, Kameron Corvet, Crooked I, Masta Killa, 38 Spesh, Willie the Kid, Benny the Butcher, Kurupt, Ralph McDaniels, and R.J. Payne, with additional production by The RZA. The result is a hard-hitting album with 12 new tracks that take us back to the golden age of hip-hop while making history in the process.

This album is not just about the music—it’s also a collector’s dream. Black Samson, The Bastard Swordsman is being released as a limited 5,000-piece vinyl run, with each copy featuring unique one-of-one album art created by Bennett Phillips at Macroverse. This groundbreaking concept has never been done before, making these vinyl records instant collector’s items. Mathematics designed the album artwork, while Bennett Phillips created the individual covers for the vinyl release.

Speaking to Variety, Mathematics explained the inspiration behind the album’s title: “Well, the album has a certain feel to it. It’s an homage to Blaxploitation movies. You have movies like Black Samson, Black Caesar, and Super Fly. Those are the type of movies that I was raised on in the 1970s.” He added, “The Bastard Swordsman part of [the title] is an ode to the old karate flicks because that’s what I grew up on as well. With me, as well as all of Wu-Tang, that’s something we had in common. We all loved the old karate flicks. Bastard Swordsman is one of my favorites.”

The album opens with the “Sucker Free City” intro featuring Kurupt, Ralph McDaniels, and Brady Watt, which leads into the classic boom-bap hit “Mandingo,” featuring Raekwon, Inspectah Deck, Method Man, and Cappadonna. These four of the nine original swordsmen deliver verses that hit perfectly, blending nostalgia with maturity in their flows. Mathematics instantly pulls listeners in with a forceful and nostalgic beat.

“Roar of the Lion (The Lion’s Pit)” featuring U-God, Kool G Rap, and RZA slows things down with a groove that’s all about giving the middle finger to their enemies. The trio delivers dope lyrical flows over a hypnotic beat. The most soulful track on the album, “Claudine,” features Nicole Bus, whose voice floats beautifully over the mystic production. Method Man and Ghostface Killah also shine on this track, with Ghostface delivering a heartfelt tribute to his late mother and Method Man rapping about building a future with his special someone.

“Shaolin Vs Lama” brings back Raekwon and Inspectah Deck, delivering a definitive Wu-Tang ninja warrior beat and flow. This track feels like a time machine to early Wu-Tang and Mathematics productions, with a strong beat and message. “Executioners from Shaolin” features Inspectah Deck, GZA, and Cappadonna, who menacingly warn that no crew can take them on. This track is another classic Mathematics production, filled with sharp beats and lyrical dominance.

“Cleopatra Jones” featuring Raekwon and Masta Killa follows with a sweet piano groove. The duo raps about their affection for the same woman over a simpler production, letting their flows take center stage. “Warriors Two, Cooley High” features Method Man and Benny the Butcher, delivering raw bars over a hard-hitting beat. Benny raps about staying calm in the streets while working the drug game, and Method Man follows with piercing bars that showcase his lyrical domination—arguably the best verse on the album.

“Let’s Do It Again” featuring R.J. Payne, 38 Spesh, Willie The Kid, and RZA might have the best overall lyrical flow on the album. Each artist delivers gritty, sharp, and clever verses over a rough and tough boom-bap beat crafted by Mathematics and RZA. Heads will be bobbing to this one!

“Dolemite” featuring Cappadonna, U-God, and Masta Killa brings back the dynamic and thrilling Wu sound we grew up on. It’s a rough, gangsta vibe with an upbeat groove that’s fun to listen to. The outro, “Trouble Man,” features Kameron Corvet, whose smooth vocals shine. While it would’ve been great to hear Method Man and Ghostface Killah on this track, it still delivers a great vibe.

The album closes with “Charleston Blue, Legend of a Fighter,” featuring Nicole Bus, KXNG, and Cappadonna. With a slow groove, Nicole Bus once again steals the spotlight with her stunning vocals. KXNG delivers a heartfelt verse about fatherhood, while Cappadonna shares an open letter to his mother. It’s a chill and reflective way to end this Wu-Tang journey.

This album pays tribute to Wu-Tang’s love of Blaxploitation and martial arts films that shaped them five decades ago. It also brings us classic Mathematics productions with karate sound effects and soundbites, but with a fresh twist. Featuring all nine members, the album showcases their ability to push each other to deliver their best, with experimental lyrics and soulful storytelling.

Additionally, the inclusion of some of the best underground artists feels like a passing of the torch. While the Wu-Tang Clan is far from done, they’re clearly helping to set up the next generation of lyrical swordsmen. With hard-hitting beats and cinematic production, Black Samson, The Bastard Swordsman is a musical rap odyssey. From the very first track, it’s clear this is classic Wu-Tang Clan, with Mathematics delivering pure, stark, and cinematic production for the Clan to deliver lyrically intelligent, conceptually loaded, and acoustically sharp verses.

One Love – Todd M. Judd

On May 1st, 2025, El Cid was packed to the brim with people—a clear display of a sold-out night. And if you’re wondering who the legendary performers were that made this possible, it was the iconic headliner Guardin, with support from the equally talented artists Kennedyxoxo and Sewerperson. This marked the second night of Guardin’s When The Flowers Bloom tour, and each artist brought their own unique energy to the night.

Kennedyxoxo kicked things off and had the crowd jumping off the walls right away. He has an incredible ability to get people dancing, even to the saddest songs. His setlist included tracks like “Postcard,” “Soulja Girl,” “Law of Attraction,” “Robots,” “Bull In A China Shop,” and the unreleased “Eggshells & Minefields.” The energy was electric, whether you were at the front or all the way in the back. Kennedy also knew how to engage with his audience. Hearing “Robots” was a surprise—but a very welcome one.

“Bull In A China Shop” is one of those songs that, if you relate to it, feels like getting a hug and knowing you’re not alone in what you’re going through. I often play it on repeat, so I was especially excited to hear it live. It was a set worth getting myself stuck in a corner by the stage for, and it was refreshing to see Kennedy having so much fun. Hearing “Eggshells & Minefields” for the first time, you could already tell that once it’s released, it’s going to be stuck on repeat for a lot of listeners. The lyrics are still glued to my brain—I wasn’t ready for the set to end.

Next up, Sewerperson kept the momentum going but brought a different style to his performance. His setlist featured songs like “Pull Out Couch,” “Cpt Morgn,” “It’s Quiet, Too Quiet,” “Christmas Party,” “Comatose,” and “ur the one I dream bout.” No matter how fast he rapped, the audience was right there with him, singing along word for word. The crowd clearly knew and loved his music.

There was even a wholesome moment where he responded to a fan from the stage, smiling throughout much of the set. Sewerperson wasn’t afraid to get close to the crowd, radiating confidence while moving at lightning speed across the stage. Some songs were from his days as 9TAILS, and though his style has evolved over the years, both his older and newer tracks are undeniable bangers. “Christmas Party,” one of his 9TAILS songs, was a clear crowd favorite, with waves of hands in the air. If you’re a fan of slam poetry, you’d probably enjoy Sewerperson’s music, too. He definitely left a memorable impression that had the audience wanting more.

Then, in the blink of an eye, our iconic headliner Guardin took the stage, bursting with energy. His setlist included “I Want It,” “solitary,” “lost it,” “Dim Dark Depleting,” “In My Sleep,” “I Wonder,” “hold,” “harder,” “geronimo,” “pink lemonade,” “round two,” and “charming.” His music reminds me a bit of The Front Bottoms, but with an electronic twist. There’s a sad, nostalgic feel to his songs—music for those who feel lost or are still trying to find themselves.

The flashing lights matched the music’s intensity, while the blue hues mirrored the melancholy in his lyrics. His songs feel poetic, yet they still had everyone jumping. The crowd sang along passionately, and there were moments when the audience’s voices overpowered the stage. Guardin had an upbeat yet somehow mysterious energy, sometimes darting across the stage like an airplane, other times squatting or even lying down. His movements added so much to the performance.

It was also wholesome to hear him remind the crowd to stay hydrated and to see him interacting and pointing out fans. Not a single person was standing still. “Geronimo” lives rent-free in my mind; it’s one of those songs that anyone missing the past—or even just their friends—can connect with deeply. The passion Guardin puts into his music leaves you wanting more.

Guardin, Sewerperson, and Kennedyxoxo are all incredibly talented artists worth seeing live. To catch them all in the same show was a special experience—and they’re definitely names to keep on your radar. I’m excited to see what they do next.

The Vans Warped Tour helped cement many rock, hardcore, and especially pop-punk bands into music culture. Without this platform, many bands that fans love and cherish might never have achieved the reach or longevity they enjoy today. One of these bands is Mayday Parade, now celebrating 20 years as a band with their Three Cheers for 20 Years tour. Coming to the House of Blues in Anaheim, CA, they brought along Microwave, Grayscale, and Like Roses. This tour was a sampler platter of what the Warped Tour scene cultivated in the music world, and fans sold out the venue to show their appreciation for these bands.

Opening the night was Like Roses. Though they had the shortest time slot on the bill, they made the most of it, launching straight into blasting pop-punk beats. Vocalist and guitarist Amy Schmalkuche delivered a powerful performance, blending her singing technique with an almost crying scream that conveyed raw passion in every lyric. Guitarist Devin Zamora was a ball of chaos, making full use of the large House of Blues stage, frequently moving around and playing right up next to his bandmates. Bassist Kayla Gonzalez was a whirlwind, her long hair flying everywhere as she rocked out, holding down the low end alongside the drummer.

Though many in the crowd were likely hearing Like Roses for the first time, their songs—“Splenetic,” “Stuck,” “Broken Things (Lie to Me),” “Pretty Things,” “Dressed,” and “Easy”—had everyone rocking out. To the girl in the front row losing her absolute mind and singing every word with the band: you specifically made the night for Like Roses.

Up next was Grayscale, hailing from Philadelphia, PA, and they were here to set a mood. They began their set with minimal house lights, using only soft backlighting to create a glowing ambiance. Vocalist Collin Walsh has a bright, uplifting voice that carries a hopeful tone, even when singing about sorrowful topics. Guitarists Andrew Kyne and Dallas Molster complemented this with melodies that made you want to jump and cheer. Drummer Nick Veno was the ultimate timekeeper, laying down steady beats that kept the groove flowing.

As the lights fully illuminated the venue, the crowd knew it was time to let loose. Grayscale kept the energy high with songs like “The Hart,” “Kept Me Alive,” “Through the Landslide,” “Dirty Bombs,” “In Violet,” “Some Kind of Magic,” “Dance With Your Ghost,” “Fever Dream,” and “Not Afraid to Die.” I’d always heard of Grayscale, but seeing them live turned me into a fan. Their music was powerful and moving.

Next, it was time for Microwave. While I wasn’t familiar with them before, they quickly won me over. Opening with “Mirrors,” they showcased a sound that wasn’t just straightforward pop-punk but incorporated alt-rock and harder edges. Vocalist and guitarist Nathan Hardy floated effortlessly between passionate softness and gritty intensity, adding depth to the lyrics. Bassist Tyler Hill and drummer Tito Pittard locked in to create grooves that energized the crowd.

With inflatable mushrooms and a giant mirror setup behind them, Microwave turned the House of Blues into an Alice in Wonderland trip. Fans rocked out to songs like “Lighterless,” “Drown,” “Something Right,” “Straw Hat,” “Circling the Drain,” “Bored of Being Sad,” “Whimper,” “Trash Stains,” and “But Not Often.” It was during Microwave’s set that the first crowd surfers of the night appeared, barreling over the barricade while singing with all their energy.

Finally, it was time for the headliner. Before Mayday Parade took the stage, a video package played, highlighting their origins—from selling CDs in the parking lot at Warped Tour to playing the festival and eventually headlining their own shows. As the video ended, Mayday Parade opened with “By the Way.” Vocalist Derek Sanders began behind the piano, welcoming fans to the show before leaping to the front of the stage to soak in the crowd’s cheers.

Guitarists Alex Garcia and Brooks Betts, along with bassist Jeremy Lenzo, acted as the band’s hype men. While delivering technical precision on their instruments, they ran around the stage, engaging the crowd and keeping the energy high. Drummer Jake Bundrick kept the tempo driving with his high-energy double-kick patterns.

For their Three Cheers for 20 Years tour, Mayday Parade wanted to do something special. Instead of focusing solely on their biggest hits or their latest album, they crafted a setlist that included songs from every album and EP they’ve ever released. This tour was a heartfelt thank-you to the fans who’ve supported them through the years.

The setlist included songs like “Just Say You’re Not Into It,” “Three Cheers for Five Years,” “Jersey,” “I’d Hate to Be You When People Find Out What This Song Is About,” “Anywhere but Here,” “Bruised and Scarred,” “Terrible Things,” “Oh Well, Oh Well,” “Stay,” “Ghosts,” “One of Them Will Destroy the Other,” “Never Sure,” “Piece of Your Heart,” “Heaven,” “One for the Rocks and One for the Scary,” “More Like a Crash,” “Pretty Good to Feel Something,” “One Man Drinking Games,” and the closer, “Jamie All Over.” It was truly the best of the best that Mayday Parade has to offer.

Every band brought high intensity, keeping the crowd jumping and rocking out all night. One odd aspect of the show, though, was the lack of a mosh pit—unusual for a pop-punk concert. Crowd surfers were also minimal. Perhaps father time is catching up with us elder emos. Regardless, the fans gave the bands all the energy they had, rocking out in place. Standing on the floor, you could still feel the venue shaking and rattling from how much people were jumping around.

The Italian reggae band Mellow Mood, formed in 2005 by twin brothers Jacopo and Lorenzo Garzia, has been a constant force in the European reggae scene, releasing six meaningful albums over the years. With their seventh album, 7, they not only named it for being their seventh release but also for the significance of the number itself.

The number 7 symbolizes wholeness, completion, divine power, and a connection to the spiritual realm. It carries significant weight in many cultures and belief systems, often associated with introspection, seeking truth, and inner wisdom. People with a strong connection to the number 7 are seen as seekers, constantly searching for deeper meaning in life. With this album, Mellow Mood set out to create a more vintage and artistic sound, one they had greater control over.

With Jacopo and Lorenzo on vocals, the band’s usual lineup includes Matteo Da Ros on guitar, Giulio Frausin on bass, Flavio Passon on piano and organ, and Antonio Cicci on drums, with Paolo Baldini overseeing production. Together, they dove deeper into the classical Jamaican reggae sound, crafting an album that feels both timeless and fresh.

The album kicks off with “Propaganda,” a beautiful old-school reggae track featuring sweet piano, tight drums, and a bubbling bassline. The brothers sing about the corruption and greed of world leaders, setting a powerful tone for the record. Next is “Home or Abroad,” featuring Dub Inc. and Anthony B.. This track delivers another classic reggae vibe, with Anthony B. bringing sharp, impactful lyrics and vocal flow, while Dub Inc. adds a smooth French verse that fits perfectly into the song.

Mike Love joins Mellow Mood on “Heavy Load,” a track with a gospel-like groove that carries Mike Love’s signature harmonies. His touch elevates the song, making it a standout moment on the album. “Candela” follows, featuring a classic reggae riddim that takes listeners on a rhythmic journey. The call-and-response between the brothers and the band during the chorus is perfectly executed, adding depth to the track.

One of my favorite songs is “Pull Up,” featuring Romain Virgo. This track boasts an infectious beat and riddim, with Romain delivering an incredible vocal performance that steals the show. “Warmonger” comes next, driven by a classic steppas reggae groove. Jacopo and Lorenzo’s vocals shine here, taking us back to a simpler time with their nostalgic sound.

The steppas vibe continues with “We’ll Be Home,” a track that features great vocals and a warm, analog sound. Then comes “Isabela,” which brings a Latin-reggae vibe that makes you want to get up and dance with someone you love. The change in style, riddim, and vocal delivery is refreshing and adds variety to the album.

“Small Room” slows things down with a relaxed reggae groove, offering a sweet, chill track to sit back and enjoy. “Rub A Dub Suavecito” plays with languages, seamlessly blending English, Spanish, and Patois in a way that feels effortless. This multilingual approach also appears in “Isabela,” showcasing the twins’ versatility.

The album closes with a surprise: “Changes.” Departing from the traditional reggae feel, this track offers a peaceful vibe that highlights Jacopo and Lorenzo’s vocal versatility. Their interlocking harmonies and balanced delivery pull you in, making it a memorable conclusion to the album. While it’s not a typical favorite for me, the song’s emotional depth makes it stand out.

For the first time, Mellow Mood took full control of the artistic production of an album, aiming to find a new sound identity. They succeeded in creating a warm, analog sound that pays homage to classic reggae riddims while remaining modern, innovative, and fresh. Paired with thoughtful and truthful lyrics, 7 takes listeners on a meaningful journey.

With this album, Mellow Mood delivers wholeness, completeness, truth, and inner wisdom to our ears. As they celebrate 20 years of making music, here’s to hoping for another 20 years of their artistry.

One Love – Todd M. Judd

Having seen Alice Cooper dozens of times over the years, I’m always astounded when I meet people who haven’t flocked to witness his morbid extravaganza. Great music and great entertainment—what more could you ask for? The Too Close For Comfort tour is yet another opportunity to catch the Master of Macabre headlining before he joins Judas Priest this fall for a 22-city run. That tour kicks off on September 16th in Biloxi, Mississippi, with stops in Cincinnati, Phoenix, Los Angeles, and more, before wrapping up on October 26th in Houston, Texas.

Cooper has been delivering his electrifying, theatrical performances for decades, and for me, it never gets old. The outdoor venue at Atrium Health Amphitheater was dangerously close to being drenched by an extreme thunderstorm. Luckily, Alice and the gang hit the stage right at 7:30, narrowly avoiding a downpour and ensuring the audience stayed dry for the show.

From the opening chords of “Lock Me Up” into the thunderous “Welcome to the Show,” Cooper prowled the stage, sword raised, commanding attention with the ease of a seasoned magician. His voice, surprisingly robust at 77, resonated fiercely, bringing timeless classics like “No More Mr. Nice Guy” vividly to life. The crowd matched Cooper’s energy beat-for-beat, roaring their approval as the first familiar riffs pierced the Georgia night.

His performance of “I’m Eighteen” perfectly captured the rebellious spirit of his youth, with a touch of irony—most of us in the crowd were far from eighteen. Cooper himself was just 22 when the song debuted in 1970. The moment culminated in him theatrically hoisting a battered wooden crutch, a sly nod to the song’s adolescent angst. Standing so close to the stage, I almost lost my head when he swung it—it was amazing to be that close. Guitarists Ryan Roxie and Tommy Henriksen faced off in an electric duel, their guitars howling as the audience chanted along in ecstatic unison.

“Under My Wheels” and “Bed of Nails” surged with relentless energy, each song seamlessly transitioning into the next, blending musical excellence with theatrical brilliance. The stage transformed from neon cityscapes to haunting graveyards as Cooper launched into “Billion Dollar Babies,” scattering faux bills into the grasping hands of fans. For “Snakebite,” the theatrics reached a new level: a crew member delivered a live boa constrictor, which Cooper draped across his shoulders, eliciting delighted gasps and screams from the crowd.

The band’s synchronization was flawless. Bassist Chuck Garric and drummer Glen Sobel formed a powerhouse rhythm section, their grooves reverberating deep into the bones of everyone in attendance. Sobel’s mesmerizing drum solo, peppered with intricate beats and playful nods to “Black Juju,” earned thunderous applause.

Guitar virtuoso Nita Strauss took center stage next, igniting the crowd with an explosive solo that fused classical precision with raw metal aggression. Her lightning-fast fingers shredded through the “Black Widow Jam,” setting the stage for Cooper’s ominous return. Strauss is, without a doubt, one of the most captivating guitarists in the world right now, and it was an absolute treat to watch her shred all night.

As the haunting chords of “Welcome to My Nightmare” filled the air, Cooper appeared in a silk smoking jacket, lantern flickering, fully embodying the twisted showman persona fans adore. He seamlessly transitioned into the disturbingly humorous “Cold Ethyl,” waltzing grotesquely with a rag-doll corpse before flinging it dramatically into the ecstatic crowd—a morbid dance only Alice Cooper could pull off.

No Alice Cooper show would be complete without its descent into madness. “Ballad of Dwight Fry” transformed the stage into a chilling asylum, with Cooper writhing in a straightjacket as his wife Sheryl, dressed as a sinister nurse, administered a mock injection. The crowd’s excitement peaked with the arrival of the infamous guillotine. In a spectacle of perfect theatrical timing, Alice was “executed” before a stunned and cheering audience. His decapitated head—eerily realistic—was triumphantly displayed as the band thundered through “I Love the Dead,” celebrating rock’s ultimate showman.

Ever since I can remember, I’ve been a die-hard professional wrestling fan. From Ultimate Warrior to Hulk Hogan, Stone Cold Steve Austin, The Rock, Mick Foley, Triple H, Shawn Michaels, Undertaker, The Miz, and John Cena, these legends made me feel strong and invincible. Sure, there were times I drifted away, but I always found my way back. Another thing I’ve always loved about wrestling is its connection to rock ‘n’ roll and heavy metal—they’ve always gone hand in hand. One wrestler who has successfully bridged these two worlds is Chris Jericho. Not only is he one of the greatest wrestlers of all time, but he also crafted his own metal band out of his love for heavy music. Enter Fozzy.

What started as a cover band has evolved into a formidable original act with a cult-like following. In 2024, the group celebrated their 25th anniversary by hitting the road with Vegas’ The Nocturnal Affair and vamp-metal sensation Liliac. The Parish Room at the House of Blues in Anaheim hosted this epic event, so Rabit, our buddy Aflac, and I high-tailed it over there—because missing this show would’ve put us on the list!

The evening kicked off with an insane drum solo by Kyle Cunningham, a hell of a way for The Nocturnal Affair to introduce themselves to Anaheim. The dark rockers from Las Vegas fired up the metal engines with a killer cover of Depeche Mode’s “It’s No Good.” Frontman and visionary Brendan Shane delivered a strong, melodic voice that could rival Chris Daughtry. When he roared, we listened.

Guitarists Kellan Kroll and Dru Lappin shredded with precision, giving us goosebumps—especially when Kroll unleashed a bitchin’ solo during an impromptu interlude jam. Bassist Michael James added dark, sinister overtones to the beats, making the music even more menacing. From “Down” to “Unwound,” “Benefit of Doubt,” “Backbiter,” “Cross Me Out,” and a haunting cover of Haddaway’s “What Is Love,” The Nocturnal Affair left a lasting impression on the Anaheim scene. That impression? Impressive. I can’t wait to see where they go from here.

Next up was Atlanta-based Liliac, a self-described “vamp metal” group eager to sink their teeth into the crowd. Comprised of the Cristea siblings, this family band was bred for heavy metal. Frontwoman Melody Cristea was hypnotic, her alluring voice drawing us in like prey. Her stage presence was reminiscent of Evanescence’s Amy Lee, commanding and captivating.

Lead guitarist Samuel Cristea was suave and cunning, delivering slick riffs and solos, while bassist Ethan Cristea brought booming, sinister beats that crushed us. Keyboardist Justin Cristea showcased his versatility, effortlessly switching between the keyboard and keytar. Original drummer Abigail Cristea was absent, but touring replacement Paul Barnes Jr. was bombastic, keeping the energy high.

Every song Liliac performed was stellar, from “Human” to “Delusion,” “Prisoner,” “Breathe,” “Dear Father,” “Bad Boyz,” Dio’s “Holy Diver,” and “Carousel.” But for me, their sensational cover of The White Stripes’ “Seven Nation Army” sealed the deal. After tonight, Liliac turned me into a vamp-metal follower. Round and round I go on their carousel—will it stop? I hope it never does.

After a 30-minute breather, Anaheim was ready to make Fozzy’s list. Kicking things off with “Fall in Line,” the Parish Room became the Jericho Room. The Ayatollah of Rock and Rolla put us into submission with his commanding voice. Donning a sparkling dinner jacket and bedazzled pants, Chris Jericho was larger than life—a living legend.

His longtime partner in crime, Rich Ward, was a wizard on lead guitar, conjuring wicked solos and licks. He’s the soul of Fozzy. Rhythm guitarist Billy Grey delivered pulsating riffs, while bassist PJ Farley strummed with all his might, both adding tasty background vocals that perfectly complemented Jericho’s lead. Newcomer Grant Brooks on drums was steady, mighty, and cool—a perfect addition to the Fozzy express.

It may have been a Monday night, but for us, it was Fozzy Friday. Most of their set came from their 2022 release Boombox, but they also performed an eclectic array of hits. Fozzy are true rockstars, delivering bangers like “Fall in Line,” “Bad Tattoo,” “Painless,” “Do You Wanna Start a War,” “Lights Go Out,” “Sane,” “I Still Burn,” “Spotlight,” “Army of One,” “Drinkin’ With Jesus,” “Spider in My Mouth,” “Purifier,” “Enemy,” and the ever-popular “Judas.” Throw in covers of ABBA’s “SOS” and Krokus’ “Eat the Rich,” and you’ve got yourself a badass Fozzy party.

The Parish Room felt like an arena, rivaling the energy of the Honda Center or Kia Forum. Though smaller than the main stage at the House of Blues, Fozzy made it feel monumental. Jericho brought us into the fold, making us part of the band as we sang and chanted their name.

The Nocturnal Affair brought alternative hard rock swagger that resonated deeply, and Liliac sank their fangs into me, turning me into a devoted follower. This night was special, and rock ‘n’ roll… is… JERICHO!!!

To Fozzy, Liliac, and The Nocturnal Affair, we salute you. Horns up, and BREAK THE WALLS DOWN!!!

The Who, Cheap Trick, Poison, ZZ Top, Metallica, and Led Zeppelin—these legendary acts are just some of the rock ‘n’ roll my dad loved to listen to. He instilled this love in me whenever we were in his truck, running errands or heading out for fun. All these bands are great, but they pale in comparison to one group that stood above the rest: AC/DC.

This powerhouse band from the Land Down Under has been part of my musical education since I first understood what music was. Their simple, hard rock flavor has been captivating fans for more than 50 years. Their last album, 2021’s Power Up, was a testament to AC/DC’s longevity and continued success. After years away from the stage—due in part to the pandemic and Brian Johnson’s hearing problems—they are finally ready to hit the highway to hell and take us to the promised land. Sultry rockers The Pretty Reckless tagged along to power up our rock senses. Along with our pal, the Metal Samurai, Rabit and I journeyed to the Rose Bowl to experience some high-voltage excitement.

As metalheads filed into the stadium, devil horns and all, The Pretty Reckless took to the stage with “Death by Rock and Roll.” It’s still astounding that Taylor Momsen, known for portraying Cindy Lou Who in Jim Carrey’s The Grinch, has transformed into a sensual frontwoman with a captivating voice. Donning a red dress, Momsen wooed us with her temptress-style singing, like a siren pulling us into her trap with no chance of escape.

Guitarist Ben Phillips doesn’t get enough credit as a player. The way he smolders the strings on his axe brings back the good old days of grunge guitar work. In my opinion, he deserves to be mentioned alongside Alice in Chains’ Jerry Cantrell and Soundgarden’s Kim Thayil. His playing elevates Momsen’s already impressive vocals. Bassist Mark Damon and drummer Jamie Perkins complete the group with their gritty beats, taking blues rock to another level.

The Pretty Reckless were living large, playing on a grand stage shared with a legendary group like AC/DC. From “Since You’re Gone” to “Follow Me Down,” “Only Love Can Save Me Now,” “Witches Burn,” “Going to Hell,” “Heaven Knows,” and “Take Me Down,” their seductive energy was in full motion. This was my second time seeing The Pretty Reckless, and they were still pretty… and reckless.

After a much-needed breather from The Pretty Reckless, we were ready for high-voltage excitement. AC/DC opened their set with one of my all-time favorites, “If You Want Blood (You Got It).” Lead guitarist Angus Young, in his traditional schoolboy outfit, danced, duck-walked, and strummed like a bat out of hell. Arguably one of the greatest guitarists of all time, Angus remains a master of disaster with his signature Gibson SGs.

Frontman Brian Johnson belted out his iconic screams and sauntered around the stage, energizing the crowd. Even when he sang songs made famous by his predecessor, Bon Scott, the audience went wild. Rhythm guitarist Stevie Young was a steady hand, delivering the main riffs made famous by his uncle, the late great Malcolm Young, while adding his own flavor to the licks.

Noticeably absent were bassist Cliff Williams and drummer Phil Rudd, both of whom have retired from touring (though they remain in the band). AC/DC recruited drummer Matt Laug (Alanis Morissette, Alice Cooper) and bassist Chris Chaney (Jane’s Addiction) for the tour, and they brought the thunder. They played the classic beats and melodies as if they had written them themselves. Together, AC/DC was a well-oiled machine.

It was electrifying to watch Angus attempt his wildman jumps. Granted, he may be 70, but he still acts like a 20-year-old, full of excitement and passion. After performing “Let There Be Rock,” he launched into an extended solo that worked the crowd into a frenzy. Add Johnson into the mix, and you have a recipe for rock stardom.

During AC/DC’s entire set, there wasn’t a single bad song. That’s the beauty of AC/DC—their catchy rock ‘n’ roll songs never go out of style. Every loyal fan in the crowd sang along to every song while wearing glowing devil horns. While the tour was meant to celebrate Power Up, five of the songs performed came from their iconic record—if not the most iconic rock record—Back in Black.

The setlist was a dream come true, featuring hits like “Back in Black,” “Demon Fire,” “Shot Down in Flames,” “Thunderstruck,” “Have a Drink on Me,” “Hells Bells,” “Shot in the Dark,” “Stiff Upper Lip,” “Highway to Hell,” “Shoot to Thrill,” “Rock ‘n’ Roll Train,” “Dirty Deeds Done Dirt Cheap,” “High Voltage,” “Riff Raff,” “You Shook Me All Night Long,” “Whole Lotta Rosie,” “T.N.T.,” and “For Those About to Rock (We Salute You).” After the final song, the earth was quaking, and our minds were aching.

AC/DC was everything I imagined growing up and more. While I was air-guitaring with Rabit and the Metal Samurai, I could sense my dad right beside me. This is one show I know he would have loved. I’m pretty sure he would have dug The Pretty Reckless, too, as they brought rock ‘n’ roll back to a sultry place.

I didn’t want the evening to end, but the rock ‘n’ roll train had to move on from the Pasadena track. If this is one of AC/DC’s last SoCal shows, it was incredible to see them ride out into the sunset. To AC/DC and The Pretty Reckless: (fire!) we salute you. Horns up, and have a drink on me!

Images by:  Steve Rood

Only four months into 2025, the number of high-quality extreme metal tours that have passed through Southern California is remarkable. Danzig, Napalm Death, Mayhem, Machine Head, Six Feet Under, Meshuggah, Dying Fetus, Cavalera, and Kerry King are just some of the headliners making this an incredible year for live music. The killer tours just keep coming.

Florida death metal titans Obituary are celebrating 35 years since the release of their iconic album Cause of Death and are currently on the road with NAILS, Terror, SpiritWorld, and Pest Control. This stacked tour made its second of three Southern California stops at the House of Blues in Anaheim on Friday night, April 25 (following a show in San Diego the night before and heading to Los Angeles the next night).

All the way from Leeds, England, hardcore punk newcomers Pest Control opened the show with a dose of high-energy angst. With their set time at 6:00 PM and the never-ending SoCal traffic, many missed this opening set (including Hunneypot Live), resulting in no photos of the band. However, those in the venue for the start of the show seemed to be won over by Pest Control, making them a band to keep an eye on.

Up next was SpiritWorld, a band generating a lot of buzz. Their music is labeled as “Death-Western,” a blend of thrash and death metal with Western-themed imagery. Their sound is reminiscent of Power Trip and Fugitive, and they hit the stage with a vengeance, ripping through a 35-minute set. Frontman Stu Folsom fired up the crowd as the band played songs from their albums Pagan Rhythms, DeathWestern, and Helldorado. By the end of their set, even those unfamiliar with SpiritWorld were converted into fans.

This is where the night shifted from crazy to insane. When Terror founding member and vocalist Scott Vogel hit the stage, he immediately waved his arm, encouraging the crowd to crowd-surf over the barrier. As soon as the band launched into their first song, a constant wave of bodies and crowd surfers overwhelmed the House of Blues security team. It was like a waterfall of bodies for the entirety of Terror’s 40-minute set. Their relentless hardcore punk energy left the security team exhausted and tending to injuries. Terror truly lives up to their name, delivering their brand of hardcore punk like no other.

Next up was NAILS, a band with close ties to Terror, as frontman Todd Jones was formerly a member of Terror. NAILS picked up right where Terror left off, delivering their grindcore-infused punk with a sprinkle of death metal. While their set didn’t have as many crowd surfers, it did ignite a massive circle pit that raged throughout their performance. NAILS ended their brutal set with “You Will Never Be One of Us” and “Unsilent Death,” leaving the crowd thoroughly destroyed.

Over the last 20 years, Obituary has released six albums and become a nonstop touring machine. With the resurgence of many classic heavy bands, Obituary released one of their best records in 2023, Dying of Everything, and have been supporting it ever since. However, in 2025, they are celebrating 35 years since the release of their second album, Cause of Death. Following their 1989 debut Slowly We Rot, Cause of Death avoided the “sophomore slump” and remains a powerful death metal masterpiece to this day.

The band opened their set with their usual instrumental, “Redneck Stomp,” followed by “Sentence Day.” After a couple of newer songs, it was time for Cause of Death to be played in its entirety. Hearing all those classic songs live was a sonic pleasure. Vocalist John Tardy has one of the most unique voices in death metal—instantly recognizable and a defining element of Obituary’s sound. Drummer Donald Tardy (John’s brother) and bassist Terry Butler provided a rock-solid foundation, while rhythm guitarist Trevor Peres, an original founding member, delivered thick, downtuned riffs. Lead guitarist Kenny Andrews rounded out the lineup, making Obituary one of the premier guitar duos in extreme metal.

The fans were rowdy, keeping security busy with crowd surfing and highly active circle pits. After completing the Cause of Death album, the band returned for a three-song encore, including “I’m In Pain,” “Kill for Me,” and the crushing finale, “Slowly We Rot.”

This five-band tour is all killer and no filler from start to finish. The tour continues east across the U.S., with a few stops in Canada, ending in Pennsylvania on May 25. Be sure to grab your tickets and arrive early to catch all five bands.

The Darts never let up. Their standout track “Love U 2 Death”—a haunting, high-stakes slow burn—was featured in the hit series Peaky Blinders, introducing their unmistakable sound to a global audience. Now, the full album it came from, I Like You But Not Like That (Alternative Tentacles, 2019), stands as a defining moment in the band’s evolution: cinematic, fierce, and bursting with sync potential.

Recorded with Bob Hoag (The Format, Dear and the Headlights) and co-produced by Nicole Laurenne, the album captures The Darts at a creative peak. It’s grittier than their earlier work, with a darker edge and a mood that leans into noir territory without ever losing their signature swagger.

From the opening blast of “Breakup Makeup”, listeners are pulled into a world of fuzzed-out riffs, pulsing bass, and that instantly recognizable Farfisa organ. On “Love U 2 Death”, The Darts pull off a slow, tense build that erupts into a storm of emotion—no surprise it landed on a global hit like Peaky Blinders.

With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitar, and Rikki Styxx on drums, the lineup delivers pure, unfiltered chemistry. Tracks like “Don’t Hold My Hand” and “My Way” dig deep into garage rock, punk, surf, and even moments of pop noir, all while staying intensely raw.

“This record was about putting it all out there—every feeling, every scar,” Laurenne told Gearhead HQ. “There’s rage, sadness, sex, defiance—and we wanted every bit of that to bleed through.”

Critics backed it up. Louder Than War praised the record as “a full-body garage psych rock ‘n’ soul experience,” while Punknews called it “no-nonsense garage with hooks, punch, and personality.” KFJC described it best: “Tough, sexy, sassy, and smart.”

I Like You But Not Like That isn’t just a garage rock record—it’s a mood, a lens, a world. It’s cinematic by nature, making it perfect for supervisors looking to inject texture, power, or emotional edge into any scene.

Hunnypot is proud to be The Darts’ official sync representative. With a Peaky Blinders placement already under their belt among others, this is a band with proven impact and undeniable placement power.

Hunnypot is proud to be The Darts' official sync representative Masters & Publishing, ask us about LICENSING! 

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"The Darts are a contemporary take on a nostalgic sound and prove there's more life than ever in a global scene often overlooked. I Like You But Not Like That is a solid album from front to back." ​GEARHEAD®

"The Darts don’t need to scream their message—they often drop a song’s core essence as an aside between new-wave-meets-Misfits keyboards and bashing drums, and that’s why this release, while rooted in ‘60s jammers, is not only more than meets the eye, but a rare form of nuance which is rarely achieved." ​Punknews.org

"Though The Darts' sound is often referred to as garage punk, to me it’s more reminiscent of the early Yardbirds, with strong bass-doubling riffs, a good example being the title track (possibly my favorite)." ​spidey.kfjc.org

"The songs all seem to center about relationships (but then again, don't they all?), with quick solos popping up here and there (organ, bass, guitar). The songs range from 2:03 ('Japan') to 4:37 ('Love U 2 Death') and are economically arranged. Short enough to make their way onto any playlist." ​spidey.kfjc.org

"The big takeaway from I Like You But Not Like That is the catchy factor within the songwriting and also proof that The Darts are consistent in writing catchy, good material consistently." GEARHEAD®

Sky Cries Mary has just released their new album, Immortal Jellyfish - a sweeping journey through psychedelic soundscapes, deep emotion, and sonic exploration. This project marks a powerful new chapter for the legendary Seattle band, blending their signature ethereal style with new layers of intensity and beauty.

"Storm Any Weather" — the first single from Immortal Jellyfish — invites you into the heart of these psychedelic grooves. A poignant blend of introspection and hope, the track weaves a tapestry of haunting vocals from Roderick Wolgamott and Debra Reese, underscored by hypnotic rhythms and atmospheric layers. Channeling the raw poetry of The Doors and the gritty elegance of The Velvet Underground, it's a modern anthem for navigating life’s storms with resilience and connection. "Storm Any Weather" isn’t just a song—it’s a full sonic experience. Tune in, and let it transport you.

Recorded by Jack Endino (Nirvana, Soundgarden)
Produced by Indy-legend Gordon Raphael (The Strokes, Regina Spektor) and Roderick Wolgamott
Instrumentation by Ben Ireland, guitars by Kevin Whitworth (Love Battery)

As a young music publisher, I came across Seattle’s Sky Cries Mary back in 1991, around the time they released their EP Exit At The Access. When I heard Roderick Wolgamott and his forever-evolving cast of incredibly talented creators and musicians, I instantly fell in love and became a lifelong fan and supporter. Their blend of space rock mysticism, psychedelic tribal jam band energy, and ethereal vocals has always been profound.

The film music supervisor community also has a deep affection for the group - "The Elephant Song" was featured on the soundtrack for The Harvest, "Shipwrecked" in Tank Girl, and "Cornerman" in Higher Learning.

Stay tuned for more or explore the catalog from this iconic and visionary group!

– John Anderson a.k.a. Hot Tub Johnnie

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Hunnypot is proud to be SKY CRIES MARY's official sync representative Masters & Publishing, ask us about LICENSING!