While growing up, you get introduced to music and all of it is new to you. You can fall in love with it, or it may not be your thing. You may love the music, but since you’re still young you only hear the song or band in passing, and may never get a chance to really save that memory. The song or band is then lost to the sands of time as it fades from your memory. That is, until one day you are shuffling music on Spotify, and you hear a familiar tune. It can re-awaken memories you didn’t know you had and take you right back to your childhood. One of those bands for me was Porno for Pyros. I saw that they had announced a farewell tour, and though I didn’t currently listen to them, something deep in my mind had a fondness associated with this name. After looking them up, I rediscovered music I hadn’t heard in literal decades. I couldn’t miss my chance to sing a long with music I found so much enjoyment from when I was younger. Coming to the Observatory in Santa Ana to start off their Horns, Thorns, and Halos Farewell Tour and bringing with them Tigercub and Glossy. I was ready to relive my childhood.
Opening the night was a band known as Glossy. As these three stepped on to stage, the audience had no idea what to expect, but Glossy was there to play some punk rock loud and blast it right into our faces. Opening with “Sleep Sacrifice,” the lead singer and guitarist was nearly throwing a tantrum as he sang into the mic. All the while creating a distorted mess of guitar licks that still carried a melody to them. The drummer kept the pocket grooving while the bassist seemed to be the most cool, calm, and collected person on stage as she just vibed to the music. Sadly, I could not find the band members names, but their music came pre-loaded with a fat tone of groove. Playing songs like “Sinaloa,” “5th Loko,” “Drop the Ball,” “Substance Abuse,” “Up and Up,” “MDMA,” “Didn’t Plan to Stick Around,” and ending with “Emily.” Glossy was a fun way to start the night.
Up next was a band from Brighton, UK called Tigercub. This trio was helmed by guitarist and vocalist Jamie Stephen Hall who towered over his stacked cabinet of amps. So much so a fan shouted out “How fucking tall are you!” I imagine he gets that often. Opening with the song “Swoon” you could hear the fuzz radiating out of Jamie’s guitar. As bassist and backing vocalist Jimi Wheelwright joined in to sing the harmonies, Tigercub could be felt channeling the power of the band Muse. Complimenting them with tone and style, Tigercub has the finesse to write big stadium anthems. None of the members could be contained on stage either, as Jimi was constantly wriggling his body around the stage while playing. Drummer James Allix elevated his playing with high energy style coming down on his kit with emphasis. The music also had such different movements to it. You never felt like you were listening to the same song over and over again with different lyrics. Tigercub’s music had layers, tempo changes, and James handled the push and pulling that the flow of the music brought with it. Gifting us songs like “Dark Below,” “Dopamine,” “Control,” “Show Me My Maker,” “Beauty,” “Play My Favourite Song,” “The Perfume of Decay,” “Shadowgraph,” and ending with “Stop Beating on My Heart (Like a Bass Drum).” I’ve seen the name Tigercub before, but after this show I am now keeping a closer eye on the evolution of this band as I know they are going places.
Finally, it was time to see the band we would be bidding farewell to, Porno for Pyros. The venue was illuminated as the members walked on stage. You can hear the passion in the cheers and cries as vocalist Perry Farrell specifically walked out. This was my first time seeing Farrell live, and when he started to sing their opening song “Meija,” I was awe-struck with just how powerful of a voice this man has. Farrell can belt and sustain his vocals with such power that he pulls the microphone over a foot away from his face, and yet his voice still carries and can be heard by every single person in the crowd. It also lets him emote with vigor through the lyrics of each song. But Farrell isn’t a one man show, and the rest of the band has their moments to shine. Guitarist Peter DiStefano handles the style of the band dressed in a 3 piece suit and shredding on his axe all at the same time. Drummer Stephen Perkins is a multifaceted percussionist as he handles the different styles that Porno for Pyros blends. From playing in the pocket, to an alternative rock style, bleeding into funk metal, and grooving with a psychedelic vibe. Bassist Mike Watt appears to have injured himself as he was relegated to a seat while slappin’ the bass. But that seat could not confine his energy, as he was bouncing with the rhythm of each song. Dressed in a vibrant yellow shirt and tie, he had the charisma and energy of SpongeBob. Playing songs like “Wishing Well,” “Sadness,” “Agua,” “Tahitian Moon,” “Porpoise Moon,” “Porno for Pyros,” “Pets,” “Good God’s://Urge!,” “Blood Rag,” “Little Me,” “Orgasm,” “100 Ways,” “Cursed Female,” “Cursed Male,” and ending with a two song encore of “Hey Gypsy Boy,” and “Bad Shit.” Porno for Pyros crafted their setlist to create a melody that moved with an energy that ebb and flowed, but never gave the audience a chance to lose interest in what they were experiencing.
Porno for Pyros isn’t a band name I feel you hear talked about all that often. But the sold out crowd at the Observatory was filled with die hard fans that have been with Perry and the boys for the long run. Getting to hear so many of these songs live, I rediscovered songs that I haven’t heard since my childhood. I also developed such an appreciate for Farrell as a vocalist. He’s always had an instantly identifiable and standout voice, but finally experiencing it firsthand was a trip I’m glad I got to go on. This was just the first stop of their farewell tour, and I highly recommend anyone and everyone to make sure they catch a show before Porno for Pyros are gone for good.
Throughout her illustrious career, Ann Wilson has established herself as one of the most iconic voices in rock music history. With her just-released solo album "Another Door," she continues to push the boundaries of her artistry, delivering an album that is as timeless as it is evocative.
"Another Door" is a testament to the resilience of the human spirit, a celebration of love in all its forms, and a reminder that even in our darkest moments, there is always hope on the horizon.
Join Ann and her band TRIPSITTER on this unforgettable musical journey as she opens yet another door and invites us all to step through into a world of boundless possibility with a masterclass on songwriting. Prepare yourself to be shocked by how incredibly great this album truly is.
Ann Wilson is a multifaceted artist whose soulful voice and passionate performances have captivated audiences worldwide. Renowned as the lead vocalist and co-founder of the legendary rock band HEART, Ann has cemented her place in music history with hits like "Barracuda" and "Alone." Beyond her groundbreaking work with Heart, Ann's solo endeavors have showcased her versatility and artistry, earning critical acclaim and a dedicated fanbase. Her dynamic presence extends beyond music, as she has made notable appearances in television and film, including memorable placements of her music in acclaimed series and movies. Ann Wilson continues to inspire and resonate with audiences across generations through her enduring talent and unwavering commitment to her craft.
In "Another Door," ANN WILSON delves fearlessly into the complexities of life, love, and resilience. With each track, she invites listeners on a journey through a tapestry of emotions, weaving together haunting melodies and powerful lyrics that resonate on a profound level.
From the anthemic title track "Another Door," where Wilson's vocals soar with unwavering strength, to the intimate ballad "Echo of the Dreamer," which exposes the raw vulnerability of the human heart, this album showcases Ann Wilson's unparalleled ability to connect with her audience on a deeply personal level.
Produced with meticulous attention to detail, "Another Door" boasts a rich sonic landscape that perfectly complements Wilson's emotive delivery. Drawing from a diverse range of musical influences, from rock to blues to folk, each song is a testament to Wilson's versatility as an artist and her unwavering commitment to her craft.
Hunnypot is proud to be Ann Wilson's official sync representative, ask us about easy-to-clear for your budget LICENSING! Focus tracks are "Tripsitter", "This Is Now" and "Rain Of Hell" - John Anderson
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Yellowcard, the iconic pop-punk band known for their infectious melodies and heartfelt lyrics, takes fans on a nostalgic yet refreshing journey with their latest release, A Hopeful Sign. It's a collection of reimagined hits in collaboration with the Nashville duo Hammock (consisting of Marc Byrd and Andrew Thompson). This album breathes new life into Yellowcard's classic tracks, including fan favorites like "Ocean Avenue," "Empty Street," "Only One," and "Transmission Home."
What sets this album apart is Hammock's unique touch, which infuses each track with ethereal sounds and atmospheric elements, creating a captivating sonic landscape that adds depth and dimension to Yellowcard's already beloved songs. From the moment the first notes of "Ocean Avenue" resonate, listeners are transported to a realm where familiar melodies intertwine with newfound textures, inviting them to rediscover these timeless classics in a fresh light.
The collaboration between Yellowcard and Hammock proves to be a match made in musical heaven, as Hammock's expertise in crafting ambient, dreamlike soundscapes complements Yellowcard's signature sound flawlessly. Tracks like "Empty Street" and "Only One" are transformed into cinematic experiences, with layers of lush instrumentation and subtle electronic flourishes enhancing the emotional resonance of the lyrics.
One of the album's standout moments is the reimagining of "Transmission Home," where Hammock's ethereal soundscape serves as the perfect backdrop for Yellowcard's poignant lyrics, creating a sense of longing and introspection that lingers long after the song ends. Each track on the album is given the Hammock treatment, resulting in a cohesive and immersive listening experience from start to finish.
What makes this album truly special is the way it allows listeners to appreciate Yellowcard's music in a whole new way. The reimagined versions of these hits not only pay homage to the band's legacy but also showcase their willingness to evolve and experiment with their sound. Whether you're a longtime fan of Yellowcard or discovering their music for the first time, this album offers something for everyone, serving as a testament to the enduring power of great songwriting and artistic collaboration.
Bottom line, Yellowcard's collaboration with Hammock on this collection of reimagined hits is nothing short of magical. By infusing their classic tracks with ethereal sounds and atmospheric textures, Yellowcard and Hammock have created an album that is both nostalgic and forward-thinking, reminding us of the timeless beauty of A Hopeful Sign.
- James Coffman
Friday night was chock full of fist pumping, side sneers and swagger as rock and roll demi god Billy Idol graced the stage at Thunder Valley Casino in Lincoln, CA
Opening with "Dancing With Myself", the highly energetic crowd immediately matched Billy Idol's stage antics in the aisles, from their seats, and anywhere they could get their groove on as his classic song ripped through the Thunder Valley P.A. system. The 2023 Hollywood Walk Of Fame Star recipient, three time Grammy nominee, and winner of countless MTV awards kicked off what would turn out to be a stellar performance in front of a sold out crowd, focusing his efforts on a 40+ year discography along side his longtime band mates.
For those not in the 'know', Billy Idol emerged from the gritty underground London punk scene back in the 1970’s with his band Generation X. A few years later (1981 to be exact), his first solo release Billy Idol dropped and there was no turning back. It's hard to think of the successes of Billy Idol without mentioning his longtime songwriting partner and collaborator, Steve Stevens. This guys is a legend in his own right and has always been Billy's Right Hand Man or as some have candidly said, 'He's the Robin to Billy's Batman'. Regardless, this dynamic duo is still one of the best in the business and let it all hand out during an impressive 14-song setlist.
After Idol's second solo release, Rebel Yell in 1982, he was catapulted to super stardom and has remained rock and roll royalty (and still does to this day). Throughout Billy's amazing performance, songs like “Eyes Without A Face” and “Flesh for Fantasy” sounded just as good as they did when they were a permanent fixture (and on heavy rotation) on MTV. Additional classics “Cradle Of Love” and “Flesh For Fantasy” followed and were absolutely perfect. While a bit skeptical at first, Billy Idol’s vocal ability was still tops in class, and I was amazed at the ease in which he belted out these classics. Fans also rejoiced during a brilliant guitar solo by Steve Stevens graced us with a guitar solo. It began with flamenco style intro, then ripped into a medley of Led Zeppelin tunes that showcased his obvious love for his favorite guitar player, Jimmy Page.
More intense fist pumping followed during “Mony Mony” (a Tommy James & The Shondells cover) and “Running From The Ghost” (a song that was special to Idol, dedicated to a fallen friend lost to drug addiction). It was a somber moment indeed, but only for a brief moment as it was then back to business with “Blue Highway” and "Rebel Yell" Outside of Steve Stevens, Idol's long time band members were super impressive including Billy Morrison on guitar, Stephen McGrath on Bass, Paul Trudeau on keys, and drummer Erik Eldenius behind the skins. Just wow!
Overall, Idol's overall production was tight and stage set up looked like a magnificent city (which was perfect as the night closed out with an encore reminiscent of the 1980's). This one featured “Hot In The City” and of course one of Bill's most recognized songs, “White Wedding”. Before the concert began, a young man standing next to me said “I’m shocked there are no people my age here”. I laughed, explaining to him that "we may all look old to you, but we feel the same way inside that you do!" Billy Idol takes us to that nostalgic place when MTV played actual music videos that we watched all night long, and you could tell by looking around that the room was filled with people feeling the same feelings I was. Idol and his band really delivered ,leaving the whole venue all danced out and completely satisfied. Rumor has it that there will be a new album release from Idol in 2025. I hope its true and look forward to hearing that.
Bottom line, this concert was a perfect '10' in my book. If Billy Idol comes through to your town, I highly suggest you don’t miss him live! I know that I won’t.
The Voice of Rock and Roll took over the Sunset Strip on Friday Night Feb 2nd as Glenn Hughes rocked the Whisky A Go Go with a tribute to the 40th Anniversary of Deep Purple’s Stormbringer Album. The evening’s menu was tight which is a blessing and a curse. Some nights the Whisky will treat you to a 5-6 band lineup and you will leave jelly-legged from standing like sardines for 5 hours, but on this night, the crowd stretched around the building at 8pm and was heading out the door before midnight.
The Sold Out show featured Gilby Clarke opening with an abbreviated set of his original music mixed with some Guns and Roses track from his tenure with the band. Clarke replaced Izzy Stradlin in the Guns n’ Roses lineup during the "Use Your Illusion" tour in 1991 and stayed with the band for for a few years. After departing he has kept cranking out solid music with Slash’s Snakepit, Rock Star Supernova, and a number of other bands. His solid set featured a tribute to MC5 member Wayne Kramer who recently passed away. The “Knocking on Heaven’s Door” GnR cover featuring some nice audience participation was a highlight. The final song “Tijuana Jail” really had me wanting to hear more from Gilby. It was a fun raucous track that he really pushed with the visuals and fun.
Then it was time for the man himself. Glenn Hughes is Rock Royalty. People who appreciate Classic Rock know the aura around this amazing artist. It’s insane to me that many people have no idea of the shared vocal background of those three amazing Deep Purple albums Burn, Stombringer, and Come Taste The Band. The dueling vocals of David Coverdale and Glenn Hughes really are what makes them special. It gave Deep Purple the Paul Rodger’s style “bluesy” feel that Ritchie Blackmore was going for with Coverdale’s range, but the addition of Glenn Hughes allowed them to keep the Ian Gillan howl, and the raw energy. Deep Purple was one of those few bands that had very successful albums with different lead singers and then went back to the classic lineup. I had been wanting to catch Glenn Hughes live for years but have always missed. He has been touring sporadically with his supergroup The Dead Daisies, Black Country Communion as well as Kings of Chaos but this was going to be a great treat as it was a solo gig in his hometown focusing on those classic Deep Purple songs.
Glenn’s touring band was really impressive with Bob Fridzema on Keyboards really putting on an amazing showcase, Ash Sheehan killed it on Drums, and Soren Andersen’s Guitar work made you feel like Blackmore was in the house. They kicked off the set with "Stormbringer" and from the jump it was classic Deep Purple. Fridzema’s was on fire, taking the John Lord parts and bringing them to life for the crowd. In my opinion the keyboards are the real defining part of the Deep Purple sound and everything was on fire. Next was “Might Just Take Your Life” off Burn which was nice as I had thought the setlist would stick strictly to Stormbringer, but this was a signal that all bets were off as to the tracks. “Sail Away” was up next, another track off Burn, with Andersen really showcasing his quality work. The audience got a real treat at Joe Bonamassa joined the Glenn and the band for “Mistreated”. Joe had been playing with Glenn in Black Country Communion and oddly had never played the Whisky so it was a fun moment to have him grace the stage for the first time. Andersen jumped back in for “Getting Tighter” and his work covering Tommy Bolin was equally as impressive. The band wrapped up the night just before midnight with a raucous version of "Highway Star", and closed the night with the hit everyone wanted to hear Glenn sing, “Burn” . Seeing this level of talent on the sunset strip for just $30… you can not go wrong.
Gilby Clarke Setlist
Glenn Hughes Setlist
Get ready to transport yourself back to the iconic rock scene of the '90s with the exhilarating release of The Tragically Hip's legendary performance at CBGB's in 1993, Available on vinyl for the first time on Record Store Day, April 20th. This electrifying release captures the band at the peak of their prowess, delivering a high-octane show that encapsulates the raw energy and magnetic stage presence that made them a staple of the era. Immerse yourself in the heart-pounding rhythms, blistering guitar riffs, and captivating vocals that defined an era of music history with this exclusive vinyl release. Don't miss your chance to own a piece of rock 'n' roll history as The Tragically Hip's unforgettable CBGB's performance comes to life in a stunning vinyl format. For more information on this killer release, please check out the formal press release below for all the juicy details.
- Matthew Belter
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Ministry has been a revolutionary force in the music industry since its formation in the early 1980s. Founded by the enigmatic Al Jourgensen, the band has continually pushed the boundaries of heavy music, blending elements of industrial, metal, and punk to create a sound that is both aggressive and thought-provoking. Ministry's influence on the industrial and metal genres cannot be overstated, with their pioneering approach shaping (and reshaping) the musical landscape for decades.
Ministry's music style is characterized by its relentless energy, uncompromising lyrics, and industrial sonic palette. The band's confrontational and politically charged themes have resonated with audiences, making them a prominent voice in addressing social and political issues through their music. Their ability to craft intense, visceral soundscapes while delivering poignant social commentary has solidified their place as a powerhouse in the music industry.
The latest offering from Ministry, HOPIUMFORTHEMASSES, continues the band's tradition of unapologetically confronting societal issues. Their 16th studio album delves into current themes of societal decay, political corruption, and the struggle for individual autonomy in a world dominated by misinformation and manipulation. Musically, HOPIUMFORTHEMASSES retains the trademark aggression and industrial edge that Ministry is known for, while also incorporating modern production techniques to create a searing sonic experience.
Coming in at just over 40 minutes in length, HOPIUMFORTHEMASSES isn’t the longest Ministry release by any stretch. However, it may very well be their most complete album (top to bottom) in recent memory. Kicking it off with “B.D.E.” (or Big Dick Energy) and wrapping up with “Ricky’s Hand”, HOPIUMFORTHEMASSES transports listeners on a sonic battering ram filled with all the intensity one has come to expect from a traditional Ministry release. I won’t ruin all the juicy goodness that this one brings to the table, but it certainly tackles all the madness our society is currently facing in a way that leaves little (if any) doubt where ‘Uncle Al’ stands on the current issues we as a society face. My favorites included “Aryan Embarrassment” (with Jello Biafra), “Just Stop Oil”, and “Cult of Suffering” (with Gogol Bordello’s Eugene Hutz).
The production quality on HOPIUMFORTHEMASSES is outstanding, with each track meticulously crafted to maximize impact. The album's sonic landscape is dense and immersive, featuring layers of industrial textures, blistering guitar riffs, and pounding rhythms. Jourgensen's vocals cut through the mix with raw intensity, delivering the album's potent lyrical content with unwavering conviction. The musical performance across the board is exceptional, showcasing the band's mastery of their craft. Hats off to Paul D’Amour, John Bechdel, Roy Mayorga, Cesar Soto, and Monte Pittman for their incredible contributions to this album.
HOPIUMFORTHEMASSES stands as a powerful testament to Ministry's enduring relevance and uncompromising artistic vision. The album's unapologetic stance on contemporary issues, paired with its blistering musical execution, cements its place as a significant addition to the band's immense discography. While it maintains the core elements that have defined Ministry's sound, it also demonstrates a willingness to evolve and adapt to the modern musical landscape. That said, this album may very well stand out as another era-defining classic by Jourgensen and company, solidifying their status as a continued force to be reckoned within the music across the music industry at large. HOPIUMFORTHEMASSES is collectively one of my favorite Ministry releases over the past 10 years, and one that I simply can’t take of repeat. I’d highly recommend grabbing a copy when it drops on March 1st. After giving it a few spins, you’ll know exactly where I am coming from, and mark my words, you will be glad you did!
Growing up in the late 90’s and early 2000’s, the heyday of MTV and the TRL generation. Some of the music that caught my eye were pop punk bands like Blink 182 and Green Day. These bands were my introduction to the world of pop punk music. No matter where my music adventure has taken me, falling back into the world of pop punk always feels like coming home. In the early 2010’s the world went through a musical renaissance, and we had a new generational explosion of pop punk bands. One of these bands that has found its way across my headphones from time to time is Neck Deep. I actually got to see them open for Blink 182 in 2019 before I truly knew who they were. Ever since that show I knew I had to give them a proper listen, and see them on a headlining tour to truly experience what they have to bring. It finally happened this year when Neck Deep announced their Live in America 2024 Tour with Drain, Bearings, and Higher Power. They came to the Fox Theater in Pomona, and this show sold out so quickly they had to announce a second show. I was fortunate to be there for the first show, and all the hell this tour was about to bestow upon the venue.
Opening the tour this night was Higher Power, a hardcore punk band from Leeds, England. Kicking into their first song “Rewire (101)” guitarist Max Harper whipped up a frenzy of an opening riff that rang out over the speakers, while drummer Alex Wizard built a crescendo-ing flurry of snare blasts to hype the crowd up. As vocalist Jimmy Wizard came in, he blends whiny emo singing along with harsh screams. The two styles combined both allow the crowd to feel the heartful emotion in the more melodic parts, and then immediately want to tear apart the pit when the screams come in. Fellow guitarist Louis Hardy traded off lead lines with Harper, while bassist Ethan Wilkinson could be seen two stepping through his bass line. Higher Power played a set consisting of songs like “Shedding Skin,” “Low Season,” “Fall From Grace,” “Absolute Bloom,” “Can’t Relate,” and ending with “Seamless.” Higher Power proved to be the best opening band for this show as they left the crowd wanting to unleash more energy, and we still had three more bands to go.
Up next was a band known as Bearings. I wasn’t familiar with these guys, but this show sold me on them completely. When I think of more new age pop punk, Bearings is the sound I hear in my head. Lead singer Dougie Cousins sings with an uplifting sound to his voice that reminds me of Pierre Bouvier of Simple Plan. Guitarist Ryan Culligan crafts melody and grooves with his instrument, while bassist Collin Hanes playing is pushed right to the forefront of the mix to let you feel the low end of their sound. Drummer Mike McKerracher knows how to push the beat when the time comes but holds the pocket like any master musician. Culligan and Hanes also lend their talents to backing vocals that heighten the call and response aspect of some of their songs, helping the audience pick up the lyrics and start singing with the band by the second chorus. Bearings played a solid set of music including “Shaking Your Mind,” “Where You Are,” “Gone So Gone,” “Live Forever Never Die,” “Eyes Closed,” “Human,” “Scenery,” and ending with “Sway.” One of my favorite things is experiencing a new band, and just being drawn into their sound and performance so much I become an instant fan. Bearings converted more than just me this night, and I can’t wait to see where they go from here.
Hitting the stage next, and literally trying to destroy the place, was some hardcore punkers from Santa Cruz, CA known as Drain. Before the music could even start, lead singer Sammy Ciaramitaro called out for the venue to turn on all the house lights, followed by telling every fan in the crowd that he wants nonstop crowd surfers and stage divers if you can get on stage. I feel it was this moment the Fox Theater realized they didn’t truly understand the band they booked. Within the opening moments of the first song “Feel the Pressure” bodies were already coming over the barricade. Ciaramitaro promptly jumped on the barricade to sing right in the faces of the screaming fans. Guitarist Cody Chavez looks like a beach bum but can be found ripping away on his axe. Bassist AJ Hoenings and drummer Tim Flegal are in sync creating the perfect beat to send the crowd into a circle pit frenzy. I am used to seeing a wall of death where the crowd is split into two sides, and they charge at each other. Instead, at a Drain show Ciaramitaro called for the entire crowd to run at the wall and push through the doors to the backstage area so he could greet every single person. Security was able to hold off the crowd who shortly diverted back to creating crashing waves of moshers, while surfers rode high over the crowd. Drain only played a 30 minute set, but the fans made that time count during songs like “Watch You Burn,” “FTS (KYS),” “Evil Finds Light,” “Good Good Things,” “Army of One,” “Sick One,” “Intermission,” “Living Proof,” and ending with “California Cursed.” During the final song Ciaramitaro tossed the mic to a fan to finish singing, while he stage dived and crowd surfed himself. I actually had the pleasure to experience five minutes of the end of Drain’s set two years ago when I stumbled upon them at Psycho Las Vegas. I was informed that I missed the best band of the entire event and they’ve been on my radar ever since. I am now happy to say I’ve experienced a full Drain set, and I need more!
As the fans recouped from the experience of Drain and eagerly awaited our headliner, a giant inflatable Neck Deep sign was lowered across the stage. Opening their set with “Dumbstruck Dumbf**k” Neck Deep reignited a second wind into everyone in the crowd. The band didn’t even need to call for it, as more bodies started and continued to hurl themselves over the barricade crowd surfing for the entire set. Oh, to be young again! Lead singer Ben Barlow was there to make a statement. Wearing a shirt with a hand designed “No War” logo, and even performing while holding a Palestinian flag for parts of the set. It’s always a great sight to see punk bands truly bringing back what it means to be punk. Lead guitarist Sam Bowden and rhythm guitarist Matt West craft driving guitar lines that rile up the crowd and gets them pumped with energy. While bassist Seb Barlow and drummer Matt Powles drive the low end creating the rhythm that gets people’s feet moving. Though Neck Deep is a pop punk band who advertise themselves as “Generic Pop Punk,” their music really transcends multiple genres of pop punk, thrash, hardcore, and a bit of metal. Because of all these genre’s crashing into each other, it is a beautiful site to behold to look at the mosh pit. You have fans two stepping, you have fans crowd killing, you have fan circle pitting, and it’s almost as if they’re taking turns as the mosh pit continued to rotate through every song like “Sort Yourself Out,” “Kali Ma,” “Motion Sickness,” “Lowlife,” “Lime St.” “Losing Teeth,” “We Need More Bricks,” “Sick Joke,” “She’s a God,” “Heartbreak of the Century,” “It Won’t Be Like This Forever,” “December (Again),” and ending with “In Bloom.” Sadly, it seems Neck Deep was recovering from illness, and a lot of the band members were still “rough around the edges” according to Barlow. Powlesy even needed a moment to run off stage and hurl. None the less, Neck Deep are professionals who understand how important their music is to the people that showed up and made sure to give us their all. To me, if Barlow never said anything, I don’t think the majority of the crowd would have even known.
This show filled my pop punk heart with so much joy. I fall into the habit of listening to my favorite early 90s/mid 2000s pop punk bands a lot. But this show helped to remind me that the new generation of pop punk is releasing bangers that should be held to the same level of Blink & Green Day. Higher Power set a strong tone for the night. Bearings converted me to a full time fan. While Drain tested the resolve of the Fox Theatres security and their ability to handle a show like this. Drain won. But it was Neck Deep that cemented the night with a set that should not be missed. This tour still has plenty of stops left, and I recommend anyone who needs a massive energy release to get themselves to one of these shows.
In the world of modern music, lyricists are held to such a high regard. Wordsmiths who can craft sentences, stanzas, entire songs that connect with every person listening to it. They are the stars of the music world. However, in the rock and metal genre, the guitarist can be held to just as high of a standard. A person who can write rhythms and melodies that can convey expressions and feeling without every hearing a single spoken word. A few guitarists have ascended past the need of a vocalist and carry themselves as such a prolific musician that their instrument does all the talking, and they pack venues with people who want to see them. One of the masters of their craft is John 5. A man who rose to prominence as the guitarist for megastars like David Lee Roth, Marilyn Manson, and Rob Zombie. He has become such an icon himself that he sells out entire tours to fans who want to see him excel at his craft. John 5 brought with him Jared James Nichols and The Atomic Punks to the Observatory in Santa Ana during NAMM week and sold out the venue with screaming fans.
Opening the night was a bit of a curve ball, but a highly welcomed one. As we had the infamous Atomic Punks opening the show. This Van Halen cover band performing the early years of Halen put on an hour long show that demonstrated their love for these rock gods. Helmed by Brian Geller on vocals, he embodied David Lee Roth in spirit and showmanship. From dancing around the stage, to hitting high kicks over his fellow band members, and gyrating his hips to infatuate the audience. It felt like the spirit of Roth had inhabited Geller. Shredding on guitar was Frankie Lindia, letting his fingers do the talking. The man could waltz across the neck of a guitar with ease and precision like Eddie himself. Draped with long curly hair and letting his 6-pack shine for the audience, Lindia was the spitting image of 80s Eddie. Bassist Danny Spree carried a fat tone that really displayed his love for Michael Anthony as he chugged away on the opening riff of “Runnin’ with the Devil.” While drummer Scott Patterson had to reign in his chops that I know he has to honor Alex Van Halen. As Peterson’s drum kit was neutered from being the size of Alex’s notoriously large kit, to a more basic piece. Nonetheless, Peterson knows how to finesse the kit, and make it sound just as big. The Atomic Punk’s gave us all the classic Halen hits like “Panama,” “You Really Got Me,” “Ain’t Talkin’ Bout Love,” “Hot for Teacher,” “Eruption,” “Unchained,” “(Oh) Pretty Woman,” “Jamie’s Cryin’,” and many more. We will sadly never get to see another Van Halen show due to Eddie’s passing a few years ago, but if you have the chance to catch the Atomic Punks, you’re in for just as high quality of a show.
Up next was a blues guitarist known as Jared James Nichols. Surprisingly enough, I first heard of this man during the NAMM convention 2020 when he was about to walk on one of the many stages to perform. Sadly, since I didn’t know who he was at the time, I ended up leaving before he got on stage. I have since found out how big of a mistake this was as this man is a phenomenal musician. Hearing that he was going to be performing at this show, during NAMM 2024, I was excited to make up for my mistake years ago. As Nichols hit the stage, I was shocked again to see he is actually a singer as well. Not only can this man turn blues guitar into heavy rock riffs, but he’s also got a voice to match his guitar tone as his singing voice carries grit and passion to it. Not wanting to be stuck behind the mic stand, Nichols writes his songs with plenty of guitar solos and sequence’s that allow him to step out to the front of the stage and just let his guitar wale over the crowd. The man really inhabits blues players traditions as he foregoes a pick and plays with his fingers. For solos his hands often turn into octopus tentacles as he uses each digit to manipulate his instrument and craft some of the most creative solos I have heard in a while. Jared James Nichols brandished his kind of blues rock for songs like “Easy Come, Easy Go,” “Down the Drain,” “Threw Me to the Wolves,” “Skin ‘n Bone,” “Bad Roots,” “Keep Your Light on Mam,” and more. As Nichols walked off stage, all I could think of is how much I regret not having given him the time of day those years ago. The man is a master of his craft and deserves to be heard by the masses.
As the stage was lined with LED screen guitar cabinets, the house lights dimmed, the LED screens started flashing the name John 5, and the crowd screamed in anticipation to be awed and entertained by this guitar virtuoso. Starting the set off with “Season of the Witch,” John 5 was angelic. Wearing a floor length all white duster type coat, his favorite style telecaster guitar also in white, with a guitar trap brandished with the word Crüe across it. John 5 is normally also known for his ghoulish face makeup and Halloween filled set dressing that he covers the stage in. Though for this show, he decided to forego any makeup and stripped his stage dressing down to a minimum of those LED cabinets. It seemed that John wanted to forego the superfluous extravagance that he normally brings with him, and truly let himself shine on the instrument. And oh boy does he shine. John implements multiple techniques when it comes to choreographing his songs with his fingers. From running arpeggios across the neck, to slipping in almost Eddie Van Halen-esque tapping techniques, to just fingering his kill switch button to cut out the noise in a rhythmic fashion. A John 5 instrumental song is nothing short of jaw dropping. Though it was a stripped back show, John 5 still brought out a couple fan favorite moments, like using his LED mouth guard to his LED telecaster that lit up the Observatory with its vibrance. John 5 even talked to the crowd about how honored he was to now be a part of Mötley Crüe, and if you haven’t gotten a chance to see them, he wanted to give the fans a quick taste of what John 5 playing the Crüe sounded like. Launching into a Crüe melody consisting of classics like “Live Wire,” “Too Fast for Love,” “Shout at the Devil,” “Dr. Feelgood,” “Kickstart My Heart,” and many more. The John 5-afide Crüe songs were a genuine pleasure to the ears and lit up the crowd as we sang the vocals to every song he played. But it was a small departure from his own original classics like “Qu Pasa,” “Six Hundred and Sixty Six Pickers in Hell, CA,” “Howdy,” “Crank It,” “Zoinks!,” “Strung Out,” “I Am john 5,” “How High the Moon,” “Constant Sorrow,” “Creepshow,” “The Ghost.” We even got a three song encore which included John covering other rock classics like “Detroit Rock City” and “Thunderstruck.” Which he ultimately ended the show with his original “For I Have Sinned.” Even with John 5 cutting back on stage entertainment, when the man is handed a guitar, it is impossible to look away from what he can do.
I, myself, walked into the Observatory this night expecting to enjoy the overall show, but really came to see John 5 in his element. However, I left with a deep appreciation for every band that performed this night. I got to see Van Halen twice during their reunion tours with David back in the late 2000’s. Seeing The Atomic Punks took me right back to those shows, and I felt like I was back in the Honda Center singing with the real band. While Jared James Nichols reminded me why you don’t skip the openers, especially if you’ve never heard of them before. As you truly don’t know what kind of amazing music is still out there until you start listening to new stuff. But the cherry on top was John 5 sharing his love for a piece of wood with some strings on it, and showing the people of Santa Ana that anything can be possible with some creativity.
Not many electronic dance artists can pull off what Illenium just pulled off on February 2nd and February 3rd, 2024. In addition to filling the $5.5 billion dollar Sofi Stadium twice on back-to-back nights, he also played three full length sets at each show. Each set commemorated one of his previous albums Ashes, Awake, and Ascend. The first installment of this series was back in 2021 when Illenium became the first dance music artist to headline a football stadium alone in Las Vegas. The second installment was in Denver where he broke records as the largest non-festival dance music concert in North American history. He’s now brought the series’ third installment to Sofi Stadium. This is Illenium: Trilogy.
Let that resonate. Three sets. Three sets in a single night. Three sets spanning nine years of Illenium’s career. The fans really got their bang for their buck on this one. Doors opened at 4:00 PM. They poured into the stadium and were greeted by the reverberating sounds of both Trivecta and Netsky. Both of these artists were tasked with warming up Sofi Stadium before the headliner and delivered. Netsky and Trivecta each captivated the crowd with their infectious sounds and energy and tee’d things up for the headliner.
Once the clock struck 6 PM, the lights dimmed and the crowd erupted into thunderous cheers. Illenium emerged in the center of the stadium in a pod surrounded by fans dancing their night away. Elevated platforms that I perceived to only be stages (maybe for guest appearances) revealed themselves to be housing for visual artillery that fired smoke, fire, streamers, confetti, and lasers all night. The production (powered by Insomniac Events!) was top notch. They did not hold back. On the audio side, Illenium wasted no time and jumped into seamlessly weaving together tracks old and new, each one building upon the last to create a sonic tapestry which left the crowd in pure ecstasy.
One of the things that dawned on me throughout all three sets is this is a man of many hats. He can not only throw down a hard future bass beat, but he is able to tap into divergent music styles and reel them into a single, harmonious sound. For example, he brought out Avril Lavigne for their famous hit song “Eyes Wide Shut”. This song teeters on the edges of pop and Illenium’s signature future bass sound. Conversely, he brought out Teddy Swims to bring the R&B melodies on their collaboration track “All That Really Matters”, only to then bring out Motionless In White to perform their collaboration track “Nothing Ever Fuses” which aggressively fuses the likes of metalcore and dubstep. In addition to defying all genre norms, Illenium breaks out of the standard “DJ box” by playing drums and guitar at various points in his sets. Also, while in his DJ bag, three moments I recall clearly was when he had every person in the stadium singing at the top of their lungs to “Numb” by Linkin Park, “Cinema” by Skrillex, and “Levels” by Avicii.
All in all, Illenium absolutely crushed his back to back nights at Sofi Stadium. The production may have been the best at a solo headline show that I have ever seen. The audio and visual experience did justice for all of Illenium’s original work and remixes all night long. Whether you love his aggressive dubstep sounds or his trance-y, angelic vibes, Illenium: Trilogy has something for you on this wild roller coaster of a show. If he does another one of these, you need to get show tickets (and maybe even some plane tickets) and go see one of these. You will not regret it.