Ithaca Reggae Fest was back—and not just for one day. This year, the festival expanded to a two-day celebration in its seventh year, bringing fun, dope music, great laid-back vibes, a beautiful setting, and a super chill atmosphere. Stewart Park is the perfect location for a reggae festival; nestled up to Cayuga Lake, attendees were blessed with a refreshing lake breeze, sunny skies, electrifying performances, reggae vibes, love, and amazing people.
In addition to the music, Ithaca Reggae Fest offered the Lake Discovery Village, Yoga Village, Skateboard Village, Art Village, and Youth Village, creating an all-around wonderful weekend. The festival is dedicated to the protection of Cayuga Lake through a conscious celebration of Ithaca’s legendary reggae community and its history. Attendees also enjoyed incredible food and beverage vendors, as well as a variety of craft and merchandise vendors. Russ Friedell, a director for the festival, anticipated a record turnout this year. But for him, it’s not just about the numbers—it’s about the meaning of the event.
“The vibe of Reggae Fest is really peace, love, reggae, and community,” Friedell said. “The message of reggae music in general is pretty universal—peace, love, love one another, come together. In these times, that message has never been more necessary for us all to remind ourselves of.”
The festival kicked off on Friday evening with a free block party featuring a dance step and double-dutch troupe, GIAC Jumpers, EvoEvolution, indigenist artist Ononkwa-Medicine, and legendary reggae DJ Carter Van Pelt.
Saturday began with various yoga stations and practices, leading into the first performance of the day: the Gayogo̱hó:nǫˀ Cultural Celebration. Tribal members shared stories, songs, and dances with the crowd, even inviting attendees to join in some of the dances. A highlight was the warrior dance performed by three young members of the tribe.
DJ Mike Judah kept the reggae beats, riddims, and classic tunes flowing, setting the tone for the day’s events. Meanwhile, the Flatland Freestyle US Pro/AM Championship skateboarding runs showcased incredible athletes doing their thing.
Cha Cha & The Analogue Sons opened the music lineup with a unique sonic dub soul reggae vibe. Led by Cha Cha, a Ghanaian artist with a fantastic voice, the band delivered a sound that blended Afrobeat and reggae seamlessly. The horns and percussion added depth to their performance, and Cha Cha’s humble and sweet personality shone through.
Next up was Personal Blend, a seven-piece group from Rochester, NY, bringing an upbeat reggae rock set. Their feel-good party vibe had the crowd dancing, with the horn section and dual vocalists keeping the energy high.
The energy skyrocketed when Gunpoets hit the main stage with their hip-hop reggae fusion. The crowd danced, jumped, and screamed along as the band used their instruments and lyrics as weapons for peace, love, and justice. Their uplifting performance defied stereotypes, and I had the pleasure of chatting with Dan Lisbe afterward about his projects.
SingTrece followed, hailing from Erie, PA, with a stunning mix of soul, R&B, and funk. Her powerful, deep voice evoked comparisons to Chaka Khan, and her band was absolutely brilliant. From the horns to the percussion, every element of their performance left the crowd in awe.
Mihali took the stage next, delivering his signature jam-packed performance. His band’s horn players stole the show with their emotional and energetic playing, while the drummer’s solo was unforgettable. After the set, Mihali spent time with fans, taking photos and sharing the love.
Black Lion, from Lilongwe, Malawi, brought a unique roots reggae sound with his band Heatwav. Despite being a three-piece band, their sound was rich and multifaceted, blending complex rhythms with smooth vocals. I had the chance to chat with Black Lion, and I’m excited to add his music to my playlist.
The night’s headliner, Kabaka Pyramid, took the stage with his band, The Bebble Rockers. Known for his Rastafarian connection to Africa and his lyrical prowess, Kabaka delivered an electrifying performance. The Bebble Rockers’ riddims and beats were flawless, and Kabaka’s hip-hop-infused reggae about unity and love captivated the crowd. It was the perfect way to end the night.
Sunday morning started with rain, which delayed the yoga and skateboarding activities. But as the clouds cleared, the day turned sunny and beautiful. DJ Art-V entertained the crowd as they arrived, and Steel Pulse gave a sneak peek during their soundcheck, offering a taste of what was to come.
The day began with the Notorious Stringbusters, a bluegrass band that brought a reggae twist to their set, including covers of Toots and the Maytals. Their energy had the crowd dancing and jamming.
Ithaca’s own Metasequoia followed with their funky rock reggae vibe, blending genres like rock, reggae, alternative, and blues. Led by Star on keys and vocals and Roo on guitar and vocals, their unique sound transported the crowd back to the ’80s.
Double Tiger was a revelation. Led by Jay Spaker, the band delivered an incredible roots reggae groove. Jay’s voice, reminiscent of classic Jamaican reggae, paired perfectly with the band’s riddims and standout horn section.
New Planets brought a genre-defying set, blending reggae with funky dance music. Their performance featured Cha Cha, who added his dynamic drumming and vocals to the mix.
Giant Panda Guerilla Dub Squad, from Rochester, NY, brought high-energy jams to the stage. Their horn section carried the set, and Jay Spaker joined them for “Champion,” elevating the energy even further.
As the festival neared its end, Thousands of One delivered a powerful set of conscious music, blending afrobeat, funk, reggae, and hip-hop. Their dynamic performance featured standout moments from Jhakeem Haltom on vocals and Mark Wienand on saxophone and flute.
Finally, the legendary Steel Pulse closed the festival with a masterful performance. Led by David Hinds, the band delivered perfection, weaving their songs into a message of unity and love. Their energy and showmanship left the crowd dancing and smiling, ending the festival on the highest note possible.
TheIthaca Reggae Festis the most chill and laid-back festival I’ve ever attended. Everyone—from vendors to organizers, volunteers, photographers, and concertgoers—felt like a friend. The sense of community was palpable, and the music was unforgettable.
As Russ Friedell said, “The vibe of Reggae Fest is really peace, love, reggae, and community.” He couldn’t have been more right. If you’re looking for great music, a perfect lakeside location, and an atmosphere of love and unity, don’t miss the next Ithaca Reggae Fest. You’ll leave with new friends, unforgettable memories, and a heart full of reggae vibes.
One Love – Todd M. Judd
Tech N9ne just dropped his new album 5816 Forest, and to celebrate, he teamed up with Lil Wayne for the fifth time on a single we’re not going to forget anytime soon. “Yoda” is more than just a track; it’s a full-blown trip through hyperspace with a crash landing that leaves you reeling (in the best way possible). And the video? Pure chaos, in the most beautiful, frenzied way imaginable.
First off, Tech flexes his lyrical wizardry by actually rapping like freakin’ Yoda. That’s right, Yoda. And not in a corny, over-the-top way either. It’s bizarrely genius. Lines like “Be the, be the best I will” feel as if Tech spent a weekend on Dagobah training with the Jedi master himself. His delivery is sharp and exact, all while stepping seamlessly into this galactic persona. But don’t sleep on Weezy. He rides shotgun with classic Lil Wayne flair, dropping zingers like “I be green like Yoda,” locking into the theme with his quirky wordplay. Together, they’re effortlessly cool, weaving a track that bounces between swagger and absurdity in a way that just works.
Now for the visuals. Holy Sith, where do I even start? Picture a kaleidoscope of glowing lightsabers slicing through a haze of neon. Tech and Wayne stand at the forefront, commanding every second of the frame like they’re hosting the wildest Jedi rave in the galaxy. The video captures the vibe of the track perfectly: chaotic, creative, and completely unhinged. There’s no storyline, no deeper meaning to analyze. It’s just a visceral explosion of color, energy, and swagger.
What makes this even wilder is how proudly out-of-the-box it all is. Who else but Tech N9ne could pull off a concept like this without it coming off as a parody? He’s not just staying in his lane; he’s building new hyperlanes and pulling Lil Wayne along for the ride. These two consistently push boundaries when they collaborate, and “Yoda” is no exception.
Here’s the truth in plain English. You need to watch this video. Even if you’ve never spun a Tech N9ne track before or you think the Star Wars references might be lost on you, give this one a shot. It’s impossible not to get caught up in the sheer audacity of it all. And while you’re at it, grab 5816 Forest. If this track is any indication of what’s on the album, you’re in for a treat.
To borrow a note from Yoda himself, “Do or do not, there is no try.” Watch the video. Thank me later.
he Ruler is BACK! Richard Martin Lloyd Walters, or as we know him, Slick Rick, has been on hiatus for more than 25 years (as far as recording new music), coming out of retirement for a surprise release on Mass Appeal Media, Inc. and Idris Elba’s label, 7Wallace. The album is Rick’s first full-length project since his 1999 album Da Art of Storytellin’, which solidified his mastery of dense tales and his stylish flow. While he has been steadily performing live over the years, it was time for Slick Rick to bring out something new—something familiar, yet fresh.
Victory was four years in the making, with Slick Rick writing and recording the album between his birthplace of London and France. Rick explained that he didn’t want to record an album until he felt his artistic vision could be fully realized. Now, at 60 years old, he returns with a project billed as a visual and musical evolution. Rick described the title with his signature understatement: “Every story needs triumph.” For him, the victory is layered—surviving prison, circumventing deportation, navigating rap’s shifting eras, and arriving older yet better and stronger.
After the “Victory” intro, Rick dives right in with “Stress,” a hard-hitting track featuring a vintage old-school vibe. Over a dope drum beat, Slick Rick delivers an unyielding, fierce flow, using the chorus to lay out the reasons he’s mentally worn down—from loneliness to internal struggles. Giggs joins the track with his distinct style, detailing his own stress relievers, like treacherous women and high-quality Mary Jane. Together, Rick and Giggs create an honest and gritty track that perfectly balances agony and boasting.
“Angelic” follows with a sweet, chill yet upbeat rhythm, where Rick effortlessly glides over the beat. He reflects on the virtue of his youth compared to the disorder of today, while flexing on how much “La-Di-Da-Di” has been sampled and covered. Next is “Foreign,” which samples “Double Barrel” by Dave & Ansell Collins. With its upbeat tempo, Rick references the growing distance between him and his home, as well as the people who underestimated him during his absence. This leads into the “I Did That” interlude, where Rick reminds everyone of his accomplishments—he is, after all, The Ruler.
Rick switches things up with “Come On Let’s Go,” a house music track that feels slightly out of place on the album. While his lyrics and flow are solid, the song doesn’t quite hit, though it does feature a nice sample of “You Understand” by M. Rodriguez.
One of the standout tracks, “Landlord,” comes next, featuring a chill, reggae-infused beat. The riddim pulls you in, making you want to hit a cookout with jerk chicken, Jamaican patties, and Red Stripe. Rick vividly paints a picture of surviving the overpriced housing and hustle of New York City, showcasing his classic storytelling skills. The smooth blend of roots riddims and authentic storytelling makes this track a highlight.
After the “Mother Teresa” interlude, “Spirit to Cry” brings a chill beat with Rick flowing effortlessly over the top. The track briefly discusses those wishing for his downfall and features a slightly sped-up sample of Aretha Franklin’s “Land of Dreams.” The nostalgic beat and Rick’s flow transport listeners back to the ’90s.
Another favorite, “Documents,” features Nas and delivers masterful storytelling and gritty lyrical flow. The track’s production includes dramatic violin shots and rich old-school textures, sampling “Autumn Leaves” by Arthur Prysock. While Rick dominates his verses, Nas enters with a sharp, commanding verse that shifts the mood slightly but complements Rick’s style perfectly. Their collaboration is seamless, flowing over superb production.
“So You’re Having My Baby” hits with a piano-driven boom bap vibe, presenting a first-person narrative that feels like a courtroom testimony. Rick blends conversational speech with vivid, cinematic details, creating a compelling track.
The album returns to the club scene with another house music track, “Cuz I’m Here,” which samples “Ultra Violet” by Martin Ikin. Unfortunately, the track doesn’t quite fit the album’s overall vibe, and Rick’s flow feels less impactful here.
After the “Matrix” interlude, “We’re Not Losing” gets the album back on track with production reminiscent of RZA and Wu-Tang Clan. The beat is perfect, incorporating samples like “Un Mondo Di Parole” by Christophe, “Pulsar City Alarm” by Adams & Fleisner, and “Ironside” by Quincy Jones. Rick delivers a faster, harder flow, moving away from storytelling to bring raw energy.
The album closes with “Another Great Adventure,” a funky homage to Rick’s beginnings, produced by Q-Tip. The track has a classic A Tribe Called Quest vibe, sampling “If You’ve Got It, You’ll Get It” by The Headhunters. Rick shows a different side of himself here, mixing resilient cadences with unexpected subject matter about his daughter’s disability. His dark humor and realistic, idiomatic terms intensify the tension between empathy and discomfort, making this track a powerful closer.
The songs are relatively short, and the album is a quick listen, but one thing is certain: Slick Rick still delivers great storytelling and rhymes throughout this journey. Artists making a comeback often fall into pitfalls like long runtimes, drastic style changes, or excessive cameos, but Victory avoids all of these. Rick keeps the listener entertained and engaged.
The production, primarily handled by Rick himself, blends old-school hip-hop, house, funk, reggae, and boom bap with themes of imagination, perseverance, storytelling, and evolution. He doesn’t try to fit into today’s modern hip-hop trends; instead, the production feels like it was pulled straight from his era. Both seasoned fans and newcomers will appreciate this album as Rick channels his vibrant, relaxed charm and legendary storytelling.
The Ruler is truly back!
One Love – Todd M. Judd
Hailing from Seaview Gardens, Kingston, Jamaica, O’Neil Bryan, better known as Elephant Man, has been a mainstay in dancehall since 1995, when he burst onto the scene as part of the group Scare Dem Crew. Over the years, he has become known for his low, raspy, grumbling singing voice with a slight lisp, his trademark dyed yellow-orange hair, and his super-hyped stage performances. Alongside a few others, he has carried the dancehall torch for 30 years, staying true to the style that got him started while also evolving and adapting to the times. This ability has allowed him to retain his longtime listeners while bringing in new, younger fans.
The album kicks off with the previously released title track, “Dancing to the Max.” Using the Fiesta Riddim, Elephant Man sets the tone for the album with one clear goal: to get people dancing and having a good time. It’s the perfect song to start this dance party, and he’s already accomplishing his mission.
Next up is “God Is Good,” which samples James Cleveland and the Southern California Community Choir’s “God Is” from Cleveland’s 1979 album It’s a New Day. Elephant Man delivers a slower flow over the beat and riddim, creating a reflective yet uplifting vibe.
“Turn & Twist” follows, a reinterpretation of Chubby Checker’s original song. Rather than sampling a snippet, Elephant Man reimagines the tune with a chill riddim and a solid beat, offering a fresh take on a classic.
The energy ramps up with “Gimmi Rum,” a fun and energizing track that demands you get up and dance. The production is top-notch, featuring an infectious beat and exciting sounds throughout.
Next is “Dancing School,” which samples Diana Ross’s “I’m Coming Out.” This rousing track celebrates both old-school and new-school dances, once again compelling listeners to hit the dance floor.
“Work Out” keeps the party going with another great sample. This time, Elephant Man incorporates R. Kelly’s “Fiesta,” which itself sampled Pavlo Simtikdis’s “Fantasia.” His flow and vocals shine on this track, making it another must-dance-to anthem.
The party atmosphere continues with “Party Anthem,” featuring Busy Signal. Their styles and flows complement each other perfectly, creating a fantastic, high-energy track. It’s a collaboration that leaves you wanting more from the duo.
The album closes with a bang on “Yah Smaddy,” a track done in collaboration with Damage Musiq. This energetic finale pays respect to the communities and people in Jamaica who set the standard, while also calling out the fakes. The Montego Bay slang term “yah smaddy” inspired Elephant Man to do a roll call for the realest people in Jamaica, warning listeners to be cautious of frauds and their potential consequences.
With summer approaching, Elephant Man delivers the perfect collection of party songs that deserve a spot on every playlist. The album was brought together by an impressive lineup of producers, including Energy God Productions, DJ Mac, Damage Musiq, and Silent Addy, who crafted a series of party singles that don’t miss. Elephant Man brings his infectious energy, dope vocals, and signature style, keeping us dancing from start to finish.
One Love – Todd M. Judd
On May 29, 2025, the entire Regent Theater came to life with jumping, clapping, laughter, balloons, and boundless energy. It was the final night of Cheekface’s North America headline tour, with support from Pacing. Both artists brought a whimsical energy to the stage, each unique in their own way. It was clear that both bands have a lot of respect for one another. Together, they created a night that brought people together. The crowd was incredibly friendly and excited for the show—one fan even came dressed in a hotdog costume.
When Pacing took the stage, they immediately charmed the audience with their comedic spirit. They opened with a joke bit about chips, which had the whole crowd cheering. Lead singer Katie McTigue radiated confidence and charisma, performing with a constant smile and expressive hand gestures that added even more personality to the set. It was refreshing to see the rest of the band smiling and having fun as well.
Pacing’s setlist included songs such as “Chips,” “The Family,” “Sunny,” “Nothing! (I Wanna Do),” “Bite Me,” “Have You Tried Meditation,” “I Want to Go Outside,” “Annoying Email,” “Plnet Ftness,” “Boyfriends,” and “Live/Laugh/Laugh.” Fans of artists like Ricky Montgomery, Cavetown, and mxmtoon would love Pacing. Their songs are deeply relatable, even covering everyday struggles like canceling subscriptions. At one point, they shared a story about having to cancel subscriptions for a deceased relative, connecting with the audience in a heartfelt yet humorous way.
One of the best moments during their set was during “Boyfriends,” when they got the entire crowd to play pat-a-cake with each other. The room filled with joyful clapping and the sound of new friendships forming. Pacing is definitely an underrated artist, but their relatable music is sure to reach many more people.
Cheekface began energizing the crowd even before stepping on stage. Cardboard pigeons and a chipmunk plushie were placed around the set—a fun preview of the kind of energy they bring. Watching Cheekface live felt like being in a movie. Everyone danced like they didn’t have a care in the world. The crowd was so kind that people literally went out of their way to offer me their spot.
It was so easy to move around that I got to see the show from all perspectives of the audience, which only made the experience that much more exciting. At one point, balloons were being tossed into the air, and you could see the glow in the eyes of the crowd. Their guitarist brought rockstar energy with dramatic hair flips, while another band member performed with sassy, bouncy movements. Cheekface even got us to sing about cup noodles—over and over again. Their music offers a comedic yet pointed commentary on the state of society, including themes like social media. If you like Rare Americans, you’ll definitely enjoy Cheekface.
Their setlist included “Popular 2,” “Best Life,” “Flies,” “Featured Singer” (with a Cha-Cha Slide break), “We Need a Bigger Dumpster” (mashup with “Pink Pony Club”), “Rude World,” “Life in a Bag,” “Growth Sux,” “I Only Say I’m Sorry When I’m Wrong Now,” “Wind Is Gone,” “Noodles,” “When Life Hands You Problems,” “Military Gum” (mashup with “Give It Away”), “Eternity Leave,” “Art House,” “Yo Guy,” “Content Baby,” “You Always Want to Bomb the Middle East,” “Dry Heat,” “Hard Mode,” “Listen to Your Heart.” “No.,” and “Living Lo-Fi.”
One of the most epic moments of the night was when they got the entire audience to do the Cha-Cha Slide. Toward the end of the show, they took a moment to honor Stubbs, the band’s iconic dog mascot, who passed away during the tour. In their own way, Stubbs will continue to live on in the band’s art and in the hearts of fans. Hearing the lead singer’s speech was a poignant reminder to keep going, no matter how hard life gets—that there are things worth staying alive for. Cheekface is definitely a band the world needs right now.
I also want to give a special shoutout to my friend Tre, who told me about the show and has been running lights for the entire tour. Straight-up legendary work—the lighting that night was top-notch and the reason I was able to capture so many cool shots. The crew is a huge part of what makes a show like this happen, and the entire night was flawless.
I’m so glad I went and will now be playing Pacing and Cheekface on repeat. These are artists you definitely want to check out.
When the metal gods roll into Atlanta, you expect the sky to crack open, stadium foundations to quake, and enough raw, volcanic energy to power the entire South. Metallica’s June 3rd, 2025, spectacle at Mercedes-Benz Stadium delivered on that promise—blasting eardrums and scorching retinas.
Suicidal Tendencies kicked off the evening, though no press was allowed. Having seen them live before, I can confirm they’re legends, and braving the traffic to catch their set early is highly advised. The floor area was still filling up, so fans could easily get front and center for their performance.
Pantera was the first band I caught, delivering a fierce yet somewhat disjointed set. Their formidable power was diluted by the round-stage setup, which spread the band out and lacked the cohesion of the tight unit I’ve seen before. Phil Anselmo’s voice was incredible, and he prowled the stage, giving everyone a few moments of his intensity. If you ever get the chance to see Zakk Wylde and his Black Label Society, don’t miss it—he’s always amazing to watch. While Pantera remains an explosive band, this performance felt more like four individuals playing alone rather than a unified group.
Finally, the time came for Metallica to rage. Nearly sold out and rabid, the Atlanta crowd came ready to riot—loud, raucous, and shockingly youthful. When James Hetfield took a poll, half the hands shot up as Metallica virgins, a testament to the viral surge "Master of Puppets" received after its feature in Stranger Things. Hell, my first Metallica gig in 1986 had fewer fans in attendance than tonight’s merch line—a comparison that’s both depressing and glorious in equal measure.
Metallica barreled in with "Creeping Death," igniting the arena with thrash-punk pyrotechnics. Lars Ulrich’s drum kit setup was a cool trick. Never one to stay buried in the back, he had several kits embedded in the floor around the giant round stage, moving from kit to kit and giving fans a closer look. It added a manic delight to the showmanship, offering everyone glimpses of his sneering intensity.
But let’s be brutally honest about the circular stage gimmick: it’s a feast-or-famine gamble. One moment, you’re eye-to-eye with Hetfield, snarling out lyrics like a preacher possessed; the next twenty minutes, you’re stuck staring at empty microphones and vacant space. Even the towering screens, which leaned heavily on psychedelic visuals over practical live feeds, occasionally left fans gazing into abstract oblivion. I get it—they’re playing to a football stadium and want everyone to have the best experience, but I’d rethink those expensive floor seats.
Still, when Metallica hit their stride, the logistical grievances vanished into the vortex of sheer sonic catharsis. The savage churn of "For Whom the Bell Tolls" was gloriously brutal, and newer tracks like "If Darkness Had a Son" blazed with youthful venom. These aren’t aging rockers grasping at relevance—they’re primal beasts who’ve only sharpened their claws with age.
Robert Trujillo and Kirk Hammett’s mid-show doodle was a quirky highlight. Their spontaneous cover of "No Remorse" merged bizarrely and brilliantly into The Allman Brothers Band’s "One Way Out," a playful nod to the Southern setting that the crowd devoured like barbecue on a Sunday.
"Nothing Else Matters" offered a much-needed moment of communal vulnerability, with thousands of glowing smartphones illuminating faces and transforming the stadium into a cathedral of metal balladry. But sentimentality was fleeting, obliterated by the joyous chaos of that riff that set the metal world on fire in 1982: "Seek & Destroy."
As an old-school fan, I wanted to see a massive mosh pit encircling the round stage—thrashing rage, stage divers going over the railings, blood, and pandemonium. Instead, we got beach balls. I get it—that’s not who the band or the audience is anymore. Still, the only rage I felt was my own, watching everyone have fun with those massive beach balls.
Ultimately, Atlanta bore witness to Metallica’s defiant insistence on blending primal chaos with reflective melody, sentimental nostalgia with raw aggression, and quirky imperfections with breathtaking showmanship. Was it flawless? Never. Was it magnificent, absurd, and genuinely unforgettable? Absolutely. Because rock and roll at its best is never clean or tidy—it’s messy, loud, exhilarating, and undeniably alive. Metallica, even decades on, embodies that beautifully.
As bands grow, their music almost always evolves and changes. For some bands, this evolution can be a great thing, with fans staying along for the ride and enjoying the journey. For others, it can be divisive, with fans taking sides—only liking certain periods of a band’s career and feeling upset when bands choose to focus on specific eras of their music during live performances. Aesthetic Perfection can sometimes fall into this category, as their music has evolved and changed significantly over the years. However, Daniel Graves decided to give back to his fans with an Old School Electronic Tour, featuring songs released only before 2011. The tour ended with a hometown show at The Paramount in Los Angeles, CA, with support from Nyxx and genCAB. Fans lined up around the block, eager to hear some of Aesthetic Perfection’s classics.
Opening the show was genCAB (short for Generation Cable). I first saw them a couple of years ago, opening for Aesthetic Perfection on their last U.S. tour. The band is comprised of former Aesthetic Perfection members, with David Dutton on vocals and keyboards and Tim Van Horn filling in on drums for this show. This was my second time seeing Dutton as the frontman of his own band, and I could see how much his stage presence has evolved. He played up to the audience more, strutting around the stage when not tied to his keyboard. Dutton puts his whole body into his performance, and Van Horn matches that energy on drums. Using a smaller electronic kit with a drum pad, Van Horn programmed powerful hits and sounds, adding flair and intensity to the music.
genCAB captivated the crowd, even those unfamiliar with their music, with songs like “Of Love & Death,” “Cake,” “Six Hits,” “Seafoam Cemetery,” “Siren Song,” “Another Glass Eye,” and “Channel the Past.” They’ve been gaining traction in the industrial scene, and I highly recommend checking them out when they come to a venue near you.
Up next was Nyxx, a solo artist I first discovered when I saw Aesthetic Perfection live in 2017. I became an instant fan, and it’s been a pleasure watching her music evolve over the years—from her industrial pop beginnings to the heavy, hard-hitting songs she’s releasing now. Her set showcased the best of both styles.
Kicking off with “Gun,” Nyxx set the tone for the rest of her performance. The song fused a dance beat with a haunting melody, and her seductive vocals carried a false sense of security, masking a more sinister message. She also performed duet songs like “Body Count” and “Voodoo,” handling them perfectly without her co-singer. Many fans, myself included, were hoping Daniel Graves would join her for “Voodoo,” but alas, it didn’t happen.
Nyxx maintained her seductive energy throughout the set, dancing and performing for the crowd while singing about female empowerment with songs like “Nightmare,” “FERAL,” “Salt,” “Pussy Liquor,” and ending with “Crown.” Having covered her first headlining tour last year, I can’t wait to see her return to the stage as a headliner again, especially as she continues to build her fan base with new, hard-hitting tracks.
Finally, it was time for the old-school electronic set with a classic Aesthetic Perfection lineup. Daniel Graves hit the stage in a more traditional industrial goth look, complete with his signature dripping football eye black. This was the Daniel many fans, including myself, first discovered, and while I’ve enjoyed the evolution of his stage persona, seeing this version of him again felt nostalgic and comforting.
Kicking off with “The Great Depression,” Daniel was a ball of energy, running and jumping across the stage as the crowd fed that energy right back to him. The Paramount transformed into a late-night goth club, with fans dancing in the back of the room. You could see in Daniel’s eyes how much he enjoyed seeing the crowd’s excitement as they heard these songs live again.
The setlist was packed with fan favorites, including “Schadenfreude,” “Fix,” “Architect,” “Pale,” “The Siren,” “Beautiful,” “I Belong to You,” “My Master,” “Blood Runs Cold,” and “Coward.”
For this special old-school set, Daniel was joined by his former bandmate David Dutton on keyboards. Unlike his energetic performance with genCAB, Dutton was more reserved, letting Daniel shine as the star of the show. As a surprise, Tim Van Horn joined the band for the encore, adding even more nostalgia and joy to the night. With Tim on drums, the final songs—“The Dark Half,” “Inhuman,” and “Spit It Out”—were electrifying, even sparking a mosh pit.
As the final song ended, Daniel looked out at the crowd, seeing fans singing, cheering, dancing, and moshing. He couldn’t help but get choked up as he thanked everyone for coming to this special hometown show.
Thank you to Aesthetic Perfection for being willing to do a throwback set. It transported so many of us back to our younger days, when we were just discovering the industrial and gothic scenes, and these songs were staples in every club. Talking with Daniel after the show, it’s clear this tour has revitalized his passion for making music. I can’t wait to see where this renewed love for his older material takes him creatively with his new songs. Whatever comes next, I’m confident Aesthetic Perfection will continue to deliver industrial pop greatness.
“Just be Jason, and John will come naturally.” This is what someone told Jason Bonham when he felt he was struggling to handle his legendary father’s drum parts as Led Zeppelin was practicing for their 2007 performance at the O2 Arena in London. (If you haven’t seen the film Celebration Day, go watch it.) Jason shared this anecdote and many others during a stellar performance of Jason Bonham’s Led Zeppelin Evening (JBLZE) at the Greek Theatre in Los Angeles. It was a warm night, but Jason and the band brought the full thunder of Led Zeppelin.
2025 marks the 50th anniversary of Physical Graffiti, Led Zeppelin’s sixth album. It was the first album to ever ship platinum (one million copies) and has sold over 13 million worldwide to date. The double album features an incredible range of styles, including Middle Eastern rhythms, funk, blues, heavy rock, and acoustic music. It showcases what Jimmy Page called the “Light and Shade” of Led Zeppelin.
Jason Bonham has been performing Led Zeppelin music on tour for over a decade. On this tour, he and his band played Physical Graffiti in its entirety. From the very opening riff of “Custard Pie,” the audience roared. When Bonham started the drums for “The Rover,” the crowd screamed. And when the pummeling guitar riff of “The Wanton Song” kicked in, the realization that Led Zeppelin’s music—now part of our collective DNA—was being performed to near perfection was complete. (A special note: “The Wanton Song” is not third on the Physical Graffiti tracklist. While the album was played in its entirety, it was not performed in order. Bonham even joked about audience members not being able to plan drink or bathroom breaks.)
This edition of JBLZE has the power, groove, and range of Led Zeppelin down to a science. Starting with Bonham’s not-so-secret weapon: Mr. Jimmy on guitar. A once-unknown guitarist in Japan, Akio Sakurai has dedicated his life to honoring Led Zeppelin guitarist and founder Jimmy Page. His moves and looks are reminiscent of the iconic guitarist, but most importantly, if you close your eyes, his playing is spot on. There’s even a documentary about Sakurai’s journey that’s well worth watching.
The rest of the band is equally talented and serves Jason and the music well. James Dylan on vocals has the unenviable task of taking on Robert Plant’s frontman/lead singer role. Unlike Sakurai, he doesn’t try to mimic Plant’s look or style. Instead, he relies on his voice, which handles everything from the howls of “Custard Pie” to the softer, almost humorous phrasings in “Black Country Woman.”
John Paul Jones was an incredible bass player, and JBLZE’s Dorian Heartsong is an accomplished artist and musician in his own right. His playing anchored the entire night, and he added mandolin to the acoustic part of the set. Rounding out the band was Alex Howland on keyboards and guitar.
If you’re a fan of Physical Graffiti, the band made every song feel like a highlight. They gathered in front of Jason’s drums for a three-song acoustic set featuring “Bron-Yr-Aur,” “Boogie with Stu,” and “Black Country Woman.” Alex Howland brought the funk to the keyboards, getting the audience moving and grooving during “Trampled Under Foot.” The final song from the album was the epic “Kashmir.” Jason explained how his father earned songwriting credits on the track by singing the iconic riff to Jimmy Page.
The two encore songs, not from Physical Graffiti, were “Whole Lotta Love” and “Rock and Roll.”
May 31 is John Bonham’s birthday, and he would have been 77 this year. Jason asked the audience to turn on their flashlights, raise them high, and give Bonzo a giant birthday cake. Bonzo’s presence was felt throughout the night in every drum hit and bass drum kick. His playing was so influential that it became the blueprint for much of rock music. (Many consider John Bonham the greatest drummer of all time, not just in rock.) Jason’s anecdotes were touching—like recalling the night his mom first saw Bonzo perform on stage—and funny, such as a young Jason asking his dad why the song “Houses of the Holy” isn’t on the album Houses of the Holy. The answer: “Because it’s Jimmy’s band.”
Jason Bonham’s Led Zeppelin Evening is not a tribute band. It’s an incredible tribute to the music, the album Physical Graffiti, the band Led Zeppelin, and the father and drummer, John Bonham. Jason Bonham may have had the hardest job of the evening, but his talent, passion, and love came through the entire night. He does his father’s legacy proud.
Keeping it all in the family, the opening act was Jager Henry, Jason Bonham’s son. He’s the singer and frontman of a band featuring Cash Lane on bass, Cameron Nino on guitar, and Michael Rose on drums. Jager has a ton of talent, and his eight-song set featured most of the tracks from his debut EP, Heart of Thorns. As he writes his own songs and makes his mark in the music world, Jager is definitely worth listening to and seeing in the future.
Born and raised in St. Catherine, Jamaica, Hector Roots Lewis developed a deep love for music early on, influenced by his mother, the legendary reggae songbird Barbara Jones. Her impact continues to shape his approach to music and the performing arts, enhancing his talent and blending classic influences with modern sounds. The Grammy-nominated artist showcases versatile talents that cross genres beyond reggae, including dancehall, calypso, Latin, Afrobeats, Haitian kompa, and bouyon from Dominica. By melding these genres, Hector has created a unique vibe and style, blending roots, soul, and conscious energy.
Over the years, Hector has played and toured with the likes of Collie Buddz, Chronixx, Mike Love, and Tribal Seeds. It was two years ago, while touring with Tribal Seeds, that movie casting director Avey Kaufman reached out to his management team, inviting him to audition for the role of the late drummer Carlton ‘Carly’ Barrett of The Wailers in the upcoming Bob Marley: One Love biopic.
“I was at the end of the tour when I submitted the audition video electronically in October 2022,” Hector recalled to Loop Entertainment, “then they told me I was shortlisted… about a month later, we got an email confirming I had got the role.” Reflecting on the opportunity, he added, “It was very surreal. I felt a range of emotions—excited, nervous, honored, humbled, happy, and ready to do my best.”
For his latest album, Hector teamed up with producer, artist, multi-instrumentalist, and longtime member of Stick Figure, Johnny Cosmic. A contributor to a Grammy Award-winning album, Johnny Cosmic is one of the most underrated producers in reggae music and an all-around talent. Together, they set out to create an album that is not only great but also meaningful and adventurous.
The album kicks off with “Peace of Mind,” a sweet reggae riddim that sets the tone for the cosmic journey ahead. Hector’s smooth vocals perfectly complement the classic reggae beat, making it an ideal opener. Next is “Strength,” which starts with a California-esque reggae groove and some great guitar work. Hector delivers powerful lyrics that flow seamlessly into a catchy chorus.
Busy Signal and The Movement join Hector and Johnny Cosmic on this upbeat track, with Busy Signal’s signature flow dominating the verses. Josh Swain of The Movement adds a dynamic lyrical flow, changing tempos and taking the song to another level. While Hector shines on the chorus, Busy Signal and Josh undeniably steal the show.
“Battle Cry” features KA$E and brings an '80s vibe to the album. Hector leads the track with a military-like cadence, while KA$E’s unique vocal tone, reminiscent of 1980s Jamaican music, immediately grabs attention. The hypnotic production, with a slight Latin influence, enhances the song’s captivating energy.
“Possibility” follows with a modern-roots riddim, delivering a powerful anthem of hope and determination. The soulful tune “Fire” pays homage to music and the passion it ignites within us. With a rocksteady/lovers rock mood, this track is impossible not to dance and sing along to. J. Boog joins Hector on this jam, bringing a fantastic flow and elevating the song, especially when he picks up the tempo. It’s one of the album’s standout tracks.
The rocksteady/lovers rock vibe continues with “Where I Belong,” a feel-good groove that keeps your head bobbing. Hector captures the joy of music, saying, “What’s life without music to celebrate our festive moments?” The album only gets stronger as it progresses.
“Sound a Beat” delivers another sweet, chill, rootsy groove. Hector mixes up his sound, cadence, and flow, keeping the track fresh and engaging. The album concludes with “Celebration,” a perfect closer featuring a classic roots reggae riddim. Hector’s vocal range shines here, and the classic keyboard in the background takes the song to another level.
What do you get when you combine an amazing reggae artist with one of the top reggae producers? You get Cosmic Roots—possibly the best album of the year so far. Each song offers a fresh sound, an upbeat positive vibe, and incredible lyrical flow. As the album progresses, it becomes more meaningful and adventurous, taking listeners on an unforgettable journey.
Do yourself a favor and check out this strong collection of songs. Find out why it’s the top album of the year.
One Love – Todd M. Judd
For all the downsides that may come with Spotify and how it treats artists, there’s no denying that it has helped thousands of bands reach millions of people they might never have otherwise. I’ve discovered some of my newest music obsessions through the app, and one of those happens to be Honey Revenge. Even though they’re a local Los Angeles band, I’ve somehow never managed to catch them live—until now. They’ve set off on their own headlining tour, The Loving and Losing Tour, making a hometown stop at the famous Glass House in Pomona, CA. The line wrapped around the block before the doors opened, with fans eager to see Honey Revenge, supported by Daisy Grenade, Vana, and Nightlife.
Opening the show was Baltimore soul-punk trio Nightlife. Normally a quartet featuring a guitarist and bassist, they switched up their lineup for this tour. The performance featured Hansel Romero on vocals, Isaiah Walker on drums, and Allan Rafael Romero as the group’s sexy sax man. Kicking off their set with “nightlifetypebeat,” the band strutted onto the stage oozing sex appeal and charisma. Hansel’s smooth, jazzy voice felt like he was singing directly to each person in the crowd. Isaiah kept the beat flowing and danceable, while Allan’s saxophone added an infectious groove that made their sound truly stand out. The audience couldn’t help but grind and sway to the music. At one point, Hansel called for a pit to open up but encouraged fans to turn it into a dancing pit. He even joined the crowd, dancing and singing right in the faces of fans. Nightlife kept the momentum going with songs like “fallback,” “you know,” “fool me once,” “better,” “i/o,” and ended with “new low.” Their sound can only be described as modern baby-making music—put this on in the bedroom, and things are bound to happen.
Next up was Vana, an artist hailing from New Zealand. Vana brought a standout sound to the tour, blending dark pop with the heaviness of metalcore. When she stepped in front of the crowd, all eyes were locked on her alluring presence. Her performance seamlessly alternated between clean, melodic vocals and harsh screams. Her clean vocals carried a hypnotic quality, pulling the audience into a trance before her ferocious roars unleashed chaos. The crowd mirrored her energy, shifting from seductive dancing to raging bodies as the mosh pit opened up. She even called for a wall of death, which the fans at the Glass House eagerly obliged. Vana delivered the heaviest set of the night with songs like “NOXIOUS,” “HARLEQUIN!,” “PLEASER,” “Serpentine,” “BITE BACK,” “BEG!,” and ended with “Clandestine.” For fans of Poppy, who blends pop, metal, and electronic, Vana is a must-listen as she carves her own path in a similar vein.
The penultimate act was Daisy Grenade, featuring the dynamic duo of vocalist Keaton Whittaker and Dani Nigro, who also handled acoustic guitar duties. Their bubbly, playful aesthetic contrasted with the serious themes in their lyrics, which tackled issues like heartbreak, the male gaze, societal pressures, and reclaiming power. Their upbeat singing style often masked the depth of their lyrics, but once you caught the meaning, it opened your eyes to their powerful messages. This realization hit me during “Guts,” when Keaton locked eyes with me while singing about the struggles of being a woman. Daisy Grenade kept these themes flowing with songs like “So Happy,” “Cult Classic,” “How to Hide a Body,” “Are You Scared of Me Yet?,” “Don’t Sweat It,” “Taste,” “Liquor and Kerosene,” “Riot,” “Hypocrite,” and ended with “Sick.” Fresh off the Pierce the Veil arena tour, Daisy Grenade is clearly on the rise, and I can’t wait to see them headline their own tour in the future.
Finally, it was time for the headliner, Honey Revenge, who were thrilled to perform for their hometown crowd. They kicked off their set with their latest song, “Risk.” Though the track had only been out for about a week, the crowd sang along with vocalist Devin Papadol, word for word. Guitarist Donovan Lloyd backed up Devin with grooving guitar lines that created an irresistible beat, sparking a dance session in the crowd. Devin danced between vocal breaks, adding a fun, breezy energy to the show, while Donovan played with a huge smile, clearly enjoying every moment on stage. The joy was infectious, as the crowd sang every song with smiles on their faces and emotions flowing as they connected with the band.
The setlist included fan favorites like “Seeing Negative (Disappointment),” “Recipe for Disaster,” “Sensitive,” “Distracted,” “Favorite Song,” “Rerun,” “Fight or Flight,” “Scapegoat,” “Habitual,” “Medicine,” “Ride,” “Murphy’s Law,” “Worst Apology,” “Are You Impressed?,” and “Airhead.” Honey Revenge even played three unreleased tracks—“Jealousy Monster,” “Loving and Losing,” and “Concentrate”—to fill out the setlist. After playing every song they knew, there was no encore. Instead, Devin shared a quick story about how sound-checking to a hardcore song sparked the meme name “Heavy Revenge.” The band then surprised the crowd with a cover of Knocked Loose’s “Counting Worms.” For a few moments, the dance pit turned into a chaotic mosh pit, with fists and kicks flying.
Tours often try to stack the lineup with complementary bands to maintain a flow throughout the night, but not every tour succeeds. That wasn’t the case for The Loving and Losing Tour. Honey Revenge curated the perfect support acts, with Nightlife, Vana, and Daisy Grenade connecting with the fans just as strongly as the headliner. Each band gave their all, and you could argue that any of them stole the show. This is the kind of tour people will place on a pedestal for how perfectly it was put together. With five weeks left and a show almost every night, do yourself a favor and make sure you’re in the crowd. You’ll regret missing this one.