Volbeat, Halestorm, and The Ghost Inside joined forces for an unforgettable night of rock and metal at the Toyota Amphitheatre in Wheatland, CA. With Volbeat headlining, the evening promised a high-octane blend of melody, muscle, and metal mastery. Halestorm brought their signature storm of raw energy and theatrical flair, while The Ghost Inside opened the show with an emotional and cathartic performance that set the tone for the night. From crushing riffs to heartfelt moments, this lineup delivered a powerhouse showcase of resilience, passion, and pure rock ‘n’ roll magic. Fans of all three bands were treated to a night they’ll be talking about for years to come.
The Ghost Inside kicked off the show with a vengeance, and Wheatland bore witness to a band that has never sounded more powerful, focused, or grateful. From the first crushing notes of “Avalanche,” the band hit the ground running. Frontman Jonathan Vigil commanded the stage with a sense of purpose, his vocals alternating between unrelenting fury and heartfelt sincerity. Whether it was the defiant “Still Alive” or the crowd-igniting “Engine 45,” each track resonated deeply with fans who screamed every lyric back with conviction.
Zach Johnson and Chris Davis delivered punishing riffs with precision, while Jim Riley’s bass lines added depth and weight to every breakdown. Perhaps most inspiring was Andrew Tkaczyk behind the kit—his drumming was tight and thunderous, a true testament to perseverance after surviving the band’s horrific 2015 bus crash.
The band’s set was a perfectly paced rollercoaster: part throwdown, part therapy session. Midway through the show, Vigil paused to thank the fans for sticking with them during their long road to recovery. It was raw, it was real—and the crowd soaked up every word.
The Toyota Amphitheatre was packed with metalcore die-hards, longtime fans, and a surprisingly large contingent of new listeners clearly moved by the band’s story. The energy was electric—constant moshing in the pit, emotional outbursts during slower moments, and a deep sense of respect between band and audience. Security had their hands full but did a solid job managing the occasional flare-up in the circle pit.
The Ghost Inside didn’t just perform—they inspired. It was a night of resilience and release, proving once again that their story is far from over. Wheatland witnessed more than a concert—it saw a statement.
Carrying on in the sweltering summer evening in Wheatland, CA, the thunder rolled early—not from the sky, but from the stage—as Halestorm delivered a volcanic performance. Halestorm proved once again that they’re moving up in the world of rock and roll.
As the sun dipped behind the horizon and the stage lights flared to life, Lzzy Hale emerged in commanding fashion. Drenched in attitude and leather, she wasted no time, launching into “Fallen Star,” a slow-burning anthem that built into a crushing crescendo. From there, the band tore into a stacked setlist that mixed fan favorites, newer deep cuts, and a couple of curveballs.
The crowd—already buzzing—erupted during “Love Bites (So Do I)” and “I Miss the Misery,” singing every word back like a choir of rebels. Lzzy’s voice soared with surgical power, effortlessly transitioning from gritty growls to pure melodic fire. Her presence was magnetic, holding the entire amphitheater in the palm of her hand.
Let’s take a moment to talk about Arejay Hale—Halestorm’s drummer and wild man-in-chief. His extended solo was part performance art, part drum clinic. He pounded out rhythms like a man possessed, flipping sticks, standing on his kit, and egging on the crowd. If there were any doubters in the audience, they were believers by the time he wrapped.
Just as the band launched into the thunderous “Rain Your Blood on Me,” something surreal happened—a real storm rolled in. Rain came pouring down, lightning flashed in the distance, and the crowd lost its collective mind. Rather than retreat, Halestorm leaned into the chaos. The timing was so cinematic it felt scripted. Instead, it was pure, unscripted rock ‘n’ roll magic.
Each song was tight, yet alive with improvisation—showcasing not just talent, but passion. Guitarist Joe Hottinger traded blistering solos with Lzzy, while bassist Josh Smith kept the engine roaring underneath. Their set was loud, theatrical, and unapologetically raw. Lzzy Hale continues to prove she’s one of rock’s most commanding frontwomen, and the band remains a finely tuned storm of sound and fury.
Whether you came for Halestorm or Volbeat, this was a night no one in Wheatland will forget. Halestorm didn’t open the show—they nearly stole it.
Volbeat’s return to Wheatland brought a storm of metal, melody, and muscle to the Toyota Amphitheatre, and despite some unexpected vocal strain from frontman Michael Poulsen, the band delivered a gritty, high-octane performance that fans won’t soon forget.
From the moment they launched into their cover of “Children of the Grave” (a nod to their Black Sabbath roots), the energy was undeniable. Poulsen, though clearly battling vocal fatigue, powered through like a seasoned warhorse. When his voice faltered, the band didn’t retreat—they adapted. Tracks like “Seal the Deal” and “For Evigt” became mostly instrumental, with the audience picking up the slack, singing and whistling the melodies with communal pride.
Fan favorites like “Lola Montez,” “Sad Man’s Tongue,” and “Still Counting” lit the place up, backed by a rock-solid rhythm section and arena-worthy production. Smoke cannons, dynamic lighting, and the ever-charismatic Flemming C. Lund’s guitar work kept the crowd engaged. The band even played their newer material, slipping in cuts from Servant of the Mind and teasing fans with riffs from their upcoming album.
Though missing a few songs (“Temple of Ekur” and “Devil Rages On” were skipped), the crowd response was nothing short of reverent. Rather than complain, the audience rallied. It felt more like a giant metal family reunion than a concert—fans moshing up front, swaying in the back, and singing their lungs out like backup vocalists. One particularly unforgettable moment occurred during “For Evigt,” when the crowd collectively whistled the Danish chorus. This unexpected but beautiful turn showed just how locked in everyone was with the band’s every move. Volbeat’s ability to pivot mid-show without losing impact speaks volumes. Lesser bands might have folded under the pressure, but Volbeat turned a vocal setback into a communal triumph. Their connection to the fans was honest, raw, and loud.
Even with a few hiccups, Volbeat’s Wheatland show proved why they’re one of metal’s most dependable and dynamic live acts. The Danish rockers played with heart, humor, and heavy hooks—reminding everyone that the show must go on… and sometimes, even better than planned.
The Movement has been making waves in the reggae-rock scene for 22 years and continues their journey with their ninth studio album, Visions. This energetic, lively, and captivating album features impressive collaborations and some of the group's strongest material to date. Josh Swain, Jason Schmidt, Gary Jackson, Matt Goodwin, and Kyle Jerome continue to evolve and challenge themselves creatively, showcasing strong songwriting that truly shines. While many groups reach their peak and stop growing, The Movement is still on a steady rise, both musically and in popularity.
This musical journey begins with “Wake Up,” which poses the philosophical question, “What are we here for?” The track delivers a sweet, relaxed vibe and conveys a beautiful message: “We’re here to learn, to cultivate, to develop, to wake up.” This smoothly transitions into “Putting Up 2,” maintaining the chill music and vibe. The song captures The Movement’s signature style, with Josh pouring his heart and soul into the verses.
Next, Tribal Seeds joins in on “Deep Blue Sea,” featuring a trap-infused groove that showcases a captivating bass and drumline. Steve Jacobo contributes a compelling verse, perfectly blending Tribal Seeds’ groove with The Movement’s style. While having both Steve and Tribal Seeds on this track is fantastic, it is Josh who truly dominates with his lyrical flow.
As soon as the title track, “Visions,” begins, you can instantly tell that Stick Figure is collaborating on this song. The chill vibe of Stick Figure blends seamlessly with the distinct sound of The Movement. It’s a perfect combination, as Josh and Scott Woodruff complement each other both rhythmically and lyrically. The music makes you feel like cruising down the street with the top down.
In “River Guide You,” we get an upbeat groove that conveys a positive message: embrace the flow of life and trust the natural course of events instead of resisting them. The song’s optimistic nature, combined with an Indian-influenced loop, enhances the feeling of surrendering to that flow. Josh switches up the cadence, elevating the song to another level.
“Nice & Slow,” featuring The Elovaters, delivers a breezy, beachy, and reflective tune. This slower, chill song invites listeners to take a step back and appreciate what they have and what life has to offer. Josh sings:
“Do you see the past and future only?
Struggle with the moment and fight to hold the memory
Of the fallacy of the old me.
Because, homie, this scene seems so lonely.
Gotta cool down. Yeah, we want to take it nice and slow.”
Jackson Wetherbee adds a laid-back and smooth verse that effortlessly floats over the sweet reggae groove.
We also get another outstanding collaboration with Nick Hexum of 311 on the track “So Cool.” This song is indeed cool! It features a sweet reggae rhythm with a slight 311 vibe, especially noticeable in the guitar at the end. The chorus, where Nick repeats Josh’s words, hits just perfectly.
The rootsy reggae vibe continues with “Make It Through,” creating a chill atmosphere. This song is perfect for when you’re missing that special someone; it will help you get through those tough times. The lyrics describe the longing beautifully:
“Every time I close my eyes, I see your face.
And every time I hear the wind blow, it speaks your name.
It feels like since you left, the sun never shines.
But I can still feel your loving heartbeat next to mine.
Yes, I know I will make it through.”
Next, we have one of my favorite tracks, “Promised Land.” With its laid-back vibe and uplifting message, this song resonates deeply. Josh delivers wonderful lyrics and finishes it off with a nice rap flow.
Then comes “Selene,” another easy-listening love song featuring beautiful Spanish-style guitar melodies. This track is guaranteed to put a big smile on your face as you groove to the sweet rhythm.
We have the vibey, summertime anthem “Live It Up,” featuring The Green and Caleb Keolanui. This song celebrates life, love, and the joys of summer. It’s another top track that will be on repeat throughout the season and beyond. The Hawaiian groove brought by The Green, along with Caleb’s fantastic verse, makes this song a must-listen.
“This Is Your Life” is a bass-heavy, reflective track that blends hip-hop and dancehall influences. It stands out as a unique song that may not typically fit the album’s overall theme, yet it surprisingly works well, featuring hypnotic strings and a Balkan brass sound.
We conclude this musical journey with Johnny Cosmic joining the group on the reflective and soulful track “Hand Grenade.” The song begins with gentle acoustics and Josh’s sweet vocals, then transitions into an explosive wave of sound and instruments, creating an exhilarating experience. It’s truly a distinctive sound and a lot of fun!
The Movement has released an amazing album that takes listeners on a breathtaking journey and serves a powerful purpose. As they continue to grow, they are quickly establishing themselves as one of the top reggae-rock bands. Their latest album, Visions, is an energetic, dynamic, and mesmerizing experience. The remarkable collaborations featured on the album add diverse sounds and demonstrate their growth as artists.
One Love – Todd M. Judd
The news of Ozzy’s passing hit me like a freight train. It’s hard to put into words the impact he had on my life, even though I wouldn’t have called myself his biggest fan. Ozzy was more than just a musician; he was a force of nature, a cultural icon, and a cornerstone of the music that shaped me. His influence on hard rock and metal is undeniable, and his legacy will echo for generations.
I can still remember sitting in my Uncle Jim’s bedroom as a wide-eyed 12-year-old, spinning Blizzard of Ozz and Diary of a Madman on his turntable. Jim was like my older brother, and he would explain to me in no uncertain terms why hard rock like Ozzy’s was so important, not just as music but as a way of life. Those moments with Jim were the spark that ignited my love of music—a love that has burned brightly ever since.
Fast forward a few years, and there I was, out in an empty field with my friends Tom and Jeff, drinking Bartels & Jaymes and blasting The Ultimate Sin on Jeff’s brother’s oversized boombox. We’d stumble home afterward, singing every word, laughing and smiling like we didn’t have a care in the world. Those were the nights that made us feel alive, and Ozzy’s music was the soundtrack to it all.
My first of a dozen Ozzy concerts was on August 3rd, 1989, at Irvine Meadows in California. I’ll never forget the electricity in the air, the way the crowd roared, and the sheer power of Ozzy’s performance. It was an unbelievable experience that deepened my love for live music and showed me just how transformative a concert could be.
Then there were the memories with my dear friend Randy Allen (Rest in Peace) , who could play "Crazy Train" and those iconic Randy Rhoads solos with such precision it gave me chills. I can still picture him kicking open his bedroom door open, guitar in hand, shredding like a man possessed. With his brother Brad and Darren in attendance (still to this day my best friends) , our collective jaws dropped in sheer amazement as Randy channeled his inner Prince of Darkness while we just sat and soaked in the magic of those priceless moments. Randy’s talent and passion for Ozzy’s music were a testament to the impact Ozzy had on musicians everywhere, and I am sure Randy is now jamming with Ozzy in heaven.
Of course, not every memory was perfect. I’ll never forget the heartbreak of my first Ozzfest on July 9th, 2006, when I found out Ozzy wouldn’t be performing. I was devastated. But even in his absence, his presence loomed large in bands like System of a Down, Avenged Sevenfold, Disturbed, and Black Label Society. That’s the kind of artist he was—his influence was felt even when he wasn’t on stage.
When I heard the news of his passing, I couldn’t hold back the tears. I put on "Mama, I’m Coming Home" and let the emotions wash over me. The outpouring of love for the Ozzy was overwhelming but not surprising. He meant so much to so many people around the world. His career spanned over 50 years, and he influenced thousands of bands. He truly was the Godfather of Heavy Metal.
Even my shih-tzu, Izod, carries a piece of Ozzy Osbourne with him—his nickname is Ozzy. That’s how deeply ingrained he is in my life, in my memories, and in my heart.
Ozzy Osbourne may be gone, but his music, his spirit, and his legacy will live on forever. Rest in peace, Prince of Darkness. Thank you for the music, the memories, and the magic. You’ll always be a part of me.
- Matthew Belter
Ballyhoo! kicked off their Summer 2025 tour in Harrisburg, PA, at XL Live, celebrating 30 years of beach rock, punk, and reggae. It’s incredible that after three decades, Ballyhoo! is still going strong. Led by brothers Howie and Donald Spangler, they released their ninth album, Shellshock, last year (check out my review), which might be their best work yet.
The night began with a private acoustic performance for a select group of VIP fans before the doors opened. Joined by the rest of the band—Scott Vandrey, Nick Lucera, and Mike Busch—they sounded fantastic. They played a few classics, took requests, and even sang “Happy Birthday” to one lucky fan. After answering questions and taking photos with everyone, it was time for the doors to open.
What struck me was the happiness radiating from that small group of fans; Ballyhoo! truly left a lasting impression on them.
Relatively new to the scene, the opening act was Beach Fly, led by singer and actor John DeMari, featuring Pops on lead guitar, Matthew James on bass, Sven Peltonen on percussion, and Jordenn Garcia on drums. These guys absolutely know how to rock the stage and kept the crowd entertained throughout their entire set. I’ve seen Jordenn perform while touring with Vana Liya, and I must say he is quickly becoming one of the best reggae drummers on the circuit, truly shredding the drums!
Beach Fly’s homegrown, organic sound is rooted in love and beach vibes. They embrace the modern reggae scene, drawing inspiration from bands like Slightly Stoopid and Rebelution, while also pulling from their favorites such as Xavier Rudd, Jack Johnson, and Surfaces. Their music transports the crowd to a fun, tropical surfside atmosphere filled with amazing beach vibes.
With John spending much of his youth on Brigantine Beach, where his father worked as a lifeguard, and Sven being an accomplished surfer, their connection to beach culture is evident. John has a wonderful voice that complements his charming demeanor and engaging stage presence. They performed songs like “Make It Work,” “Get in the Water,” “Tall Grass,” “Thinking of You,” “Monkey,” and “Crazy,” captivating the audience, who were eager for more.
I had a chance to hang out with them after their set, and they turned out to be super chill and fun guys!
Before their set, I had the chance to take some photos and hang out with Dustin Parks, Casey Kernohan, and Kevin Harvey of Cydeways. What fun, crazy, and super cool guys! I knew their performance was going to ROCK!
As Casey started pounding the drums and Kevin began strumming the chords for “Shadows,” the party was set to begin. When Dustin strolled out on stage, the crowd erupted with excitement. That’s exactly what Cydeways brings to the stage—a huge, fun party that blends a modern rock-reggae sound with alternative indie appeal, enhanced by sweet hip-hop grooves, creating their unique sound.
They infuse a laid-back reggae vibe into their live show while delivering a high-energy punch of alt-rock and hip-hop, making for an unforgettable experience. Dustin sounded fantastic all night, delivering sweet vocals and a dope lyrical flow. As they played their hits like “No Loyalty,” “Lockdown,” “Wasted Summer,” and “Ocean,” the party continued to roll on.
When they performed “Always,” I started to think about their sound and how the three of them bring so much tone, texture, and depth to their performance. It often feels as if five or six band members are contributing to this fabulous sound. As they closed the night with “Are You Down,” the crowd didn’t want them to stop but also understood what was coming next.
What I notice about Ballyhoo! crowds is the wide age range at their shows. It genuinely caters to all ages, with attendees ranging from 5 years old to 80, and they all enjoy the music together. Beach Fly kicked off the night with some chill, beachy vibes, followed by Cydeways, who rocked the stage. But when Ballyhoo! took the stage, they elevated the party to a whole new level, as they always do!
They jumped right in with “Shellshock,” the perfect song to get everyone dancing and jamming. Howie controlled the tone beautifully, sounding fantastic! They then played a crowd favorite, “Middle Finger,” which had everyone singing along. Another hit, “Clip My Wings,” followed, with the crowd again joining in with every word. Nick and Mike impressed the audience not only with their guitar and bass skills but also with their entertaining stage presence.
As they continued through their hits and classics, the energy in the room kept escalating. The upbeat ska vibe of “The Great Blackout” got the whole sold-out crowd moving; not a single person was standing still—they were all dancing their hearts out! They then treated long-time fans to some nostalgic tunes from their 2009 album, Cheers!, with performances of “Close to Me,” “The Friend Zone,” “Paper Dolls,” “Everything,” “Somewhere Tropical,” and “Alcohol Looks Beautiful Tonight.” It was clear that the long-time fans absolutely loved these classics!
It was time to lower the energy a notch and let the crowd relax and groove to “Dark Sunglasses,” “Morning Sunlight,” and “Walk Away.” As everyone swayed back and forth, they prepared to regain some energy. Once the crowd was ready to “Blaze Some Weed,” Ballyhoo! kicked things back up with “Scarlet Blue” and “Mixtape.”
Just when you thought it couldn’t get any crazier, Nick, Scott, Mike, Howie, and Donald rocked the stage with “Riddled With Bullets.” Did I see a mosh pit form? They jammed out all night long, feeding off each other’s energy, creating a perfect match in musical harmony.
No one wanted the night to end, so they treated the audience to the beautiful acoustic song “Meaningful.” Watching the crowd’s reactions was amazing; everyone was completely absorbed in the moment, making it a great way to wrap up the night. But Ballyhoo! had one more major jam to deliver, hitting us with “Selling Out” to close the party. What a way to end the night! There was so much energy, drive, and power throughout the performance!
Beach Fly, Cydeways, and Ballyhoo! delivered an incredibly fun, energetic, and powerful night of music. Each band brought a unique blend of genres to the stage, including reggae, rock, punk, ska, Florida and Maryland beach vibes, indie, and hip-hop. Most importantly, they conveyed a strong sense of love throughout their performance—love for the crowd, love for the music, love for the art, and love itself.
As the audience began to leave, every face was lit up with a smile, showcasing the joy and energy of the evening. This tour is sure to be amazing, and we were fortunate to be part of the very first night.
One Love – Todd M. Judd
Royal Blu, born Sean-Michael Francis, has gained widespread recognition for his skillful blend of reggae, hip-hop, dancehall, and R&B, creating a seamless style all his own. A native of Spanish Town, Jamaica, Blu is a multitalented singer, songwriter, and lyricist who has been hailed by Complex as "one of Jamaica's top artists to watch." His deep-rooted devotion to Jamaican music is evident in his delivery, while his eclectic appreciation for artists such as Nas, Michael Bolton, and Luther Vandross enriches his genre-defying sound.
After releasing numerous singles over the past few years, Royal Blu has now debuted his first album on Easy Star Records. The record is deeply personal, poignantly reflecting his experiences growing up in Spanish Town, Jamaica. It features 14 tracks, each curated to take listeners on a journey through his life. The album's sound and vibe are further enhanced by collaborations with talented artists, including Grammy winner Kabaka Pyramid, Protoje, The Autos, Akina Eman, D'Yani, and Runkus. Each featured artist adds their unique individuality, complementing the story being told.
The musical and personal journey begins with the title track, “Spain Root,” which features a vibrant Latin guitar and trumpet vibe. This song, along with the entire album, is a powerful and heartfelt expression of the artist's identity. It includes a moving prayer from his mother, Eileen Francis, making it a perfect introduction to the album.
In “Come From,” a sweet beat and rhythm support Blu's smooth vocals as he navigates themes of gun violence, the fear and paranoia it creates, and the ongoing struggle for survival in Spanish Town. He reflects on his mother's concerns about his life path, highlighting the difficult choices and potential dangers he faced while growing up.
Blu is joined by Kabaka Pyramid and The Autos on “Light My Way,” an inspiring roots reggae anthem. Kabaka delivers exceptional lyrics with a flow that elevates the song, while Blu contributes powerful lyrics that evoke deep feelings. Blu recently shared, “For as long as I've known myself, I've practiced always saying a prayer whenever I'm going out. I grew up in a place called Spanish Town, where anything can happen at any time, anywhere. So claiming that divine protection and guidance was, and still is, necessary for me to help navigate my way through the darkness. That's what ‘Light My Way’ represents for me.”
“Life From Kingston,” featuring Protoje, offers a fusion of Jamaican music and its various styles. It showcases staggered drops, muted yet rounded bass, brass elements, impressive rapping, and smooth lyrical flow, all complemented by layered reverb and polished production. Protoje’s compelling flow guides us through this musical journey.
The track “Ten” delivers an upbeat riddim, shifting its pace as Blu alternates between sweet vocals and hard-hitting rap, taking aim at those who may look better than they sound. He raps:
“Aye! Hate me or love me, I sing nicely, and I'm not dusty.
You don’t have a choice but to dress well.
In the studio, singing nonsense, but on stage, it sounds like nonsense.
Yo, I’m a singer; you can trust me to be clean!”
Royal Blu slows down the mood with “Long Lane,” showcasing a different side of his artistry. This track allows his vocals to shine as he asks his girlfriend, “What’s work without play?” blending R&B and reggae vibes.
Blu continues to showcase his talents with the slow jams and love songs in “Shoulda Love.” The track features his sweet vocals accompanied by a beautiful saxophone melody. In this song, Blu expresses a genuine desire for love and a reluctance to settle for something uncertain or insecure.
Sticking with the slow jam vibe, Blu presents “Stranger Twice,” characterized by a chill beat and subtle saxophone notes flowing throughout the groove. He explains:
“‘Stranger Twice’ represents an aspect of love that I believe we’ve all experienced at least once in our lives. I’ve always found it fascinating how relationships can shift from strangers to lovers and then back to strangers again. This cycle is something we often observe within families in Jamaica, leading to many broken homes. I wrote this song to capture the feeling of regret when someone who was once a stranger becomes your whole world, only to end up as a stranger again. This is a phenomenon I’ve witnessed in my own family, which inspired the cover art. We all try to overcome the notion that ‘nothing lasts forever’ when it comes to love, but more often than not, ‘Stranger Twice’ is the outcome we face. It’s a vicious and unforgiving cycle that affects everyone.”
Rising star Akina Eman joins Blu on the soulful track “Forever For Now.” Blu’s calm demeanor complements Akina’s emotional, expressive, and beautiful vocals perfectly.
“Arms” is a collaboration with dancehall star D’Yani, who also hails from Spanish Town. The song features a hybrid dancehall/reggae style, leaning heavily towards lovers rock. The theme revolves around keeping one’s arms open for the person they love, regardless of the circumstances.
In “Far From Home,” Blu shares his feelings as he transitions from a more elusive and slower tone to an upbeat vocal flow over a subtle beat and production.
Runkus, a collaborator of Blu’s since 2017, delivers a strong and powerful flow in “911.” With Runkus dominating the chorus, Blu follows up with an impressive verse, showcasing the chemistry they’ve developed over their eight years of collaboration. Fans are eagerly anticipating an entire album from the two artists together.
“Way Too Fast” offers a thoughtful reflection on a tragic shooting that occurred in Blu’s close-knit community when he was just 17. This experience prompted him to shift towards more conscious lyrics. The song stands out lyrically as one of the best on the album, conveying deep meaning and emotion over a simple yet impactful production.
Blu concludes his journey with “Little Brother,” an honest and deeply moving track that serves as a perfect finale for the project. Like the previous songs, it features a straightforward but powerful production. On June 27th, Harry J Studio celebrated the release of Royal Blu’s much-anticipated debut album, marking the beginning of a new era. Titled Spain Root, the album honors the proud upbringing and musical journey of the Spanish Town native, who was formerly known as Blu Kid. He has been honing his craft and building a movement alongside G.Wav, which includes artists like Akina Eman, Runkus, and Island.Wav’s KaleX and RiddimBoss.
Spain Root is an insightful and well-produced album, showcasing Royal Blu’s distinct style and personality throughout. The concept is clear and aligns perfectly with his vision. “This album is my love letter to where I’m from and to the roots that shaped me,” he shared recently. “Bringing it to life in a space like Harry J, surrounded by the people who have supported me on this path, is a full-circle blessing. I am grateful and excited for everyone to hear it.”
One Love – Todd M. Judd
Atlanta’s State Farm Arena last night, July 11, 2025, was a seething cathedral of 17,608 souls, every one of them buzzing like they’d been possessed by the ghost of heavy metal’s unkillable spirit. Ghost, those Swedish alchemists led by Tobias Forge, weren’t just playing a show—they were staging a goddamn uprising. Their occult carnival exploded with thousands of nuns in fishnets, creating a spectacle that was equal parts theatrical and electrifying.
Fifteen years since Opus Eponymous crept out of the shadows in 2010, Ghost has never stopped climbing. Each year, they’ve swelled their congregation with a brew of theatrical riffs and pop-metal sorcery. A decade ago, they haunted the 2,600-capacity Tabernacle here in Atlanta as a scrappy cult act. Now, they’re packing coliseums, with more cosplay Papa Emeritus robes than a Comic-Con fever dream. This isn’t just endurance—it’s a Heavy Metal Inquisition. Forge and his Nameless Ghouls have cracked the code, fusing Satan’s swagger with digital-age hustle. Last night proved they’re no fluke—they’re the new high priests of metal’s eternal flame.
Ghost’s empire isn’t just built on riffs—it’s a masterclass in world-building, echoing the early days of KISS. Their marketing is as expansive as the hellscapes they conjure onstage. Three hours before the show, fans braved the rain as the merch line snaked through Atlanta, clamoring for official T-shirts like pilgrims at a shrine. This isn’t just merch—it’s part of the mythology.
Their theatrical film Rite Here Rite Now grossed over $5 million at the box office, becoming the highest-grossing hard rock cinema event in North America. The film is a cinematic saga of betrayal and ritual that fleshes out their mythos, pulling fans deeper into their world. The Sister Imperator graphic novel takes the lore even further, crafting a backstory of a woman haunted by the murder of her fathers.
The evolution of the Papas—Papa Emeritus I through IV, Cardinal Copia, and now Papa V Perpetua—drives this narrative. Each new incarnation is a chapter that hooks fans deeper into the lore, from grizzled Papa I’s doom to Papa Perpetua’s chrome-masked swagger. This lore, woven through comics, videos, and stage banter, doesn’t just engage—it possesses, turning casual listeners into devotees who live for the next twist in Ghost’s unholy tale.
Just last week, on July 5, Forge, draped in his Papa Perpetua regalia, stood among titans at Black Sabbath’s farewell in Birmingham. He belted out Ozzy Osbourne’s “Bark at the Moon” to a sea of fists alongside Metallica, Guns N’ Roses, and Pantera. This wasn’t just a cameo—it was a coronation. Ghost was anointed as the youngest blood in heavy metal’s royal line, their inclusion as deliberate as a pentagram carved in stone.
Where Black Sabbath’s raw, working-class dread shook the ’70s, Ghost’s polished, sardonic blasphemy speaks to a generation wired for spectacle. When their song “Mary on a Cross” became a viral hit on TikTok, they embraced the new generation, most of whom weren’t even born when the band played their first gig.
The torn black curtain fell, and “Peacefield” from Skeletá erupted, its dark pulse a call to arms. It was followed by “Lachryma,” with the crowd chanting like it had been their anthem for years. Forge, his chrome-silver mask catching the light, strode across the stage like a pontiff who’s danced with demons and won. His voice—freed from prosthetics—cut through with raw, soaring power.
The eight Nameless Ghouls, no longer mere sidekicks but co-conspirators, donned stunning new top hat and tail costumes. They swarmed the sprawling stage, their guitars and keytar solos slashing through “Year Zero” as 17,608 voices bellowed “Beelzebub!” like a war cry.
“Spirit” and “Cirice” from Meliora (2015) landed like thunder, sharpened by a decade of road grit, while new cuts “Satanized” and “Umbra” slotted in like instant classics. The setlist was a masterclass, dusting off “Per Aspera ad Inferi” for the old guard. Each song was a pillar in Ghost’s gothic empire.
Pyro roared, golden glitter and 666-dollar bills rained during “Kiss the Go-Goat,” and the backdrop morphed from devilish stained glass to a molten hellscape. Every shift was a gut-punch of theater with a beating heart.
Phones locked in Yondr pouches meant no screens, no distractions—just a congregation living in the now. A family of freaks in nun belts, glittery pink jackets, and Papa V masks screamed “Mary on a Cross” like it was their last stand.
“Monstrance Clock” sealed the main set, with confetti flooding the stage. The encore—“Mary,” “Dance Macabre,” and “Square Hammer”—was a campy, crushing triumph. The crowd became a writhing, euphoric mass.
Are they Black Sabbath’s heirs? No. They’re Ghost, rewriting the scripture of heavy metal on their own terms. Atlanta shouted it from the mountaintop: we want more. Right here, right now!
The Skeletá North American Tour will continue to haunt the U.S. through September. This is a showcase not to be missed.
Oh Alice is a singer-songwriter and designer weaving fairytales with a voice that feels timeless and unravels in light, color, and memories. She can blend her velvety-vintage voice with fantasies and observations of the world into sounds that almost feel touchable.
Oh Alice's music is described as vulnerable and nostalgic. Similar to attending a therapy session on a troubled day, her mission in music is to create a safe space for her listeners to heal and grow, ensuring they are not alone.
Oh Alice’s debut mini-EP, HEARTSHOT, produced by Ari Pentelovitch, is a raw, glittering explosion of emotion — born from the chaos, clarity, and coming-of-age spirals of her early 20s. Released on her birthday (June 20), the project marks a milestone in both personal growth and sonic identity. Blending the glitchy confidence of Charli XCX, the experimental soul of FKA Twigs, the emotional layering of Imogen Heap, and the hyperpop honesty of Addison Rae, HEARTSHOT is what happens when pop sensibility meets internet-age vulnerability. Think late-night sleepover confessions turned into high-drama anthems — messy, melodic, and a little too honest in the best way.
Perfect for placements needing high-impact alt-pop with an edge, Oh Alice delivers infectious hooks, experimental textures, and a fearless voice that’s unafraid to break the rules — and your heart.
The “Ganja Farmer” or “Cowboy,” as Marlon Asher is affectionately known to his friends and fans, is a native Trinidadian and the first reggae sensation out of Trinidad & Tobago. He is now one of the most sought-after artists in the country and the Caribbean! Marlon chose the name “Asher,” derived from the 12 tribes of Israel, representing December. Inspired by some of the biggest reggae artists of all time, such as Dennis Brown, Barrington Levy, and the legend himself, Bob Marley, Marlon set out at a young age to create meaningful and positive music.
His breakout came in 2004 with the hit song “Ganja Farmer,” which took the Caribbean by storm and quickly made a name for him. He followed it up with “Ganja Cowboy,” another hit that went worldwide. These songs became instant classics, solidifying Marlon as a star. Now, 21 years after “Ganja Farmer” was released, he returns with a new album and another instant classic, Safe.
The album kicks off with “Give Praises,” featuring Luciano Messenjah, over a Latin string riddim with a reduced Nyabinghi beat. This is the perfect song to start the journey, showcasing Marlon’s beautiful lyrics and flow. Luciano’s vocals complement Marlon’s perfectly, creating a spiritual and uplifting vibe.
“Strictly High Grade” follows with a strong beat and sweet guitar, as Marlon changes up his cadence effortlessly over the riddim. The track delivers a hip-hop/dancehall vibe with a deep message.
Sizzla joins Marlon on “Never See Us Fall,” an incredible track where both artists bring uplifting lyrics and bold flows over a laid-back bassline. Sizzla’s classic style pairs seamlessly with Marlon’s, creating a song that inspires and energizes.
“Stay” brings a rootsy reggae riddim, with Marlon pleading with his woman to stay. His lyrical flow ties perfectly into the riddim, making this a heartfelt and relatable track.
“Diamonds and Gold” features Tarrus Riley belting out the chorus before Marlon takes over with a hard-hitting verse. Capleton then enters with his powerful delivery, elevating the song to another level. The three artists connect perfectly, asking the gangs of Jamaica, “Why are their hearts so cold?”
The title track, “Safe,” slows things down with a roots reggae riddim. This jam reassures listeners that there’s nothing to fear when Jah is your strength and shield.
“Revolution” serves as an anthem for the downtrodden and a stance against Babylon. With a solid beat and production, Marlon’s lyrics and flow shine, delivering a powerful message.
Masicka joins Marlon on “In the Hills,” a track with an ’80s-style sound that hits just right. The song celebrates the high-grade grown in the hills, with sharp lyrics from Marlon and a gritty edge from Masicka.
“Plastic Smile” addresses hypocrites and wolves in sheep’s clothing—those with no morals. The solid roots reggae riddim pairs perfectly with the song’s message:
“See it on them face, them wearing plastic smile.
I could feel the hypocrisy from a mile.
Tune into their energy, you'll feel the vibes, oh oh.
Yes Jah, he know. Pose as false prophet, then come and pretend.
Robbers and vampires, them soul want cleanse.”
Kyle McDonald from Slightly Stoopid joins Marlon on “I & I,” an upbeat groove praising Jah. Their chemistry is undeniable as they trade verses, making it clear why Marlon has toured with Slightly Stoopid. This is another standout track on the album.
“On My Way” is a short but sweet acoustic interlude that transitions beautifully into “Call Me,” featuring J. Boog. This love song delivers a pure, airy, beachy vibe, with Marlon and J. Boog trading sweet lyrics over a chill riddim. It’s the perfect track to grab your partner and dance.
The album closes with an upbeat rootsy riddim, as Marlon finishes the journey with a commanding lyrical flow. The final track exudes consciousness, spirituality, and deep faith, sealing the album with perfection.
Safe is a complete and prolific collaboration between Marlon Asher, Don Corleon, and VAS Productions, resulting in an album filled with thought, meaning, and timeless quality. Marlon’s ability to create meaningful lyrics and deliver superb vocals is complemented by top-notch production and a host of outstanding collaborators.
From spiritual reflections to fiery dancehall vibes, Safe showcases Marlon’s growth as an artist and a man. This album is not just a collection of songs—it’s a statement of resilience, positivity, and artistry. Whether you’re seeking inspiration, relaxation, or a reason to dance, Safe offers something for everyone.
Marlon Asher has once again proven why he’s a reggae icon, delivering one of the top albums of the year.
One Love – Todd M. Judd
Recently, in an interview with 99JAMZ in South Florida, Konshens was asked why he named his new album Pool Party. “Because it’s HOT!” he said, adding, “Not just in terms of the temperature, but the climate around the world. Everything is so negative and aggressive, dark and serious. Yo, let’s have a party. I don’t want to focus on, you know, music reflecting what’s going on—I don’t want to do that right now. Let’s just take a break.”
Working with producers Izybeats, BomboCat from Costa Rica, Markhize, Track Starr, and Hitmaka (who collaborated on the track with Eric Bellinger), Konshens created not just a summer album, but a party album for the near future—an album for therapy. This project was two years in the making.
“Mi start work pon dis album two years ago. It’s been on and off. It’s been done like four different times, but I never quite felt it was really ready. One day, the title just came to me. The world is upside down right now, it’s a whole lotta bullshit. War, natural disaster, and all kinda ting. I didn’t want to do an album that reflected the current state that we’re in. I wanted to do an album that is the opposite. I didn’t want to do an album that people remembered [alongside] wildfires in California or an Israel-Iran war. That’s why I took an approach of, let’s party,” Konshens explained.
Pool Party is a bold, infectious celebration of freedom, resilience, and the evolution of Jamaican music.
The album starts with “Our Father,” a spiritual and emotional introduction. While not in party mode, this hauntingly honest plea sets a reflective tone before diving into tracks that sizzle with vigor and brashness. The sweet beat and riddim complement Konshens’ flowing delivery.
“Money Dealings” follows with a strong beat and a deep, somber message. The bass, riddim, and Konshens’ lyrical flow create a hip-hop/dancehall vibe. Skillibeng joins Konshens on “Bend,” an anthem with dance instructions. This gritty, bass-heavy banger bridges old-school deejay energy with modern swagger, connecting two generations.
“Back Dat Azz Up” brings a seamless connection between hip-hop and dancehall, with Konshens effortlessly flowing over Juvenile’s classic beat. Born out of a live stream on Miami’s 103.5 The Beat, the intense reception inspired Konshens to record an official version for the album. The track has already earned props from Birdman himself and is destined to dominate clubs across the Caribbean and beyond.
Another club-ready anthem, “Gyal Time Again,” features Charly Black. This high-energy party jam leans fully into revelry, with Konshens and Charly Black delivering dynamic vocal flows. The party continues with “So Many,” featuring Lil Duval, a slightly slower and chill riddim celebrating the beauty of women.
“Badman” brings a tweaked version of the classic Bookshelf riddim by Tony Kelly, with Konshens asserting his dominance as a “badman” who gets all the women. His cadence and vocal presence shine over the riddim.
“Tight and Good” delivers an up-tempo beat with a Latino flow, showcasing one of Konshens’ best lyrical and vocal performances on the album. This steamy track adds a different mood to the project.
Konshens slows things down with “Show Me,” a track with an ’80s R&B and Prince vibe. “It’s kinda raunchy and pays homage to Purple Rain by Prince and ‘Under the Influence’ by Chris Brown. I’m very excited about adding it to my shows,” Konshens said.
“Rich Sex,” featuring Eric Bellinger and Moyann, is a seductive, slow wine groove that’s both radio-ready and perfect for slow dancing. The trio’s voices blend beautifully, creating a sultry and captivating track.
“Shek It,” a previously released track, continues the seductive groove. Konshens delivers an easy, commanding flow with lyrics like: “Big bumpa gyal, Wid the pretty face yu so special, To how she a wine mi must get her.”
“Red” brings an old-school dancehall riddim, with Konshens attacking the mic and “runnin’ da place.”
“Battle Zone” is a lyrical showdown between survival and success, featuring The Game. With west coast grit and commanding lyrics, the track highlights Konshens’ hip-hop flow. When asked how he got The Game to join, Konshens explained, “I was in Germany, and I heard a song that sounded like reggae with hip-hop drums. I told Izy I needed a beat with hip-hop drums and a Jr. Gong reggae feel. He sent me a beat in five minutes, and I cut the demo. We had the song for a year, and I decided to send it to The Game. He sent back two verses. Easy.”
“Wet and Wild,” featuring D’Yani, bridges generations with a dance-heavy beat that gets you moving. D’Yani’s smooth delivery perfectly complements Konshens’ style.
The album closes with “Deserve It All,” a dancehall anthem featuring Izybeats and Track Starr. This Afrobeat-influenced track is both danceable and uplifting, with a positive message that makes it an anthem for the summer and beyond. Konshens told Billboard, “Number one for me is track 15, ‘Deserve It All’; that’s the mode I’m in. I feel like music blessed me, and mi nuh feel guilty about receiving those blessings. I want more. I’m claiming it. I want to empower people to feel like they deserve to be successful and achieve their goals.”
This album is “another rebirth” for Konshens, delivering a project with meaning and fun. From profound reflection to fiery dancehall vibes and riddims, Pool Party showcases Konshens’ growth as a man, lyricist, and global artist. Whether you’re soaking up the sun or sweating it out in the club, this album offers a rhythm for every moment.
With its dynamic array of topics, moods, and textures, Pool Party stands as a complete artistic statement. Pushing for global appeal, Konshens infused Afrobeat, Latino, and hip-hop genres while staying true to his dancehall roots. He has truly delivered a HOT production to take us away from the negativity surrounding us today.
One Love – Todd M. Judd
Touring rock and metal festivals used to be a more consistent thing in years past. Sadly, some of our favorites like Warped Tour, Mayhem Fest, and Knotfest have either ended or transitioned into single-stop events. Well, a new summer touring festival has hit the scene and promises to light up each venue. Summer of Loud is traveling across the United States, boasting four headlining bands performing each night and tons of pyro to light up each city. The four headliners include powerhouse bands Beartooth, I Prevail, Parkway Drive, and Killswitch Engage, all rotating headlining duties at different stops. Along with these big names, the tour features The Amity Affliction, The Devil Wears Prada, Alpha Wolf, and a rotating opening band. The Summer of Loud Festival invaded the new Great Park Live venue in Irvine, CA, and fans were ready for a full day of headbanging and moshing.
Before the show could even start, the day was marred by some unfortunate setbacks. Sadly, The Devil Wears Prada had to drop out of the Irvine date due to a medical issue, though they were able to make the next stop. While it was disappointing not to see them, it’s better for the band to take the time to heal rather than push themselves. This caused the first band to go on 45 minutes later than originally planned. Additionally, the venue moved the door time back by an hour, leaving many fans standing in direct sunlight under 85-degree clear skies for longer than expected.
Another major setback was that, due to Irvine fire ordinances, the tour was forbidden from using any pyrotechnics. The pyro was a big visual factor in the festival’s presentation, and its absence felt like a significant loss. Nonetheless, each band knew they had to bring their A-game to make the day worth it for the fans—and they absolutely delivered.
Opening the show was Kingdom of Giants, making their Summer of Loud debut, replacing former opening band TX2. Wasting no time, they kicked off their set with “Asphalt.” As soon as the heavy guitars from Max Bremer and Julian Perez hit, you knew it was going to be a good day. But it was when vocalist Dana Willax unleashed the first screams of the day that the crowd truly came alive.
Though Kingdom of Giants had the shortest set of the day, they made sure to get the blood pumping. Mosh pits opened up, and crowd surfers began crashing over the barricade. Their setlist included “Wasted Space,” “Bleach,” the live debut of “Collide,” “Burner,” and ended with “Wayfinder.” Kingdom of Giants was the perfect choice to kick off this leg of the Summer of Loud festival.
Next up was Alpha Wolf, a band from Australia that has been gaining traction recently. They wasted no time, hitting the crowd with heavy, chuggy riffs to ignite the energy. Vocalist Lochie Keogh, wearing a custom Alpha Wolf-emblazoned San Diego Padres jersey, delivered one of the most ferocious vocal performances of the day. His screams felt like they were directed straight at you, full of raw intensity.
Guitarist Sabian Lynch, with his face mask, bleached hair, and confident stage presence, brought to mind Kakashi from Naruto. The band even opened their set with “Mangekyō,” a possible nod to the anime. Alongside fellow guitarist Scottie Simpson, bassist John Arnold, and drummer Mitch Fogarty, Alpha Wolf attacked the audience with songs like “Pretty Boy,” “Sucks 2 Suck,” “Sub-Zero,” “Haunter,” “Creep,” and “Akudama.” Despite the heat, fans gave Alpha Wolf all their energy, proving their growing popularity.
It was then time for The Amity Affliction to take the stage. This was my first time seeing them live, and they did not disappoint. Vocalist Joel Birch was all smiles, clearly enjoying every moment on stage. His harsh vocals paired beautifully with bassist Jonathan Reeves’ clean vocals, creating a dynamic ebb and flow in their music.
Guitarist Dan Brown delivered heavy riffs and fluid melodies, while drummer Joe Longobardi blasted the crowd with double-kick patterns. Unfortunately, near the end of their set, Joel Birch rolled his ankle during “It’s Hell Down Here.” It was later revealed that he broke two bones in his left foot. Despite the injury, Birch finished the set like a true rockstar, performing the final song with his foot in a cooler full of ice. The band announced they would not be dropping off the tour, ensuring fans can still catch them at future stops.
The first of the four headliners to perform was Killswitch Engage, metalcore legends who have been foundational to the scene for decades. Even with the bright sun blazing behind them, they delivered a powerful performance. Vocalist Jesse Leach showcased his incredible range, seamlessly transitioning between angelic cleans and gritty screams.
Guitarist Adam Dutkiewicz, known for his playful stage persona, rocked a pizza guitar, an “I’m with Stupid ß” shirt, and a headband that read “Beer.” Despite his antics, his guitar work, alongside Joel Stroetzel, was nothing short of inspiring. Bassist Mike D’Antonio and drummer Justin Foley kept the rhythm section tight, while the band crammed as many hits as possible into their set, including “Rose of Sharyn,” “This Fire,” “Hate By Design,” “My Curse,” and “Holy Diver.”
Our second headliner of the night was Parkway Drive, another Australian powerhouse. Opening with “Glitch,” vocalist Winston McCall commanded the crowd like a military sergeant, urging fans to keep the mosh pits spinning. Guitarists Jeff Ling and Luke Kilpatrick delivered driving hooks, while bassist Jia O’Connor and drummer Ben Gordon held down the rhythm.
Their setlist included fan favorites like “Prey,” “Vice Grip,” “Carrion,” and “Wild Eyes.” While Parkway Drive is known for their elaborate pyro rigs, the lack of fire due to Irvine’s restrictions was disappointing. Still, the band’s energy and performance more than made up for it.
As the sun set, I Prevail took the stage. This was their first tour without founding member Brian Burkheiser, leaving Eric Vanlerberghe to handle full vocal duties. Starting with “Bow Down,” the band brought ferocity to their set. Vanlerberghe’s unclean and clean vocals were effortless, while rhythm guitarist Dylan Bowman provided additional clean vocals.
Lead guitarist Steve Menoian added ambiance and texture to the tracks, while drummer Gabe Helguera delivered powerful, intentional drumming. Their setlist included “Body Bag,” “Self-Destruction,” “Hurricane,” and “Gasoline.” While Vanlerberghe did an excellent job, I hope the band considers bringing back a second vocalist to restore the layered dynamics that define their sound.
Finally, it was time for Beartooth to close the show. Kicking off with “The Lines,” vocalist Caleb Shomo brought unmatched energy, running across the stage and pouring passion into every song. From tracks about depression to finding happiness, Shomo’s emotional delivery connected deeply with the crowd.
Guitarists Zach Huston and Will Deely kept the riffs heavy, while bassist Oshie Bichar added depth with backing vocals. Drummer Connor Denis showcased his evolution, delivering nuanced patterns and powerful beats. Their setlist included “The Past is Dead,” “Sunshine!,” “Disease,” and “Riptide,” ending the night with “In Between.”
The Summer of Loud tour brought big, loud energy to Irvine, CA. While the lack of pyro was disappointing, the bands didn’t let it hinder their performances. Each act brought their best, making this one of the most exciting shows of the summer. I hope the Summer of Loud becomes an annual event, with new bands joining the lineup. Just one request: please find a venue that allows the full pyro experience.