With the start of 2024 coming together, that means one special thing for the Orange County area of California. It is NAMM weekend! NAMM brings a flurry of music industry companies, insiders, traders, and most importantly musicians from every genre. Because of this special gathering, it has opened the door to a metal supergroup known as Metal Allegiance to put on a show every year. Celebrating 10 years of Metal Allegiance, this supergroup packed the House of Blues Anaheim with a slew of special guests to put on a one of a kind performance for the screaming metal fans. Playing with them for this one off show was Dieth, Held Hostage, and QUOR. As the battle weary fans trudged on from the convention center to the venue, they were woken up when the music kicked in and the fans found a second breath that brought them all back to life. Ready to rage on all night.
Opening the night was a band from San Diego known as QUOR, who was more than honored to be opening a show of this magnitude. Guitarist and vocalist Brian Corn captivated the audience with his Viking demeanor. However, it was when his vocals cried out to the audience the people were truly drawn into the band. His voice carries so much weight and strength to it, that you can’t help but listen in. Bassist Doug Smith handles the low end with ease, perfectly sync’d with Corn to add more heft to the rhythm. Drummer Danny Gordo setup with a double bass drum can be seen blasting away in the back. The way he can float between powerful blast to flowing grooves helps to add layers and depth to QUOR’s sound. Playing songs like “Shallow,” “Fly little Bird,” “Raising the Dead,” “Unicorn,” “Life is A Hard Thing,” “December,” and ending with “Sam Meets Sara.” QUOR was the perfect fit to start the night as their sound helped to light the fire of metal that would continue to burn through the night.
Up next was a band known as Held Hostage who was bringing a dirty hard rock and roll sound to the masses. Fronted by singer Tom Collier who caried himself with a presence that screamed he owned this stage. This was his bands time to perform, and you were going to hear what they have to say no matter what. Guitarist Scott Gregg looked like he just walked off the Sunset Strip in the 80s and played guitar just like those Sunset strip bands. With tenacity and screeching guitar licks. Bassist Dave Carroll refused to let his role in the band be passed over as he was all over the stage. Playing it up for the crowd and making sure he was noticed by every member in the crowd. Drummer Jeff Murray brought the grit to Held Hostage with a playing style that let the fans head bang to the beats. Held Hostage’s old school 80s rock and roll style was eaten up by the patrons of the House of Blues.
With the next band, we were treated to a truly amazing surprise with the band Dieth. To those who were not in the know, like myself. Dieth is a supergroup that has been making waves in the metal community. Consisting of vocalist/guitarist Guilherme Miranda of Entombed A.D., drummer Fred Aching of Bullet Boys, and bassist David Ellefson of Megadeth. I have been a huge Megadeth fan since my teens when I discovered metal, and not knowing who was about to walk on stage and then to see David Ellefson standing in front of me, I was star struck. Followed by one of the biggest screams of joy I have let out in a while. Ellefson is a maser of his instrument who easily plays these blisteringly fast licks with precision while playing it up to the crowd that have been following him for years. Miranda has probably the most ferocious roar of the entire night, while bringing the heaviest riffs that make your head seize trying to headbang to them. Aching layered his blast beats with grooving fills that lit up the crowd and forced the crowd to move to the music. Though we were only allowed to indulge in the presence of Dieth for a 30 minute set, they made it count with songs like “To Hell and Back,” “Don’t Get Mad…Get Even!,” Wicked Disdain,” “Free Us All,” “Heavy is the Crown,” “Dead Inside,” “The Mark of Cain,” and “In the Hall of the Hanging Serpents.” I was truly awe struck with the performance from Dieth that I can only hope that they will soon announce a full National tour, as I need to experience them again.
Finally, it was time to say our pledge to the Metal Allegiance. This is a supergroup that officially consists of Mark Menghi (BPMD) on bass, Alex Skolnick (Testament) on guitar, David Ellefson (Megadeth) on bass, and Mike Portnoy (Dream Theater) on drums. But what truly makes a Metal Allegiance show special is that they bring in all their friends to swap in and out through the entire set. Opening with “The Accuser” and moving into “Bound by Silence” they brought out John Bush (Armored Saint) and Andreas Kisser (Sepultura) to sing and play guitar respectfully. Other guests that got brought out during the show include: Chuck Billy (Testament), Bobby Blitz (Overkill), Phil Demmel (Vio-lence), Chris Poland (Megadeth), Doc Coyle (Bad Wolves), Troy Sanders (Mastadon), Brann Dailor (Mastadon), and Gary Holt (Exodus). With members swapping out almost every other song, you never knew what kind of line up you would get from song to song. The surprises helped keep the crowd screaming and cheering all night long. Metal Allegiance gave us two hours of this one of a kind excitement with original songs and covers like “Can’t Kill the Devil,” “Gift of Pain,” “Hellraiser,” “Rapid Fire,” “Wrecking Crew,” “Wake Up Dead,” “Let Darkness Fall,” “Mother of Sin,” “The Preacher,” “Blood & Thunder,” “Only,” and “Pledge of Allegiance.” With a three song encore the stage was barely able to contain the performers as every person came out on stage to all play “Damage, Inc.,” “Damage Case,” and ending with “Iron Maiden.”
Hearing that this many artists would be performing throughout the show seems like it would be overkill. But just like how Anthony & Joe Russo balanced over 70 heroes in Avengers: Endgame. Metal Allegiance balanced their multitude of musicians to give each person multiple spots to shine throughout the night. This mix match of artists also allowed the fans to enjoy team ups like drafting a fantasy football team. No matter who was on stage, they all carried themselves with an air of casualness like they were all just jamming in a garage. Walking over to just chit chat throughout the set. Yet still playing with the finesse and tenure of the exalted musicians they are. This is an annual NAMM show that I always look forward to, and highly advise anyone who is in town next year to make sure they make it out to pledge their loyalty to the Metal Allegiance.
In a whirlwind of musical fusion and boundless creativity, Oliver Tree's Alone in a Crowd tour descended upon Boston, transforming the MGM Music Hall into what I can only describe as a vibrant canvas of sonic entertainment. With Jasiah and FIDLAR setting the stage on fire, and a brief DJ set from Super Computer that went as hard as you would expect from 2 guys with literal computers on their heads, the evening unfolded as a journey through Oliver's eclectic discography, each phase of the concert representing a distinct persona from his three albums.
The night commenced with Jasiah's explosive set, channeling the raw energy and intensity reminiscent of Oliver's earlier work. Jasiah's rapid-fire delivery and gritty beats had the pit bouncing up and down throughout most of the set, but it was the switch-ups in his set that truly surprised me. The way Jasiah was able to bounce back and forth between punchy trap to this one lo-fi ballad was really refreshing. It’s a versatility that not only fits right along with Oliver’s repertoire but made me a fan of Jasiah.
Following Jasiah’s electrifying performance was FIDLAR, a band I know very well. Having the privilege to not only have seen them before but have been at the studio for some of their practices, it was exactly what I expected – they played hard, they played fast, and it ruled. Delivering a relentless barrage of sound, infusing the venue with their punchy riffs and their energetic stage presence, it was pure energy. They put their all into every performance, and the tradition continues.
As the venue buzzed with anticipation, Super Computer took the stage, weaving together a pulsating tapestry of beats and rhythms that bridged the gap between genres. With amazing visuals both up on the big screen as well as on their computer helmets, it was such a unique and engaging set, that you couldn’t really take your eyes off the stage.
Then, like a phoenix rising from the ashes, Oliver Tree was rolled out on a florescent pink couch, back turned to the stage, and in iconic Oliver Tree fashion, announcing that the show was cancelled. While that certainly wasn’t true, what unfolded was unlike any live show I’ve been to. Ranging from filmed skits, full blown commercials, and interviews, let alone scooter stunts, all while performing was a tried-and-true spectacle in every sense of the word.
Splitting the show up into phases with each one covering each album (and each character) that Oliver has created, it was a testament not only Oliver’s evolution as an artist, but to his fans with the setlist curated to reflect the diverse sounds and themes present across his discography. From the introspective ballads to the high-octane anthems, Oliver took the audience on a rollercoaster ride of emotions, leaving no stone unturned in his quest for musical and comedic transcendence.
In the end, Oliver Tree's Alone in a Crowd show was more than just a concert—it was a celebration of artistic expression, individuality, and the unbreakable bond between artist and audience. It was an unforgettable experience that no doubt left as much of a mark on all who were fortunate to attend as it did with me. Do yourself a favor and go see this for yourself. I promise you won’t be disappointed.
In the ever-expanding realm of musical collaborations, Medusa stands out as a unique alliance between two veterans of the rock scene. Jack Russell, with his roots deeply embedded in the blues-infused rock sound, rose to prominence as the frontman and founder of Great White. Known for their melodic hard rock with a substantial blues nuance, Great White became a force to be reckoned with during the heyday of Sunset Strip classic rock. Russell's soulful vocals and his band's ability to blend bluesy elements with rock rhythms created an enduring legacy.
On the other hand, Tracii Guns, a cornerstone of the Los Angeles hard rock scene, carved his niche as the founder and guitarist of L.A. Guns in 1983. With a career spanning decades, Guns has been a prolific figure, contributing to various musical partnerships most recently Sunbomb with Stryper’s Michael Sweet, and and Blackbird Angel leaving an indelible mark on the genre. His guitar wizardry and sleaze rock vibe have made him a recognized force in the industry. The rest of the band’s lineup pulls some familiar faces from the current LA Guns lineup with drums; Shane Fitzgibbon, bass; Johnny Martin; and Alessandro Del Vecchio on keyboards
Medusa unfolds as a testament to the bluesy nature that both Russell and Guns have expertly woven into their musical journeys. Throughout the album, the duo seamlessly integrates their respective influences, offering listeners a glimpse into the evolution of their sound. The bluesy roots that Russell and Guns cultivated in their earlier ventures are palpable, providing a cohesive and authentic musical experience. In a musical landscape often saturated with hastily assembled collaborations, Medusa not only pays homage to the rich histories of Jack Russell and Tracii Guns but also manages to carve a distinct identity.
The album kicks off with "Next in Line," a track that immediately sets the bluesy rock tone. Jack Russell's soulful vocals blend seamlessly with Tracii Guns' guitar prowess, creating a straight-up rocker that serves as a powerful opening statement. It’s a nice balance of their past work and a completely new vibe. The blues-infused foundation laid here resonates throughout the album.
The more AOR driven "Tell Me Why," hits next and showcases their prowess in delivering classic, guitar-driven, melodic hard rock with a distinctive blues undertone.
"Coming Down" maintains the momentum, delivering the boastful, grimy glam reminiscent of the glory days. With a nod to Great White's solid catalog, this track slides effortlessly into the blues-infused rock narrative. The heel stomping "Where I Belong" weaves its way through blues-infused rock, placing a spotlight on the rhythm section and showcasing the duo's proficiency.
The sleaze rock vibe makes its presence felt on "For You," reminiscent of the genre's heyday with elements that really has a classic Great White vibe. Alessandro Del Vecchio’s keyboards are a real highlight here and elevate the track to one of my the strongest on the album.
Transitioning back to a stadium atmosphere, "Give Me the Night", hits with more of a guitar hero vibe, strong riff and really showcases why Tracii Guns has been such a sought after six string collaborator for decades. It encapsulates everything loved about 80s rock within a tight three-minute package.
A standout moment arrives with "Living a Lie," a ballad where Jack Russell's vocals shine against the backdrop of acoustic guitars. Tracii Guns delivers a dynamite solo, showcasing the emotive depth of the track and highlighting Russell's often underrated singing prowess. This would
The pace shifts with the energetic "In and Out of Love," featuring a visceral riff that really has a nice hook. This anthem combines awesome vocals, powerful guitars, Shane Fitzgibbon and Johnny Martin’s rhythm section really shine here, creating a track that encapsulates the quintessence of 80s rock.
The title track, "Medusa," introduces a mid-tempo, punchy rocker, deviating slightly from the bluesy rock vein. While it may be considered the weakest link, it still maintains a distinctive edge. The bluesy roots are revisited in full force with "Back into Your Arms," a track that settles into a groove echoing decades past but with an undeniable contemporary flair.
Closing the album is "I Want You," where the drums take the lead before transitioning into a solid blues rock swagger. It has notes of a classic Randy Rhodes era Quiet Riot, which was a nice surprise.
Medusa is a really solid effort that blends the enduring blues-infused rock legacy of Jack Russell and powerful riffs of Tracii Guns. Each track unfolds as a chapter, revealing the duo's musical journey and their mastery of a genre they've embraced and elevated over the years. It's a compelling exploration of bluesy rock that solidifies their places as stalwarts in the rock landscape.
Medusa Track List:
1) Next In Line
2) Tell Me Why
3) Coming Down
4) Where I Belong
5) For You
6) Give Me the Night
7) Living A Lie
8) In And Out of Love
9) Medusa
10) Back Into Your Arms again
11) I Want You
The Nothing but Noise tour lived up to its name on January 21st,2024 at 1720 in Los Angeles. Even when the night's first act graced the stage, the crowd was already roaring with energy. The opener being none other than the radiant Minmi. She brought both energy and her unique sense of humor to her performance, giving off the energy of someone who could easily headline their own show. One of the best moments being when she got the whole audience to joke around with her and everyone laughed along. Which ended up leading into a song that’s fun to dance along to, regardless of what language you speak. Although one of the songs that the audience seemed most hyped for was Minmi singing a song from Evangelion. The room was filled with people waving their hands up in the air, cheering, and people singing along to the song. You can even see visuals from the anime playing behind Minmi. It was just one of those songs that everyone knows and loves. One of the songs Minmi is known for is "Shiki No Uta" from the classic anime Samurai Champloo. Minmi also took up the keys, for a hopeful song about how it’s never too late to change your life and follow your dreams. The song was beautiful and had the audience clapping along to it. She gave off a very memorable performance and when she got off the stage, you can tell the audience wanted more.
Getting us ready for our amazingly talented headliner, DJ Hyper Potions takes up the stage dazzles the packed house prior to announcing Nano. With fans literally loosing their minds, Nano made quite the entrance wearing a hoodie with the stage lighting and the hood concealing part of their face. This to me felt like a call back to their early days when their identity was concealed. During that time, there were a lot of cool anime-style drawings that represented nano and in a sense their identity was genderless. One of the turning points of her career was when she did an English cover of the song "Gallows Bell", a song that is incredibly sad and dark but beautiful. Nearly makes me cry every time I listen to it. I’ve been listening to Nano since the very beginning and have been wanting to see them live for several years now. The way Nano expresses herself has made me as a person more confident in how I express myself and even though her being mysterious before was an interesting experience, I’m happy that she’s now able to be more free with her music and be who she is. While a faceless artist is always cool, nothing can beat seeing them smile while doing what they love up on stage and Nano’s smile lit up all of 1720 that night. Nano’s appearance during her first song of the night, which is "Nevereverland", somewhat resembles the boy wearing a hood in the music video which is playing in the background while she sings. The audience during the beginning of the song brings up the energy by chanting “hey hey hey” and clapping. Towards the end of the song, the boy in the video is no longer wearing a hood and the same goes for Nano.
Her third song on the set list, "No Pain, No Game", is a personal favorite of mine and has the same characters from Nevereverland in it. The song came out over 10 years ago but is timeless. When Nano threw her hands in the air during that song, it was an epic moment. If you need a song to energize you, "No Pain, No Game" is definitely one of those songs. After that one was "Magenta", a song with a different type of energy to it - but just as exciting. The visuals for this one were especially beautiful. I really loved seeing the trees without leaves combined with the pink lighting. "Magenta" is also the kind of song that reminds you that you’re not alone and even if the world is falling apart you will get back up. Right before starting another one of her songs, Nano tells the audience “No Matter what if you really want something you gotta always keep believing in it” and I feel like those are words to live by. Her next song "Dreamcatcher" embodies those beliefs and will give anyone who listens to it strength to not give up. Her song "Blue Jay" was the one where everyone stayed silent and listened with Nano’s voice enchanting the entire room. If you’ve ever lost someone you hold dear, this song will resonate deep in your heart. The angel wings falling in the background along with Nano sitting down for this one, helped make the feeling of the bittersweet beauty of the song even stronger. At a certain point we had a break period where DJ Hyper Potions took over and the space briefly felt like a really fun anime rave. Hyper one hundred percent lives up to his name and knows what songs anime fans get down to most. He kept the energy high. Nano reenters the stage with the song "All I Need", a powerful song that I’m sure everyone has related to at least at one point in their lives.
Nano’s dancing especially in "Savior of Song" and "Fight Song" was incredible. Being as a photographer as well as a fan, it was engaging to watch and filled me with excitement. Nano ended her set with the song "Freedom is Yours", where everyone moved their arm back and forth in sync. Now luckily even though I say ended, truth be told it wasn’t the actual end of the set. What happened next was the longest chant I’ve ever heard for an encore in probably my entire life. Probably one of the loudest encore chants I’ve ever heard too, I think it went on without stopping for at least several minutes. This is just a testament to how amazing Nano is, her fans were all willing to risk losing their voices for this encore. She came back out wearing a Nothing but Noise t-shirt, that ended up completely selling out that night before Nano even finished performing.
The final two songs would be "Let’s Make Noise", which is the reason for the name of this tour, and "Oblivion" a newly released song. During "Let’s Make Noise", the audience had the cool experience of Nano taking a video of all of us singing along while she was singing and yeah we all made noise. Nano wrapped up the night with "Oblivion" and the audience singing along the lyrics “listen to your heart”, was the perfect way to end the night. The audience singing along to even the Japanese lyrics is proof that even speaking different languages, we can all come together. Seeing Nano live after waiting several years was worth it and something I will always remember, looking forward to catching her again soon
The calendar may have said January 11, 2024, but for a couple of hours it was 1984 at The Canyon Club in Montclair. Fan Halen stormed the stage, put the sold-out crowd in a time capsule, and threw a party with the music from the ultimate party band played to perfection.
Tribute bands are an iffy thing. The crowd is looking/listening for the performances and songs they love to be played they way they remember. Or played to the classic album, note for note. If the singer’s even slightly off, guitarist a little tinny, harmonies not really there, it’s like “Okay, they tried.”
Fan Halen is different. They are billed as “The World’s Most Authentic Tribute to Van Halen.” That’s a mouthful and a lot to live up to. This is Van Halen of the David Lee Roth era, no Sammy tunes here. It would be far too easy to say, “Close your eyes, they sound like the real thing.” That’s because they look and act like the real thing. So keep your eyes wide open, because you don’t want to miss anything.
Let’s start with Ernie Berru, aka Diamond David Lee Roth. Every yelp, scream, and howl on heard on any VH song is in play, because Ernie can do them all. This is not the “live” Diamond Dave that talks his way through songs, this is “album” Dave. Besides actually being able to sing, Ernie brings to life the swagger and banter that made DLR “The Toastmaster General.” And he can do the splits off the drum riser.
The rhythm section of Michael Thompson as Alex Van Halen and Andy Catt as Michael Anthony is beyond solid. These guys are excellent musicians. Andy’s bass playing provides that hidden groove in early Van Halen and his high harmony vocals gives the band and the audience exactly what is needed for the authentic Van Halen sound. Thompson is something of a smiling beast on drums. He makes the difficult seem effortless as he’s pounding a 1981 era double-bass Ludwig drum kit. Once you hear his intro to “Hot for Teacher,” you know he’s capable of anything.
Finally, there’s Derek Fuller. He’s more than just riffs and EVH-style tapping. He’s got the Brown Sound down. It’s one thing to play like Edward Van Halen, it’s a whole other thing to make it look as effortless as the king did. Derek’s grins, expressions, and thumbs up, and yes, jumps, remind us of what a truly different kind of guitar hero looks like. He also provides backing vocals, rounding out the full VH sound.
The setlist ran the gamut from albums of the DLR era with the original lineup, what fans call “The Six Pack.” The majority came from Van Halen and 1984 with a highlight being Ernie/Diamond Dave on acoustic guitar before kicking in to a roaring “Ice Cream Man.” Another highlight was Derek/Edward’s solo on “Eruption” before going into “You Really Got Me.” But who’s kidding who? The entire night was like a greatest hits album with everything played to perfection. These guys can play anything in the VH catalog, including legendary unreleased tunes. (Their show in Pasadena last year opened with “Let’s Get Rockin.”) They even do “Happy Trails” to end the night.
We lost Edward Van Halen in 2020 and we lost the original VH line up years before that. But Van Halen’s music, and spirit, will always live on. And as long as Fan Halen is around, we’ll be able to pay our tribute as they play their tribute.
FAN HALEN SET LIST
I have been a big fan of Matisyahu for quite a long time. Anyone that knows me, knows my love of reggae; the sound, the rhythm, the message, the beat, the one drop, the vibe. When I first heard Matis I was so intrigued, who is this Jewish guy with this amazing reggae sound, an amazing voice, lyrics with so much meaning (and the beatboxing)?. The message was basically the same as reggae! While not the same roots reggae coming out of Jamaica, he made it work so well, combining reggae, hip hop, alternative rock and more. Such a unique but familiar vibe and message. He has evolved over the years, changing up styles and genres with each new album, but the one standard was the voice, message and storytelling. I love seeing and hearing that growth and that evolution. And while I may like the earlier, more reggae-esque vibe, Matis brings us new and interesting music all the time, testing the limits to his creativity.
I was given the Hold The Fire bio and there is a statement that sums this up so perfectly; “All the while his musical parameters were expanding into a shapeshifting collision of reggae, hip-hop, alt rock and boldly inventive pop. His 2014 album Akeda, for example, hit Billboard's Top 10 in not one, not two, but four album categories: modern rock/alternative, rap, rock, and independent.” While there is nothing like hearing Matis do one of his classics live (“King Without A Crown,” “Jerusalem,” “One Day”), I had the pleasure hearing him in 2017 at The State Theatre in State College, PA (we are still waiting for him to return) right before Undercurrent was released and he played a few songs from that album for the first time live. The style, the vibe, was really different, but the crowd loved every second of it. That album didn’t have songs, it had journeys.
The new Hold The Fire EP starts off with “Fireproof,” it touches on a universal harmony, especially given the current events in Israel. A song that slides into themes of perseverance, gratitude and appreciativeness. It is a nice mellow groove, his voice so nice to follow through the song with a wonderful message. It is a song that was conceived by a dream he had. He walks us through the dream and his message, he really pulls you into this voyage. And the little touch of beatboxing is a great addition to the song. He brings us to “End Of The World,” a unique sound with this song an almost sonic sound, reminds me of songs from Undercurrent, not the same reggae vibe we are used to, but a strong message, “We move through our lives building bridges and burning some. Preparing for battles with the experiences we have and using discernment to make the best choices we can,” shares Matisyahu.
Track three is “Fools Gold” and possibly my favorite track on the EP. I love the chill beat and bass and Matis’s message. He changes up his tempo and flow throughout, I only wish the song was longer. It is about being created in the likeness of God, but that does not mean we are Gods. We should have a sense of modesty and accountability. Matis brings us to “Love Supplier” with a nice guitar riff throughout, a nice upbeat song. My head just keeps bobbin’ to this joint. I love the sound of his voice during the chorus. “Baby I’ve been running low, hope you know it in your soul, you are my Love Supplier.” We finish off with “Lifetime,” another one of my favorites, a tribute to community. He hits us with a little “scat” then flows in with his lyrics, a great flow switching up the vocals and sweet harmonizing in the background. A good up-tempo song, you want to get up out of your chair and groove to this, head bobbin’ up and down.
Hold The Fire is simply a great EP, and its amazing to see the one thing that never changes in all of his releases is his beautiful voice and his wonderful and meaningful messages. The music creation and production just keeps growing, changing and evolving, while still standing true to what makes Matisyahu, well, Matisyahu. I am craving more after listening to this, we get a little mix of older Matis, but a touch from his nearly two decades bringing us significant, emotional and soulful tunes. This is a must listen, there is a little bit of everything mixed in this five track EP. Be sure to grab a copy when its released on Feb 2nd!
One Love- Todd
Lots of people collect things. But imagine having the resources to collect anything that interested you. Pop culture. American history. Musical instruments. Jim Irsay, the owner of the Indianapolis Colts, has those resources. He has amassed a stunning collection of pop culture memorabilia, American history artifacts, and musical instruments including an incredible array of rare and historically important guitars.
But here’s the difference with Jim Irsay and other collectors. Others might hide these rare pieces from public view. Locked away, only to gather dust with the pleasure coming from just the ownership of the items. Irsay chooses to take his on the road for everyone to see. A traveling museum, if you will. And it’s FREE. On January 11, 2024 at the Shrine Auditorium in Los Angeles, thousands of attendees got to see letters from George Washington and Abraham Lincoln. John F. Kennedy’s rocking chair. Jackie Robinson’s bat. The list goes on. And on. And on.
The true highlights of the exhibit were the legendary instruments. Multiple guitars owned by the Harrison, Lennon, and McCartney. Ringo’s drum kit played on the Ed Sullivan Show. A piano played by The Beatles during Sgt. Pepper’s Lonely Hearts Club Band. Elton John’s piano. An acoustic guitar played by David Gilmour of Pink Floyd on "Wish You Were Here". Next to that guitar was a space for Gilmour’s legendary The Black Strat which was played on “Comfortably Numb.” But that guitar was missing. But many, many more were on display to see. Clapton, Hendrix, Prince, Van Halen, Dylan (acoustic and electric) were just some of the big names with axes presented.
The Jim Irsay Band is something of a collection of Jim’s as well. Just as he shows great taste in his choice of instruments and memorabilia, the band is a powerhouse all-star line-up and total pros. Kenny Wayne Shepherd, guitar and vocals, Mike Mills of R.E.M., bass and vocals, Kenny Aronoff, drums, Tom Bukovac, guitar, Mike Wanchic, guitar, Michael Ramos, keyboards, Danny Nucci, guitar, sax, vocals, and Billy Branch on harmonica. Rounding it out on background vocals; Alaina Renae, Staci McCrackin, Stephanie Allen-Stevenson, and Renée Michelle Merrifield. This is a collection (there’s that word again) of talent capable of performing almost any rock and roll classic.
Before the performance started, the was an introduction of former Indianapolis Colts running back Edgerrin James. He waved to the crowd and if rock and roll fans don’t follow football, they should know this: He was as good as it gets and is in the Pro Football Hall of Fame.
With that over, the band took the stage and the night’s de facto master of ceremonies, Kenny Wayne Shepherd announced that Jim Irsay was ill and wouldn’t be performing. (A note here. Jim Irsay usually sings and plays guitar with the band. To see and learn more about the band and Irsay, watch the November 2023 episode of Real Sports with Bryant Gumbel.) Shepherd strapped on his Stratocaster and kicked in to his own “Down for Love.”
Then it was time for the guest stars to come out. As good as the players in the band are, the real draw to these shows are the guest performers that are invited to play. The first: Legendary bluesman, Buddy Guy. His influence on generations of guitarists cannot be overstated, including as mentioned by Kenny Wayne Shepherd, Jimi Hendrix. Buddy did the title song from his 1991 comeback album, Damn Right, I've Got the Blues. After performing “I’ve Got to Use My Imagination” and “She’s Nineteen Years Old,” Guy gave KWS a hug and exited the stage.
Shepherd then performed “Can’t Hold Out,” “Watch Yourself,” and “Blue on Black.”
On the other side of the stage, Mike Mills took the lead with energetic performances of “(Don’t Go Back to) Rockville” and “Superman.”
Then it was back to Shepherd. Remember David Gilmour’s missing The Black Strat from the Collection exhibit? It was now in Kenny’s hands as he explained that Jim Irsay believed that the great thing about appreciating musical instrument like this is that they are meant to be used and not just looked at. And played it was. A fine take of Pink Floyd’s “Have a Cigar” with Danny Nucci on vocals was followed by an incendiary version of “Comfortably Numb,” complete with a Pink Floyd-esque light show. Gilmour’s two solos on that song appear on most lists of the greatest guitar solos of all time and Shepherd did the music and Black Strat justice.
The Black Strat was then retired for the evening and out stepped another legend. Ann Wilson of Heart possesses one of the all-time great voices, male or female. She did a cover of The Who’s “Love, Reign O’er Me,” and Heart’s own “Barracuda.” This was the point where it really seemed like the band started having fun on stage. Shepherd and Bukovac joined Wilson in the middle of the stage, trading licks from the iconic song.
Next up was Kevin Cronin, lead singer of REO Speedwagon. Cronin sang and played acoustic guitar on “Take It On the Run” and “Keep On Loving You.” Once Cronin put the acoustic aside, he was free to roam the stage on rockin’ versions of “Ridin’ the Storm Out” and “Roll With the Changes.”
Just when it seemed like Cronin’s energy couldn’t be topped, out came singer Peter Wolf of The J. Geils Band fame. Wolf entered the stage dancing and never stopped moving through versions of “Hard Driving Man,” “Just Can’t Wait,” “Centerfold,” “Love Stinks,” and “Lookin’ for a Love.” Wolf was an on his knees-spinning-everywhere-presence, leading the audience in a sing-along of “Love Stinks.”
But wait, there’s more. To close out the show, along came the Sharp Dressed Man himself, Mr. Billy F. Gibbons of ZZ Top. The hirsute wonder was smiling through his beard as he played a three-song set that included “Sharp Dressed Man,” the Texas-boogie, “La Grange,” and a bluesy “Going Down.”
Throughout the evening, most of the performers made mention of Jim Irsay’s generosity, thanked him, and wished him good thoughts for a fast recovery. Irsay is a man who has battled his well-documented demons, but at the same time is known for a giving heart. That heart was there for everyone to see in the items showcased in his collection and in the performances on stage. It was a night of legendary musicians and one-of-a-kind artifacts presented absolutely free to the public.
Alright, let's dive into the sonic cataclysm that is SAXON's Hell, Fire and Damnation. Picture this – a band that's been kicking it since the late '70s, now dropping their twenty-fourth studio album. Yeah, you read that right. Twenty-four. These Brits, famous for "Denim and Leather" and "Wheels of Steel," aren't just resting on their laurels; they're unleashing a heavy metal onslaught that refuses to bow to the hands of time. I appreciate it when a classic metal band can not only stick to their roots, but continually crank out solid work year after year, or in Saxon’s case, every other year for 40 damn years.
Brian Blessed, the 2013 Spirit of Hammer Award winning vocal performing kicks off "The Prophecy," adding a cinematic touch to this metal opera. It’s a nice touch that sets the tone. Produced, mixed, and mastered by the maestro Andy Sneap who has worked similar magic with Accept, this LP isn't your run-of-the-mill nostalgia trip. The twin guitar attack hits you square in the face from the first track, and each riff is solid throughout. The lead single, "Hell, Fire and Damnation," is a modern-day Saxon anthem that doesn't shy away from their unmistakable signature sound. It launches into a solid crunching riff and sets the tone for the album. Unrelenting classic British Steel.
Now, hold onto your leather jackets because we've got Brian Tatler joining the fray. Yes, the same Tatler from Diamond Head. Original axeman Paul Quinn might had retired from the road, but the quintet, still featuring Doug Scarratt, Nigel Glockler, and Nibbs Carter, is still a force to be reckoned with. If you are a NWOBHM fan you won’t be disappointed. Tracks like “Madame Guillotine” with it’s great tempo change and solid riff throughout, really hooked me, probably my favorite track. Biff Byford's vocals are solid throughout it’s insane that he has kept his voice in check since the 70’s at the level he is at. His range is as impressive as ever.
As you get deeper into the album cuts like "Kubla Khan and the Merchant of Venice" and "Super Charger" are like sonic punches to the gut – a relentless barrage of fists and stomping boots. They're proof that Saxon's decades-old formula still packs a punch, reminiscent of the thunderous "Wheels of Steel" from 1980. There is nothing about the album that feels dated, just classic.
But hey, not everything is smooth sailing on this metal voyage. Saxon has a long obsession with historical lyrics and that is clearly on display here. From Roswell to the Battle of Hastings, Merchant of Venice and 1066, it's like a heavy metal history lesson that might be a tad exhausting for some. Sure, we love our metal with a side of history, but the theme seemed a bit forced, that said Hell, Fire and Damnation isn't just an album; it's a sonic odyssey. Biff Byford, with his tales of Salem witches and Battle of Hastings, does a fair job of weaving his tapestry of mystery and mayhem. The 2024 Saxon version is a mature beast, still hungry and with a finger on the pulse of the metal realm.
This album is a testament to Saxon's enduring rebellion. The addition of Tatler to the mix adds something that I think really elevates the album. Whether you're a grizzled metalhead or a fresh recruit, Hell, Fire and Damnation is a wild ride through the annals of heavy metal history. So, crank up the volume, throw up the horns, and let Saxon remind you why they're still kings in the heavy metal kingdom.
Hell, Fire, & Damnation Tracklist
Upon first listen, "Let Go" strikes as a bold and dynamic track that is quintessentially KMFDM. The band's signature industrial sound is very much present, yet there's an evolution in their style that is refreshing. What stands out immediately is Andee Blacksugar's powerful guitar work, which is both aggressive and melodic. The composition is tight, with every element from the pounding drums to the gritty synths working together to create a robust sonic landscape.
Digging into the melody, my initial thoughts were that it was catchy and almost anthemic. I could easily see "Let Go" a track that could fill football stadiums worldwide. Lyrically, KMFDM stays true to their style of thought-provoking and rebellious lyrics, adding a layer of depth to the track. It’s not on the extreme level of 2019’s “Paradise” but gives listeners just enough angst to get them through the day. As for the emotions the song elicits, there's an undeniable sense of urgency and defiance in "Let Go." It connects with the listener on a visceral level, tapping into a primal desire for freedom and rebellion.
In terms of production quality, "Let Go" is top-notch. Sascha Konietzko’s mix is balanced, allowing each instrument to shine without overshadowing the others. The overall cohesiveness of the single is impressive, demonstrating KMFDM's ability to evolve their sound while staying true to their roots. Breaking it down to its most basic form, one immediately realizes the end result of “Let Go” is a collective effort via the sonic wizardry Konietzko, Lucia Cifarelli, Andee Blacksugar, and Andy Selway. This united front will continue to pay dividends on stage when their highly anticipated tour begins on March 6th in Atlanta.
Comparing "Let Go" to previous singles, it's clear that KMFDM is not resting on their laurels. They're pushing their sound forward, experimenting with new elements and refining their craft. It's a successful single that showcases their growth as a band. Listening intently, you can hear the past, present, and future throughout the 4:00 minute masterpiece. For fans of KMFDM, this song is a precursor to what will surely be a killer release on Feb 2nd. Let Go will be their 23rd studio album across an amazing 40-year career and could very well be one of their best when the dust settles.
At the end of the day, “Let Go" meets and exceeds my expectations as a true KMFDM fan. It's a powerful track that showcases the talent of Sascha, Lucia, Andy, and Andee at their best, offering a fresh take on their signature sound while staying true to their roots. I would recommend dropping the needle on this one for both long-time fans of the band and newcomers looking for high-energy, thought-provoking music. After a quick spin around the block, you’ll be once again hooked on one (if not the most) the most legendary industrial bands of our time. “Let Go” is The Ultra Heavy Beat at it’s finest!
- Matthew Belter
It was only too appropriate that the first real snow of the season would fall as people warmed themselves up to a night of wubs and dubs to close out the year. This year’s two part Lucid Nights NYE shows - put on by local production company SIMshows - swapped the previous few years’ Snowtafests at the Armory for a back to back night of ‘Zed’-derivative electronic music (Zedd & Zeds Dead).
With Zeds Dead packing the house for night 1, so-called deadbeats knew they were in for an assaulting, moving night of bass heavy fluctuations and sensational lights and visuals. The group has been packing international venues for some time, and while they didn’t release anything new in 2023, they put on several tours (including a previous visit to The Armory back in September), so it was a real treat for them to come back to Minnesota so soon afterwards and pack the Armory for a second time.
The variety of styles in the openers (Renno, Levity, Tape B & Dirt Monkey) captured the imagination of the crowds as they slowly flowed in the from the Timberwolves game just a mile away, steadily filling the massive space from wall to wall for a packed, intimate and intense night of music.
Everything built to a beautiful climax as Zeds Dead turned everything into complete overdrive well past midnight, massive jets of flame announcing their sonic arrival. Their mountainous walls of bass-driven sound collapsed on the wide eyed deadbeats, and all was well. There wasn’t a single person missing a smile at that point in the night - the duo’s ability to capture and capitalize on energy is a skill every DJ possesses, but Zeds Dead are particularly fantastic live, combining a real attention to sonic detail with having a great sense for how to keep the flow of energy oscillating, shying away from complete overload but keeping everything a solid, even keel. With more flashes of fire and a shot of fireworks, the two closed out the night around 2am, an incredible night of EDM and good vibes.