There is a big conversation in the music industry about what is more important. Should bands be releasing new music with full length albums or are singles the better strategy. I will have to say that I am still passionate about full length albums. Yes, the singles will always be the biggest selling point, but you never know what deep cut you may fall in love with. When you fall in love with a deep cut track, you may not get the opportunity to hear the band perform it live. That is why anniversary tours can sometimes be the best times. August Burns Red decided to tour the 10th anniversary of their Rescue & Restore album, coming to the House of Blues Anaheim just after Thanksgiving. With fans giving thanks to this entire line up featuring Brand of Sacrifice, Spite, and Crystal Lake. It felt like we were waiting in a Black Friday line, awaiting the door busting deals of heavy music, a raucous crowd, and a fire mosh pit filled with crowd surfers flying over the barricade.
Opening the night is a metalcore band from Tokyo, Japan known as Crystal Lake. These guys have been on my radar for a while now, especially after missing their last tour with August Burns Red back in 2019. I craved the need to see them live ever since then, and it finally happened this night. Opening their set with “Mephisto,” Crystal Lake came out with an energy I was not expecting. With Metalcore bands, you can be used to high energy from the lead singer, and the instrumentalist moving around the stage during simpler moments in the song. Not Crystal Lake. Every member had the same fiery energy and could not be contained by one spot on the stage. New vocalist John Robert Centorrino had the ferocity in his voice but was maybe the most restrained on stage. Guitarist Yudai Miyamoto and Hisatsugu Taji, as well as bassist Mitsuru were all running around the stage constantly, slamming on their instruments, and flat out screaming at the crowd. Drummer Gaku Taura could barely be contained behind the kit. Often standing up and slamming down with full force on his cymbals. It’s a miracle they didn’t crack! The fans gave all this energy back and were constantly hurling themselves over the barricade. Making the security really stay alert and awake during this show. All this energy was kept up through their entire set of songs that featured “SIX FEET UNDER,” “Disobey,” “DYSTOPIA,” “Watch Me Burn,” “Lost in Forever,” and ending with “Apollo.” That itch to finally see Crystal Lake has been scratched, but not appeased. I await for them to come back as I need this kind of energy in my life more often.
Up next was a band called Spite, that kept the high energy going that Crystal Lake left the fans with. I was fortunate to see Spite earlier this year with Wage War, and that was an intense first viewing of the band. Now seeing them for the second time, I knew what to prepare for, but Spite continues to elevate the energy in their show and this performance proved to be even crazier. Opening the night with “Made to Please,” vocalist Darius Tehrani captivated me within seconds. His in your face attitude, his death growling vocals, and his off kilter stage personality could not be avoided. From wrapping the mic chord around himself, to playing with his hair during breakdowns, and turning into Cousin It while pig squealing, it was a sight to behold. Backed by a band that was just as charismatic, with guitarist Alex Tehrani being Spite’s own personal hype man while shredding away, he could be seen screaming at the top of his lungs with no mic to make sure the crowd was feeling the bands energy. Bassist Ben Bamford had a bit more of a laid back vibe on stage, but sync’d up with drummer Josh Miller, the low end was blasting away on the beats. Playing songs like “Caved In,” “Some Things You Should Know…,” “IED,” “Snap,” “The Root of All Evil,” “Thank You, Again,” “Dedication to Flesh,” and ending the night with “Kill or Be Killed.” Spite is a band I will no longer be passing over, and I don’t think anyone in the crowd will be either.
The third band of the night has been another band on my radar but eluded me until this night. That being Brand of Sacrifice. I’ve been seeing this band gain a lot of momentum in the last year, seeing their name on more and more prolific tours. So, I was ready to see what they had in store for Anaheim. What I was not ready for was the playfulness of their walk on song, as the Pokémon theme song played over the loudspeakers as the band stepped on stage. After the hilarity of the entire audience singing along to the Pokémon Theme, the band truly opened their set with “Dawn.” Vocalist Kyle Anderson was a beast commanding the stage with his presence alone. Once he finally released his guttural vocals, the crowd was under his control. Calling for the mosh pit to get bigger and bigger, as well as he wanted to see crowd surfers come over in waves, the audience was happy to oblige. Guitarist Liam Beeson is pulling double duty with ease, as the band recently reshuffled their members and lost their rhythm guitarist. Beeson plays his instrument with such technique that you question whether they even need a rhythm guy. Bassist Andrew Kim and drummer Chason Westmoreland are new to the band but fit right in with ease. They round off the band and match the energy that helps the tenacity that Brand of Sacrifice brings to every show. With songs played like “Demon King,” “Lifeblood,” “Altered Eyes,” “Exodus,” “Purge,” “Ruin,” “Millennium,” and ending with “Eclipse.” I feel Brand of Sacrifice, and specifically Anderson, should be talked about in the same conversations as Will Ramos of Lorna Shore.
Finally, it was time to see the band celebrating 10 years of their album Rescue & Restore, August Burns Red. I had been fortunate to see them two years prior, also at the House of Blues Anaheim, but that was with fill in vocalist Michael Felker. Though Michael brought a great voice and energy to the band, finally getting to see them with the true vocalist Jake Luhrs was a whole new experience. Seeing as this was their Holiday time tour, Jake dyed his beard white to bring more of a Santa vibe to his aesthetic. He carried himself with jolly and a playfulness that any child would be happy to tell their Christmas wish list to, yet this Santa can scream! It was a stark contrast of look to vocal presence, but the crowd ate it up. Dual guitarist John Benjamin Brubaker & Brent Rambler are masters of their craft and are riff making machines. Hearing them play riff after riff of each song on Rescue & Restore really helps show the style they had back during that time, but also how much texture they can add to each song to make them stand out. Bassist Dustin Davidson not only handles his four string with finesse, but he also helps on third guitar jumping in on the acoustic from time to time. Matt Greiner has really earned a reputation for being a slick stylistic drummer, and it’s obvious to see why live. He doesn’t just blast beat his snare, or kick away with the double bass. The man knows how to maneuver around his instrument to add groove, melody, and always hold down the pocket.
If you grew up listening to Rescue & Restore then the setlist would make you happy as they played the album in order starting with track one “Provision,” “Treatment,” “Spirit Breaker,” “Count It All as Lost,” “Sincerity,” “Creative Captivity,” “Fault Line,” “Beauty in Tragedy,” “Animals,” “Echoes,” and “The First Step.” But that could not be the only songs they played, as they came out for a five song encore. Starting out with their instrumental rendition of the Christmas classic “Carol of the Bells.” August Burns Red knows just how to add heavy guitars to a Christmas classic and keep the song festive. As the band worked through their last songs “Bloodletter,” “Revival,” “Composure,” and ending with “White Washed.” These were the last moments the crowd had to surf and mosh, and they did not let up roaring even heavier with the last few notes that range out.
I love watching the mosh pit ebb and flow during any concert, but this night I had to jump in there myself. The controlled chaos of the pit could not be passed up this night, and every mosher had to have felt the same. Though the bands genres flowed between metalcore to deathcore to progressive metal, each band kept the flames of metal burning with a passionate fury in each fan. I don’t think there was another tour happening this year that carried the same weight and ferocity that Crystal Lake, Spite, Brand of Sacrifice, and August Burns Red brought on the Rescue and Restore 10th Anniversary Tour.
When lockdown hit us in 2020, and we were all trapped inside of our houses, any frequent concert goer vividly remembers the last live show they were able to attend before concerts were cancelled around the world. We would constantly go back to that memory throughout lockdown remembering every detail like George Harvey savoring his last kill in the Lovely Bones. Fantasizing how the band played, how we felt throughout each song, how the venue and its patrons smelled. It was he only solace we had not being able to be back in that environment. For me that last concert was DragonForce mere days before the World stopped. Over three years later, they are finally back in California for their North America 2023 tour, and bringing with them Amaranthe, Nanowar of Steel, and Edge of Paradise. I was ready for the speed metal titans to rip blistering solos that would melt my face again, so I headed to the Wiltern ready to rock with these guitar heroes.
Opening the night was LA natives Edge of Paradise. I have been following these guys for years since they were playing local only shows in the area. It has been a pleasure to see them booking national tours and getting the chance to play for thousands of people each night. Seeing as this was their hometown show, they wanted to make sure all their long time fans got the best they had to offer. Singer Margarita Monet has probably the most powerful voice on this entire tour. She could sing to the packed Wiltern house without a microphone and still be heard by every single screaming fan in attendance. Draped in a cyberpunk style cloak, and glowing pauldrons, Edge of Paradise has been able to elevate their stage show aesthetic as well. Lead guitarist Dave Bates has turned into a post-apocalyptic warrior straight out of Mad Max, while creating riffs that help elevate Margarita’s voice. Rhythm guitarist David Ruiz layers his playing with Dave’s to create a stylized guitar line for the band. Bassist Kenny Lockwood and drummer Jamie Morena hold down the low end that helps the fans bang their heads. With songs like “Soldiers of Danger,” “Hologram,” “This is Personal,” “The Faceless,” “Unbeatable,” ‘The Unknown,” and closing with “Basilisk” Edge of Paradise set the tone for the night that was to follow. I personally cannot wait to see what else the band has in stored for us in 2024.
Up next was the only band on the tour I was not familiar with, that being Nanowar of Steel. Hailing from Italy, this was their first American tour ever. As the band hit the stage all dressed in colorful and exuberant costumes, I had a feeling we were in for something special and vastly unique. Before the music could even start co-lead singer Mr. Baffo turned around and spoke to the audience through his butt ala Ace Venture style. These guys were a comedy heavy metal band, and the audience went all in for whatever they had in store for us. Fellow co-lead singer Potowotominimak, dressed like an EDM Raver meets a BDSM dominatrix, would constantly be switching out costumes throughout the song. Dressing like an alien, as well as coming out in a giant owl-bear mascot suit at one point. Guitarist Mohammed Abdul looked like Aladdin in a Prince Ali outfit, while bassist Gattopanceri666 honestly looked like Joel McHale from Community during a Halloween episode. Drummer Uinona Raider looked as if he was teaching an 80s retro jazzercise class. Not only were we captivated by the outlandish costumes the band wore, but the songs themselves were all incredibly catchy. Songs like “Uranus,” “The Call of Cthulhu,” “Il cacciatore della notte,” “Pasadena 1994” which featured DragonForce’s guitar tech James Shotwell on guest guitar, “Disco Metal,” “Norwegian Reggaeton,” and ending with “Valhalleluja.” During the final song, members of the other three bands ran on stage with IKEA bags and desk furniture, helping throw out the furniture to the screaming fans who happily crowd surfed the furniture to the back of the venue. Hopefully Nanowar of Steel can come back to the United States soon, as more people need to experience this kind of show.
Up next is band that was originally introduced to me by my buddy Brandon, that being Sweden’s own Amaranthe. I was fortunate to see them for the first time in 2017 and was excited to see them again in 2020 on before those plans were cancelled. Finally, after six years they are back, and I couldn’t be more excited. Opening their set with “Fearless,” co-lead singer Elize Ryd stepped onto the stage with a jewel studded top and flowing black skirt. She was here to make her presence known even before the first lyrics left her mouth. As she did let her voice ring out, the beauty of it is irresistible and nothing but enchanting. Something unique that Amaranthe does is have three vocalist, the other two being specifically a clean singer, Nils Molin, and an unclean singer, Mikael Sehlin. All three vocalists get their own unique time to shine throughout every song with Elize providing the operatic-esque powerhouse vocals, Nils layering his cleans with Elize to elevate the texture of the song, and then Mikael coming in with the harsh screams that jus make the crowd throw themselves into a frenzy. Though the focus can maintain on the singers, the instrumental section of the band are not ones to fade into the background. Guitarist Olof Mörck knows how to write his guitar tracks to shine on their own, but hold back to balance the band with bassist Johan Andreassen and drummer Morten Løwe Sørensen. Amaranthe gave a solid 45 minute set with songs like “Viral,” “Digital World,” “Damnation Flame,” “Hunger,” “Stronger,” “PvP,” “Amaranthine,” “The Nexus,” “Archangel,” “That Song,” and ending with “Drop Dead Cynical.” As the last notes rang out, all I wish is that I don’t have to wait another six years before Amaranthe comes back.
As a the Wiltern’s curtain draped over the stage to hide the set change, the crowd anxiously awaited our headliners. Once the curtain was finally raised, the venue was hit with rays of lights as Daft Punk’s “TRON Legacy (End Titles)” played over the speakers, helping to ramp up the excitement of the fans. As the opening notes of “Revolution Deathsquad” could be heard, the band came running out to thunderous applause and screams. Dual guitarist Herman Li and Sam Totman fingers were already lighting up the necks of their guitars with the rapid fire sounds of squiddly-doo’s that their guitars make. Vocalist Marc Hudson has the ability to sing and let his voice flow at the speed of the guitars. His high vocal range just enhances the energy of DragonForce’s music. Drummer Gee Anzalone must have the calves and thighs of a body builder as his double bass kicks don’t take a moment off during any song. Now official member, bassist Alicia Vigil plays her parts with ease. Keeping up with the boys with no problem and looking effortless the entire time. Something unique that DragonForce does is they like to bring in guest musicians during songs at shows. This show, we had the opportunity to see YouTuber and guitarist Billy Wilkins helping on third guitarist and backing vocals. Though I was not familiar with him, his talents shined alongside the rest of the band as he played in tandem with Herman & Sam with ease. DragonForce played songs like “Cry Thunder,” “Heroes of our Time,” “Power of the Triforce,” “Soldiers of the Wasteland,” “The Last Dragonborn,” “Fury of the Storm,” “Doomsday Party,” “Valley of the Damned,” and “Highway to Oblivion.”
With his being the Los Angeles show, the band had more friends come out during the encore. For their cover of Taylor Swift’s “Wildest Dreams”, Alissa White-Gluz of Arch Enemy joined them on stage. While during the cover of Céline Dion’s “My Heart Will Go On,” Elize Ryd came back out to sing. The final surprise guest was another YouTube guitarist Cole Roland, who came out for the final song “Through the Fire and Flames.” DragonForce are renowned for their technical mastery and their musicianship specifically with their guitars. Seing Herman Li, Sam Totman, Alicia Vigil, Billy Wilkins, and Cole Roland standing side by side at the foot of the stage all just gracefully walking through the hardest song on the first Guitar Hero video game was mind blowing.
This night was a glorious one with four bands that all had their own unique style and presentation, but there was a coming feeling to all the music that helped keep the energy high and engaged. Edge of Paradise started the night with a space metal vibe. While Nanowar of Steel made us all laugh and enjoy ourselves. Amaranthe brought three vocalists that all stand on their own but are the best when layered together. DragonForce closed the night with a tour de force of musical guest stars that could not be matched. It was a night where musicality and showmanship all came together in one of the best tour packages of the year.
Every genre of music has their legendary bands, that created a sound that could not be put into a box of pre-existing music. The Beatles gave us the British Invasion that brought a new style of rock n roll to the masses. Black Sabbath are the god fathers of metal and laid the foundation for all future metal to come after them. Eddie Van Halen with Van Halen basically reinvented how the guitar could be played. One style of music that is not a household name but is held to a high degree of love is that of Djent. Mixing palm muting of the strings and syncopated playing, another new style of music was invented. The creator of Djent has been Fredrik Thordendal of the Swedish extreme metal band Meshuggah. I finally had my chance to see this innovator for myself on the first stop of their North American tour down in San Diego. Bringing with them two other power houses in the metal community: In Flames & Whitechapel. As the line rounded multiple blocks with fans ready to go crazy, I waited to see what Meshuggah had in store live.
Even before the opening band could hit the stage, SOMA was already packing in the fans who were making sure they showed up for every band this night. Whitechapel knew how to get the show started with their song “Let Me Burn.” Vocalist Phil Bozeman is notorious for his low guttural vocals that have helped define the band. As Phil paces the stage glaring into the crowd with visceral intensity, the audience fed it right back to him with how crazy they screamed. One of the most unique aspects of Whitechapel to me is that they unconventionally use three guitarist. That of Ben Savage on lead guitar, Alex Wade on rhythm guitar, and Zach Householder on third guitar. The three men know how to layer their playing to help each other shine, while creating some of the crunchiest melodies. Drummer Brandon Zackey manipulates the beat of the crowd by blasting them with lightning fast double bass kicks. Only elevated by bassist Gabe Crisp playing in perfect sync. The crowd roared in tandem with Whitechapel for songs like “Forgiveness is Weakness,” “Brimstone,” “I Will Find You,” “A Bloodsoaked Symphony,” and ending with “The Saw is the Law.” There was no way the show could have started with any less energy than what Whitechapel brought. The crowd was fired up, and ready for more.
Up next is a band that I have most recently gotten into, In Flames. Another band tonight that hails from Sweden, showing that the Swedish know how to create ever lasting metal music. Vocalist Anders Fridén has the perfect duality in his voice to change from clean melodic singing to harsh guttural screams. Many modern metal vocalists have named him as a big inspiration for how they scream, and here I am getting to take in this pioneers’ abilities. Lead guitarist Björn Gelotte knows how to make a Gibson Les Paul shred. Sometimes it takes a classic guitar to really exemplify that a master of their craft can pull out any kind of music on their axe of choice. The Legendary Chris Broderick has played with many iconic bands, but seeing him play with In Flames, he fits right in. Playing off Björn’s leads and making them float through the venue with grace and melody. All the while drummer Tanner Wayne is being a technician behind the kit, maneuvering his playing to create groove, vibe, and blast beats that let the crowd go crazy. Throughout In Flames set Anders kept calling for the crowd to go even crazier, as he wanted to see the start of this tour kick off with a bang. During “I Am Above” I feel the crowd finally gave him what he wanted, as one after another crowd surfers came hurling over the barricade. Their set also included bangers like “Foregone Pt. 1,” “Pinball Map,” “Darker Times,” “Everything’s Gone,” “All For Me,” “Behind Space,” “Cloud Connected,” “State of Slow Decay,” “The Mirror’s Truth,” and ending with “Take This Life.” In Flames kept the fire burning that was brewing in the fans of SOMA who only wanted to let that fire rage even more.
It was finally time for the djent creators and the extreme metal pioneers known as Meshuggah. I’ve heard from many a friend that a Meshuggah show can have some of the most chaotic and heavy hitting fans of the metal scene. It wasn’t just the band I was excited to see, but the fans had a lot to live up to. Neither disappointed one bit. Opening the night with “Broken Cog,” the band stepped on stage cloaked in darkness. As the song kicked into gear, these panel boxes lit up behind each member casting a gloomy silhouette of the band. Vocalist Jens Kidman did not fail to excite the crowd with his guttural voice, almost sounding like he’s just straight screaming at us. Dual guitarists Fredrik Thordendal and Mårten Hagström show off what a djent band is supposed to sound like. Even though the style consists of a lot of palm muting of the strings, both men can pull out tone and variety to their playing. Bassist Dick Lövgren crafts more groove infused base lines. While drummer Tomas Haake is waltzing behind the kit with the way his feet handle the double bass. As a first since 2019, the band played their iconic hit “Bleed” which starts by Tomas playing a herta pattern on the kick. This pattern creates a gallop type sound effect that forces the fans in the audience to get the mosh moving crazier than it has been all night. We got a few other notable first being the inaugural show of the tour, with the band playing “Perpetual Black Second” for the first time since 2017, “Electric Red” for the first time since 2011, “and “Humiliative” for the first time since 2009. The other songs included “Rational Gaze,” “Born in Dissonance,” “Ligature Marks,” “The Abysmal Eye,” “In Death – Is Life,” “In Death – Is Death,” and ending with “Demiurge.”
The fire inside the crowd started by Whitechapel, was only enhanced by In Flames, and by the time Meshuggah finished their set the crowd was ready to burn the place to the ground. Even with this being a November show, and the air blowing with a cool crisp breeze, not a single person left the venue dry. The ferocity, the tenacity, and the energy that the crowd brought to SOMA caused everyone to drip in sweat for these icons of metal. I truly see why so many people hold Meshuggah up to such a high standard of quality. They create and craft such a unique presence for themselves that truly must be experienced live to take in the true power of their music.
Downtown Los Angeles is far from the cleanest city in the world. In fact, it’s pretty dirty. On Monday, November 20, it got even dirtier. Southern California’s own Dirty Honey took over The Belasco as part of their headlining tour for the newly released album, Can’t Find The Brakes.
The album has only been out for a few weeks, but the first single from it, Won’t Take Me Alive, has been getting plenty of air play for months and broke into the Top 10. And this being billed as a “Coming Home” show, all the stops were really pulled out on this night. It was live streamed, and Matt Pinfield introduced the band. Dirty Honey is already known for an energetic live act and need no extra reason to step it up, but step it up they did.
The quartet features Marc LaBelle on lead vocals, John Notto on guitar, Justin Smolian on bass, and Jaydon Bean on drums (very recently replacing Corey Coverstone). As Pinfield reminded the audience in his introduction, Dirty Honey has an interesting back story. They are the first unsigned back to ever top the mainstream rock chart with the song, “When I’m Gone.”
It was a 17-song set with six of them coming from the new album and the show opened with the title track. Dirty Honey is a riff-based, rock and roll band and those riffs come from the Gibson Les Paul-wielding John Notto. He has all of the guitar hero moves, so that, plus undeniable talent makes him a blast to watch as well as listen to. But the revelation for the night was LaBelle’s voice. It’s powerful and clear and he matches any note from any recorded song. Rounding out the band, the rhythm section of Smolian and Bean are heavy in the best way possible.
While they played their share of originals, Dirty Honey showed their great feel for fresh takes on covers. Two great examples were an acoustic, fun version of The Rolling Stone’s “Honkey Tonk Woman,” and a slow, heavy “Let’s Go Crazy” by Prince. (Notto’s guitar work at the end would have made the Purple One proud.)
Dirty Honey is a band that has been called the future of Rock and Roll. But they readily acknowledge their influences like Aerosmith, Guns N’ Roses, Led Zeppelin, and The Black Crowes. They write and play catchy songs with choruses and riffs that when played live automatically get heads bobbing, bodies moving, and entire audiences singing along. The Belasco was General Admission standing room only, but the entire crowd would have been on their feet even if seating had been provided.
If the audience didn’t need any more reason to stand, the first song of the encore provided a great one. The Black Crowes own Chris Robinson joined Dirty Honey for a cover of AC/DC’s “Rock and Roll Damnation.” While introducing Robinson, Marc LaBelle acknowledged how much he has borrowed/stolen from the singer. Many times during the song, LaBelle looked like he was in rock heaven, singing on stage with an influence/idol/hero. But isn’t that what makes Rock and Roll what it is? Taking from the past, blending here, twisting there. Hopefully, when it’s done with skill, talent, and respect, the outcome is something passionate and fresh. And dirty.
Barns Courtney Rocks the Roxy: A Night of Unforgettable Energy...
Barns Courtney's performance at the Roxy in Los Angeles, presented by Goldenvoice Alt 98.7, was nothing short of a triumph, proving that for him, “rock bottom” is a distant memory. The venue was sold out, with the atmosphere buzzing well beyond its 500-person capacity, a testament to Courtney's growing popularity and the anticipation surrounding his live shows.
Having embarked on his musical journey at the age of 15 with his band Sleeper Cell, Courtney faced contractual challenges but ultimately found success with his breakout single "Fire," featured in the Bradley Cooper movie Burnt. This show was a celebration of his resilience and the recognition his music has garnered, not only through tenacious grind but also with placements in various television and film projects.
The diverse audience, spanning from early to middle age and seemingly equal in gender representation, reflected the broad appeal of Barns Courtney's music. As he took the stage to a roar of screams and applause, the energy in the room mirrored a modern-day Rolling Stones swagger infused with a rock style reminiscent of The Killers.
Courtney, with his incredibly powerful voice, took the audience on a journey through a wide spectrum of human emotion and experience. Each song resonated personally with the crowd, and his rich tone, complemented by a sultry raspy edge, added depth to the performance. The chemistry among the band members was palpable, as they harmonized and played with high energy, providing the perfect support for Courtney as he sang from a deeply passionate place, leaving it all on the stage.
Despite the writer's admission that their writing days were in the rearview, the decision to cover Barns Courtney's show was a no-brainer. Their prediction of seeing Courtney at major festivals in the following year seems inevitable, given the electrifying performance witnessed that night.
The deeply intimate acoustic encore further showcased Courtney's versatility, and the night ended with a mic drop, leaving an indelible mark on the audience.
As attested by a fan who compared the show to seeing U2 and The Fugees, declaring it the "best show I've seen all year," Barns Courtney's performance at the Roxy was a triumph and solidified his place as a must-see act.
-Jessie Monville
About 10 years ago, Steven Zhu dropped the song titled “Faded.” After that song spread around the world in every club and every rave, his’s life changed forever. It was 2014 and we were near the peak of the EDM wave that encapsulated the planet. So many DJs rode the explosive wave of EDM into super stardom back in 2014. New talent was popping up everywhere with new DJs spinning in the trance, house, and techno genres and subgenres. It was a crazy time in the EDM scene. So many new eyeballs and ears to the scene allowed for more producers to grow in popularity. Fast forward nearly ten years: many of them have started to plateau. EDM isn’t going anywhere but it’s not all over the radio or as in-your-face as it was in 2014. I’m not saying DJs have fallen off, but I will say that it is indeed a little tricky to keep everyone’s attention for a decade solely with repetitive beats. Early on, ZHU has been pushing himself outside of the “box” that DJs often find themselves trapped in. He’s been pushing the bounds of his music, incorporating the piano and other instruments, and picking up the mic to offer his own vocals. The diversity of his talent has separated him from the pack. Four albums into his career, he recently sold out three nights at The Hollywood Palladium in November 2023. Let’s hop into it.
Up first was partywithray. As fans piled into the venue, they were greeted with syncopated bass lines and four-on-the-floor-beats. He got everyone hype with songs like “Came For The Low” and “Lil Mama”. The young DJ had everybody moving and teed it up well for the middle set. Up second was Hayden James. The “Something About You” producer rocked the dance floor from wall to wall for a little under an hour and half. Fans were singing the lyrics to songs like “Just Friends” and “NUMB” as the upbeat basslines thumped through the night.
Finally, at 9:30 PM, the lights in the venue dimmed to near blackness. In amazing speed, the production team assembled a structure that resembled a massive black steel cage. Fog machines filled the venue with smoke. Dark red lights illuminated from said cage throughout the venue. Five figures dressed in all black slowly walked in front of the cage and stood there facing away from the crowd. It felt like I was watching The Undertaker enter a Wrestlemania event during the WWF attitude era. Four of the figures entered the cage. The spotlights turned on, the beat dropped, and the remaining individual outside the cage introduced himself to the crowd. You guessed it: ZHU. The other four gentlemen were members of his live band. They rocked the drums, guitar, saxophone, and bass from within the cage throughout his set. Perched on top of the cage were ZHU’s boards where he dropped beat after beat until the night was through. The production was top notch and live elements proved why ZHU is a seriously good performer. It wasn’t just an EDM show but was full-on musical theater.
ZHU absolutely nailed his second night at The Hollywood Palladium on the Fall of Grace 2023 Tour. I can only imagine nights one and three went just as well. The addition of a live band to his EDM beats added a level of energy unmatched by any other EDM show I’ve been to. Check out this show when he comes by your local city. It’s a banger.
First Avenue was gifted a boon of bountiful metal tunes this past week - Baroness brought their Sweet Oblivion tour supporting their latest release, Stone, to Minneapolis on Tuesday, gracing the stage with the current segment’s tour buddies Spotlights and Chat Pile. The seasoned metal outfit - headed by the impossible-to-miss, towering John Baizley - brought a whole cavalcade of tunes, new and old, to the venue, with sincerely screamed vocals and jumping guitars aplenty.
Support band number one was Spotlights, a metal trio from Brooklyn that sounds like a dozen bands you’ve heard of while at the same time sound completely unique. When hearing them, one is bound to be reminded of a very wide ranging variety of bands, especially on their latest album Alchemy For The Dead. Deftones, 16volt, Katatonia, Torche - they seem to draw from these and more to create a sound wholly their own. Translating live, the band is an atom bomb going off - their short set was the first few songs off of Alchemy, but amplified tremendously, the opening notes of Beyond the Broken Sky sounding significantly larger, the vocals sounding even more mysterious and brooding, and the musical, groovy drumming of Chris Enriquez even more captivating.
Indie-ish darlings Chat Pile were up next. Chat Pile have, for those heavy music listeners living under a rock, taken the metal world by storm these past few years, blowing up seemingly out of nowhere with their release God’s Country in 2022, skyrocketing them directly into everyone’s attention. Their sincere mix of noise-come-sludge and drunken, rambling, heartfelt vocals seemed to connect a common vein of outrage and frustration at the perfect time. Live - this doesn’t work quite as well, as while the heavy songs like "Why" and "Tropical Beaches, Inc". are tailor-made to crush a live audience, the vocalist’s incoherent mumble-talk-scream and general disinterested demeanor has a place in performance art, but as a frontman he does as much harm as he does good, stripping away some of the energy of the solid musicianship and creating a conflict between band and vocalist.
Baroness came to the stage last, arms raised to the skies as the opening notes of "Embers" played over the house speakers, and then Stone’s first real track "Last Word" kicked in and we were off! Baizley’s vein-popping, full-energy style of delivering vocals is incomparably charming, a distinguishing feature of their performances. He has spoken often in the past about how much Baroness’ music is trying to strike at a connective tissue through music, and watching him give everything he’s got in everything song - it’s impossible not to be taken in. You combine this with impeccable supporting fare in Gina Gleason, who is fighting a battle to the death with standing still, and Nick Jost’s effortless groovy bass contributions, and how could you not fall in love? Baroness followed with a track off of 2007’s Blue - "A Horse Called Golgotha" - and then marched right into "A March to the Sea" from 2012’s Yellow/Green. They then sailed into tracks from all over, covering pretty much their entire discography, before returning to Blue and Yellow/Green for their encore with a rendition of "The Sweetest Curse" and "Takes My Bones Away". A stellar performance that took the crowds to sweet oblivion and back.
Nahko Bear, or simply known as Nahko, wrapped up his Trenches Tour with Nattali Rize in Las Vegas. The venue in Area 15 is a small, intimate room called The Wall. Named for its large LED video wall set behind the raised stage, The Wall holds about 200 people and this show was sold out well in advance. Personally, I enjoy small intimate settings, and even more so, acoustic sessions. Reminiscent to MTV’s heyday of Unplugged, the songs take differently as if they are inviting the audience to experience the depth of emotion played with every chord and note.
Opening up the show, Nattali Rize provided a nine-song solo acoustic set that gave the audience an up close and personal experience during her hour-long performance. The stripped-down arrangements showcased her musical prowess, allowing the lyrics to resonate with the audience. Just her and an acoustic guitar.
Nattali opened up her set with “Warriors”, a song that’s really taken off on the Sugarshack Sessions with almost five million views. This song got the audience going as I watched everyone in the front row sing along and move to the rhythm. In between songs, she would thank the audience and share encouraging words of positivity. Not to the point of preaching, but just enough to get the crowd’s approval before starting another song.
Her setlist included some fan favorites like "Rebel Frequency", "Liberate", and "Indestructible". She closed her set with one of her biggest hits and my favorite, “One People”. The extended song included crowd participation with her pausing her guitar playing volleying back and forth with the audience finishing her lines. Like all of her songs, one can really get into the lyrics of this song and her songwriting skills really come out on this one. After her set, she joined the audience an danced with them as the house music played Bob Marley’s “Could You Be Loved”. This kind of interaction drives fan appreciation home for some people. It’s not often that one can sing and dance with one of their favorite artists.
A short break allowed the audience to absorb the vibes that come naturally with Nattali’s performances and prepare for the headliner. As the lights dimmed and a subtle haze filled the room, Nahko took the stage and was welcomed by the 200 screaming fans. His acoustic set consisted of him switching back and forth between an acoustic guitar and a keyboard. It’s always a welcome sight when you can see the audience singing along with the artist.
Nahko’s musical genre is a mixed bag consisting of folk, alternative, and R&B. His songwriting sends deep messages that are sometimes sprinkled with a few vulgarities but they seem to work well to drive the songs home. With songs like “Enough” and “Ok”, these songs are almost inspirational with messages of hope and self awareness. At times, you feel like you’re listening to a Sunday service with Nahko’s performance. Take the song “Creator’s Hands” as he delivers a heartfelt performance, one would expect the crowd to say Amen at the end.
In between songs, he would share one-liners to assist with his transitions. Although small stages and acoustic sets don’t allow much room for dynamic performances, he did not disappoint as he did not need any theatrics. The simplicity of the acoustic set is entertaining enough. Nahko’s music hits deep on many levels with motivational messages and hints of spirituality, advocacy, and activism. But behind these messages, there is genuinely good music. His musicianship and songwriting skills takes you on an emotional journey deep into your self-conscience leaving you inspired to be a better person.
As the night drew to a close, Nahko took the stage, inviting Nattali Rize to join him for a few songs. With Nahko skillfully playing the guitar, Nattali complemented the performance with her captivating vocals, creating a remarkable synergy. The seamless collaboration left me wondering why these two artists haven't recorded a song together. Both Nahko and Nattali convey messages through their music that uplift and heal. The culmination of over two hours of music left the audience visibly satisfied and infused with a renewed sense of hope. While Sunday service may have concluded, the enduring impact of their message and music continues to resonate.
Meet 19MIL, the authentic rising star from Miami, a true force in the music scene. As a singer, songwriter, and producer, she unveils a multi-faceted talent with a dark yet beautiful voice that evokes a euphoric feeling of sadness, shaping the unique genre of dark-pop. Anticipate conversations in the upcoming months surrounding her distinctive style.
In her latest single, "Deep End," 19MIL offers a profound emotional journey, using metaphors to convey her resilience in seeing herself beyond the negativity—an exploration of beauty emerging from overcoming adversity.
The music video for "Sweet Child" by John-Robert left me pleasantly surprised. The warmth and nostalgia it exudes, combined with John Roberts' velvety vocals, create a captivating experience. The attention to detail shines through, especially in the blend of laid-back guitar and groovy drums. The nostalgic vibe, inspired by "teletubbies and other oddball children's programming," adds a unique touch. "Sweet Child", the lead single from John-Robert's upcoming EP Garden Snake, beautifully merges his Appalachian roots with modern indie pop. It feels both authentic and cinematic, capturing the essence of a coming-of-age epic. Excited for the full release of John Robert’s fourth upcoming EP Garden Snake on December 8th via Nice Life.