The “Ganja Farmer” or “Cowboy,” as Marlon Asher is affectionately known to his friends and fans, is a native Trinidadian and the first reggae sensation out of Trinidad & Tobago. He is now one of the most sought-after artists in the country and the Caribbean! Marlon chose the name “Asher,” derived from the 12 tribes of Israel, representing December. Inspired by some of the biggest reggae artists of all time, such as Dennis Brown, Barrington Levy, and the legend himself, Bob Marley, Marlon set out at a young age to create meaningful and positive music.
His breakout came in 2004 with the hit song “Ganja Farmer,” which took the Caribbean by storm and quickly made a name for him. He followed it up with “Ganja Cowboy,” another hit that went worldwide. These songs became instant classics, solidifying Marlon as a star. Now, 21 years after “Ganja Farmer” was released, he returns with a new album and another instant classic, Safe.
The album kicks off with “Give Praises,” featuring Luciano Messenjah, over a Latin string riddim with a reduced Nyabinghi beat. This is the perfect song to start the journey, showcasing Marlon’s beautiful lyrics and flow. Luciano’s vocals complement Marlon’s perfectly, creating a spiritual and uplifting vibe.
“Strictly High Grade” follows with a strong beat and sweet guitar, as Marlon changes up his cadence effortlessly over the riddim. The track delivers a hip-hop/dancehall vibe with a deep message.
Sizzla joins Marlon on “Never See Us Fall,” an incredible track where both artists bring uplifting lyrics and bold flows over a laid-back bassline. Sizzla’s classic style pairs seamlessly with Marlon’s, creating a song that inspires and energizes.
“Stay” brings a rootsy reggae riddim, with Marlon pleading with his woman to stay. His lyrical flow ties perfectly into the riddim, making this a heartfelt and relatable track.
“Diamonds and Gold” features Tarrus Riley belting out the chorus before Marlon takes over with a hard-hitting verse. Capleton then enters with his powerful delivery, elevating the song to another level. The three artists connect perfectly, asking the gangs of Jamaica, “Why are their hearts so cold?”
The title track, “Safe,” slows things down with a roots reggae riddim. This jam reassures listeners that there’s nothing to fear when Jah is your strength and shield.
“Revolution” serves as an anthem for the downtrodden and a stance against Babylon. With a solid beat and production, Marlon’s lyrics and flow shine, delivering a powerful message.
Masicka joins Marlon on “In the Hills,” a track with an ’80s-style sound that hits just right. The song celebrates the high-grade grown in the hills, with sharp lyrics from Marlon and a gritty edge from Masicka.
“Plastic Smile” addresses hypocrites and wolves in sheep’s clothing—those with no morals. The solid roots reggae riddim pairs perfectly with the song’s message:
“See it on them face, them wearing plastic smile.
I could feel the hypocrisy from a mile.
Tune into their energy, you'll feel the vibes, oh oh.
Yes Jah, he know. Pose as false prophet, then come and pretend.
Robbers and vampires, them soul want cleanse.”
Kyle McDonald from Slightly Stoopid joins Marlon on “I & I,” an upbeat groove praising Jah. Their chemistry is undeniable as they trade verses, making it clear why Marlon has toured with Slightly Stoopid. This is another standout track on the album.
“On My Way” is a short but sweet acoustic interlude that transitions beautifully into “Call Me,” featuring J. Boog. This love song delivers a pure, airy, beachy vibe, with Marlon and J. Boog trading sweet lyrics over a chill riddim. It’s the perfect track to grab your partner and dance.
The album closes with an upbeat rootsy riddim, as Marlon finishes the journey with a commanding lyrical flow. The final track exudes consciousness, spirituality, and deep faith, sealing the album with perfection.
Safe is a complete and prolific collaboration between Marlon Asher, Don Corleon, and VAS Productions, resulting in an album filled with thought, meaning, and timeless quality. Marlon’s ability to create meaningful lyrics and deliver superb vocals is complemented by top-notch production and a host of outstanding collaborators.
From spiritual reflections to fiery dancehall vibes, Safe showcases Marlon’s growth as an artist and a man. This album is not just a collection of songs—it’s a statement of resilience, positivity, and artistry. Whether you’re seeking inspiration, relaxation, or a reason to dance, Safe offers something for everyone.
Marlon Asher has once again proven why he’s a reggae icon, delivering one of the top albums of the year.
One Love – Todd M. Judd
Recently, in an interview with 99JAMZ in South Florida, Konshens was asked why he named his new album Pool Party. “Because it’s HOT!” he said, adding, “Not just in terms of the temperature, but the climate around the world. Everything is so negative and aggressive, dark and serious. Yo, let’s have a party. I don’t want to focus on, you know, music reflecting what’s going on—I don’t want to do that right now. Let’s just take a break.”
Working with producers Izybeats, BomboCat from Costa Rica, Markhize, Track Starr, and Hitmaka (who collaborated on the track with Eric Bellinger), Konshens created not just a summer album, but a party album for the near future—an album for therapy. This project was two years in the making.
“Mi start work pon dis album two years ago. It’s been on and off. It’s been done like four different times, but I never quite felt it was really ready. One day, the title just came to me. The world is upside down right now, it’s a whole lotta bullshit. War, natural disaster, and all kinda ting. I didn’t want to do an album that reflected the current state that we’re in. I wanted to do an album that is the opposite. I didn’t want to do an album that people remembered [alongside] wildfires in California or an Israel-Iran war. That’s why I took an approach of, let’s party,” Konshens explained.
Pool Party is a bold, infectious celebration of freedom, resilience, and the evolution of Jamaican music.
The album starts with “Our Father,” a spiritual and emotional introduction. While not in party mode, this hauntingly honest plea sets a reflective tone before diving into tracks that sizzle with vigor and brashness. The sweet beat and riddim complement Konshens’ flowing delivery.
“Money Dealings” follows with a strong beat and a deep, somber message. The bass, riddim, and Konshens’ lyrical flow create a hip-hop/dancehall vibe. Skillibeng joins Konshens on “Bend,” an anthem with dance instructions. This gritty, bass-heavy banger bridges old-school deejay energy with modern swagger, connecting two generations.
“Back Dat Azz Up” brings a seamless connection between hip-hop and dancehall, with Konshens effortlessly flowing over Juvenile’s classic beat. Born out of a live stream on Miami’s 103.5 The Beat, the intense reception inspired Konshens to record an official version for the album. The track has already earned props from Birdman himself and is destined to dominate clubs across the Caribbean and beyond.
Another club-ready anthem, “Gyal Time Again,” features Charly Black. This high-energy party jam leans fully into revelry, with Konshens and Charly Black delivering dynamic vocal flows. The party continues with “So Many,” featuring Lil Duval, a slightly slower and chill riddim celebrating the beauty of women.
“Badman” brings a tweaked version of the classic Bookshelf riddim by Tony Kelly, with Konshens asserting his dominance as a “badman” who gets all the women. His cadence and vocal presence shine over the riddim.
“Tight and Good” delivers an up-tempo beat with a Latino flow, showcasing one of Konshens’ best lyrical and vocal performances on the album. This steamy track adds a different mood to the project.
Konshens slows things down with “Show Me,” a track with an ’80s R&B and Prince vibe. “It’s kinda raunchy and pays homage to Purple Rain by Prince and ‘Under the Influence’ by Chris Brown. I’m very excited about adding it to my shows,” Konshens said.
“Rich Sex,” featuring Eric Bellinger and Moyann, is a seductive, slow wine groove that’s both radio-ready and perfect for slow dancing. The trio’s voices blend beautifully, creating a sultry and captivating track.
“Shek It,” a previously released track, continues the seductive groove. Konshens delivers an easy, commanding flow with lyrics like: “Big bumpa gyal, Wid the pretty face yu so special, To how she a wine mi must get her.”
“Red” brings an old-school dancehall riddim, with Konshens attacking the mic and “runnin’ da place.”
“Battle Zone” is a lyrical showdown between survival and success, featuring The Game. With west coast grit and commanding lyrics, the track highlights Konshens’ hip-hop flow. When asked how he got The Game to join, Konshens explained, “I was in Germany, and I heard a song that sounded like reggae with hip-hop drums. I told Izy I needed a beat with hip-hop drums and a Jr. Gong reggae feel. He sent me a beat in five minutes, and I cut the demo. We had the song for a year, and I decided to send it to The Game. He sent back two verses. Easy.”
“Wet and Wild,” featuring D’Yani, bridges generations with a dance-heavy beat that gets you moving. D’Yani’s smooth delivery perfectly complements Konshens’ style.
The album closes with “Deserve It All,” a dancehall anthem featuring Izybeats and Track Starr. This Afrobeat-influenced track is both danceable and uplifting, with a positive message that makes it an anthem for the summer and beyond. Konshens told Billboard, “Number one for me is track 15, ‘Deserve It All’; that’s the mode I’m in. I feel like music blessed me, and mi nuh feel guilty about receiving those blessings. I want more. I’m claiming it. I want to empower people to feel like they deserve to be successful and achieve their goals.”
This album is “another rebirth” for Konshens, delivering a project with meaning and fun. From profound reflection to fiery dancehall vibes and riddims, Pool Party showcases Konshens’ growth as a man, lyricist, and global artist. Whether you’re soaking up the sun or sweating it out in the club, this album offers a rhythm for every moment.
With its dynamic array of topics, moods, and textures, Pool Party stands as a complete artistic statement. Pushing for global appeal, Konshens infused Afrobeat, Latino, and hip-hop genres while staying true to his dancehall roots. He has truly delivered a HOT production to take us away from the negativity surrounding us today.
One Love – Todd M. Judd
Touring rock and metal festivals used to be a more consistent thing in years past. Sadly, some of our favorites like Warped Tour, Mayhem Fest, and Knotfest have either ended or transitioned into single-stop events. Well, a new summer touring festival has hit the scene and promises to light up each venue. Summer of Loud is traveling across the United States, boasting four headlining bands performing each night and tons of pyro to light up each city. The four headliners include powerhouse bands Beartooth, I Prevail, Parkway Drive, and Killswitch Engage, all rotating headlining duties at different stops. Along with these big names, the tour features The Amity Affliction, The Devil Wears Prada, Alpha Wolf, and a rotating opening band. The Summer of Loud Festival invaded the new Great Park Live venue in Irvine, CA, and fans were ready for a full day of headbanging and moshing.
Before the show could even start, the day was marred by some unfortunate setbacks. Sadly, The Devil Wears Prada had to drop out of the Irvine date due to a medical issue, though they were able to make the next stop. While it was disappointing not to see them, it’s better for the band to take the time to heal rather than push themselves. This caused the first band to go on 45 minutes later than originally planned. Additionally, the venue moved the door time back by an hour, leaving many fans standing in direct sunlight under 85-degree clear skies for longer than expected.
Another major setback was that, due to Irvine fire ordinances, the tour was forbidden from using any pyrotechnics. The pyro was a big visual factor in the festival’s presentation, and its absence felt like a significant loss. Nonetheless, each band knew they had to bring their A-game to make the day worth it for the fans—and they absolutely delivered.
Opening the show was Kingdom of Giants, making their Summer of Loud debut, replacing former opening band TX2. Wasting no time, they kicked off their set with “Asphalt.” As soon as the heavy guitars from Max Bremer and Julian Perez hit, you knew it was going to be a good day. But it was when vocalist Dana Willax unleashed the first screams of the day that the crowd truly came alive.
Though Kingdom of Giants had the shortest set of the day, they made sure to get the blood pumping. Mosh pits opened up, and crowd surfers began crashing over the barricade. Their setlist included “Wasted Space,” “Bleach,” the live debut of “Collide,” “Burner,” and ended with “Wayfinder.” Kingdom of Giants was the perfect choice to kick off this leg of the Summer of Loud festival.
Next up was Alpha Wolf, a band from Australia that has been gaining traction recently. They wasted no time, hitting the crowd with heavy, chuggy riffs to ignite the energy. Vocalist Lochie Keogh, wearing a custom Alpha Wolf-emblazoned San Diego Padres jersey, delivered one of the most ferocious vocal performances of the day. His screams felt like they were directed straight at you, full of raw intensity.
Guitarist Sabian Lynch, with his face mask, bleached hair, and confident stage presence, brought to mind Kakashi from Naruto. The band even opened their set with “Mangekyō,” a possible nod to the anime. Alongside fellow guitarist Scottie Simpson, bassist John Arnold, and drummer Mitch Fogarty, Alpha Wolf attacked the audience with songs like “Pretty Boy,” “Sucks 2 Suck,” “Sub-Zero,” “Haunter,” “Creep,” and “Akudama.” Despite the heat, fans gave Alpha Wolf all their energy, proving their growing popularity.
It was then time for The Amity Affliction to take the stage. This was my first time seeing them live, and they did not disappoint. Vocalist Joel Birch was all smiles, clearly enjoying every moment on stage. His harsh vocals paired beautifully with bassist Jonathan Reeves’ clean vocals, creating a dynamic ebb and flow in their music.
Guitarist Dan Brown delivered heavy riffs and fluid melodies, while drummer Joe Longobardi blasted the crowd with double-kick patterns. Unfortunately, near the end of their set, Joel Birch rolled his ankle during “It’s Hell Down Here.” It was later revealed that he broke two bones in his left foot. Despite the injury, Birch finished the set like a true rockstar, performing the final song with his foot in a cooler full of ice. The band announced they would not be dropping off the tour, ensuring fans can still catch them at future stops.
The first of the four headliners to perform was Killswitch Engage, metalcore legends who have been foundational to the scene for decades. Even with the bright sun blazing behind them, they delivered a powerful performance. Vocalist Jesse Leach showcased his incredible range, seamlessly transitioning between angelic cleans and gritty screams.
Guitarist Adam Dutkiewicz, known for his playful stage persona, rocked a pizza guitar, an “I’m with Stupid ß” shirt, and a headband that read “Beer.” Despite his antics, his guitar work, alongside Joel Stroetzel, was nothing short of inspiring. Bassist Mike D’Antonio and drummer Justin Foley kept the rhythm section tight, while the band crammed as many hits as possible into their set, including “Rose of Sharyn,” “This Fire,” “Hate By Design,” “My Curse,” and “Holy Diver.”
Our second headliner of the night was Parkway Drive, another Australian powerhouse. Opening with “Glitch,” vocalist Winston McCall commanded the crowd like a military sergeant, urging fans to keep the mosh pits spinning. Guitarists Jeff Ling and Luke Kilpatrick delivered driving hooks, while bassist Jia O’Connor and drummer Ben Gordon held down the rhythm.
Their setlist included fan favorites like “Prey,” “Vice Grip,” “Carrion,” and “Wild Eyes.” While Parkway Drive is known for their elaborate pyro rigs, the lack of fire due to Irvine’s restrictions was disappointing. Still, the band’s energy and performance more than made up for it.
As the sun set, I Prevail took the stage. This was their first tour without founding member Brian Burkheiser, leaving Eric Vanlerberghe to handle full vocal duties. Starting with “Bow Down,” the band brought ferocity to their set. Vanlerberghe’s unclean and clean vocals were effortless, while rhythm guitarist Dylan Bowman provided additional clean vocals.
Lead guitarist Steve Menoian added ambiance and texture to the tracks, while drummer Gabe Helguera delivered powerful, intentional drumming. Their setlist included “Body Bag,” “Self-Destruction,” “Hurricane,” and “Gasoline.” While Vanlerberghe did an excellent job, I hope the band considers bringing back a second vocalist to restore the layered dynamics that define their sound.
Finally, it was time for Beartooth to close the show. Kicking off with “The Lines,” vocalist Caleb Shomo brought unmatched energy, running across the stage and pouring passion into every song. From tracks about depression to finding happiness, Shomo’s emotional delivery connected deeply with the crowd.
Guitarists Zach Huston and Will Deely kept the riffs heavy, while bassist Oshie Bichar added depth with backing vocals. Drummer Connor Denis showcased his evolution, delivering nuanced patterns and powerful beats. Their setlist included “The Past is Dead,” “Sunshine!,” “Disease,” and “Riptide,” ending the night with “In Between.”
The Summer of Loud tour brought big, loud energy to Irvine, CA. While the lack of pyro was disappointing, the bands didn’t let it hinder their performances. Each act brought their best, making this one of the most exciting shows of the summer. I hope the Summer of Loud becomes an annual event, with new bands joining the lineup. Just one request: please find a venue that allows the full pyro experience.
Hard rock and blues guitar icon Gary Hoey is back with a scorching new album, Avalanche, released on May 9. He has been out on the road celebrating these new songs, wrapping up this first run of shows at the legendary Coach House Concert Hall in San Juan Capistrano on Saturday night, June 28. Joining Hoey onstage for this tour are his son Ian Hoey on second guitar, Mike Dutko on bass, and Stet Howland on drums, stepping in for Leah Bluestein, who is currently playing with Eagles of Death Metal.
Gary Hoey’s talents go far beyond his mesmerizing guitar mastery—he is also a soulful vocalist. The night kicked off with two spectacular cover songs: Don Nix’s “Goin’ Down” followed by Red Rider’s “Lunatic Fringe.” From the very start, it was clear this was going to be a magical show. With all due respect to the drummers who have played with Hoey over the years, it was extra special to see and hear Howland on the drums. An industry veteran, Howland has played with W.A.S.P., Metal Church, Lita Ford, and many others. His animated and precise drumming added an electrifying energy to the performance.
Hoey is one of the most pleasant and positive human beings on earth, and his between-song stories and outlook on life are always inspirational. Seeing him live, you become a fan not just of his music but of the man himself. Seven songs from the new album Avalanche were performed, each one top-notch. Hoey’s ability to create rock-infused blues and guitar-driven music that moves you remains in his DNA, even 30+ years into his career.
Ian Hoey, who has been playing live with the band for a few years, has taken on a larger role in the performances. He delivered more leads and even vocals on a cover of Jimi Hendrix’s “Little Wing.” Throughout the night, Gary and Ian often huddled up to jam, and it was clear how proud Gary is of his son. Ian has certainly inherited his father’s ability to shred on the six-string.
Dutko on bass held down the rhythm and brought the thunder with his playing. His interactions with Hoey were fun to watch, and it was evident that the band is tight and having a blast onstage. Of course, many Hoey classics were played, including “Peace Pipe” and “Who’s Your Daddy.” A particularly emotional moment came with “Dear Mama,” a song from the new album that Hoey wrote in memory of his late mother, to whom he was extremely close. It was a touching tribute that resonated deeply with the audience.
The night ended with a bang as the band hammered out a killer rendition of “Hocus Pocus” (a Focus cover), followed by the National Anthem, and then closed with a fiery cover of Jimi Hendrix’s “Foxy Lady.”
Before wrapping up, Hoey announced an exciting collaboration with AleSmith Brewing Company. He is releasing his own beer called “Summer’s Here,” and he and Ian will be at AleSmith Brewing Company in San Diego on July 12 to celebrate the beer’s release with an acoustic set.
Gary Hoey continues to prove why he’s a legend in the hard rock and blues world. With Avalanche, he delivers a fresh yet familiar sound, and his live performances remain as electrifying as ever. If you get the chance to see him live, don’t miss it—you’ll leave inspired, entertained, and in awe of his talent.
Ithaca Reggae Fest was back—and not just for one day. This year, the festival expanded to a two-day celebration in its seventh year, bringing fun, dope music, great laid-back vibes, a beautiful setting, and a super chill atmosphere. Stewart Park is the perfect location for a reggae festival; nestled up to Cayuga Lake, attendees were blessed with a refreshing lake breeze, sunny skies, electrifying performances, reggae vibes, love, and amazing people.
In addition to the music, Ithaca Reggae Fest offered the Lake Discovery Village, Yoga Village, Skateboard Village, Art Village, and Youth Village, creating an all-around wonderful weekend. The festival is dedicated to the protection of Cayuga Lake through a conscious celebration of Ithaca’s legendary reggae community and its history. Attendees also enjoyed incredible food and beverage vendors, as well as a variety of craft and merchandise vendors. Russ Friedell, a director for the festival, anticipated a record turnout this year. But for him, it’s not just about the numbers—it’s about the meaning of the event.
“The vibe of Reggae Fest is really peace, love, reggae, and community,” Friedell said. “The message of reggae music in general is pretty universal—peace, love, love one another, come together. In these times, that message has never been more necessary for us all to remind ourselves of.”
The festival kicked off on Friday evening with a free block party featuring a dance step and double-dutch troupe, GIAC Jumpers, EvoEvolution, indigenist artist Ononkwa-Medicine, and legendary reggae DJ Carter Van Pelt.
Saturday began with various yoga stations and practices, leading into the first performance of the day: the Gayogo̱hó:nǫˀ Cultural Celebration. Tribal members shared stories, songs, and dances with the crowd, even inviting attendees to join in some of the dances. A highlight was the warrior dance performed by three young members of the tribe.
DJ Mike Judah kept the reggae beats, riddims, and classic tunes flowing, setting the tone for the day’s events. Meanwhile, the Flatland Freestyle US Pro/AM Championship skateboarding runs showcased incredible athletes doing their thing.
Cha Cha & The Analogue Sons opened the music lineup with a unique sonic dub soul reggae vibe. Led by Cha Cha, a Ghanaian artist with a fantastic voice, the band delivered a sound that blended Afrobeat and reggae seamlessly. The horns and percussion added depth to their performance, and Cha Cha’s humble and sweet personality shone through.
Next up was Personal Blend, a seven-piece group from Rochester, NY, bringing an upbeat reggae rock set. Their feel-good party vibe had the crowd dancing, with the horn section and dual vocalists keeping the energy high.
The energy skyrocketed when Gunpoets hit the main stage with their hip-hop reggae fusion. The crowd danced, jumped, and screamed along as the band used their instruments and lyrics as weapons for peace, love, and justice. Their uplifting performance defied stereotypes, and I had the pleasure of chatting with Dan Lisbe afterward about his projects.
SingTrece followed, hailing from Erie, PA, with a stunning mix of soul, R&B, and funk. Her powerful, deep voice evoked comparisons to Chaka Khan, and her band was absolutely brilliant. From the horns to the percussion, every element of their performance left the crowd in awe.
Mihali took the stage next, delivering his signature jam-packed performance. His band’s horn players stole the show with their emotional and energetic playing, while the drummer’s solo was unforgettable. After the set, Mihali spent time with fans, taking photos and sharing the love.
Black Lion, from Lilongwe, Malawi, brought a unique roots reggae sound with his band Heatwav. Despite being a three-piece band, their sound was rich and multifaceted, blending complex rhythms with smooth vocals. I had the chance to chat with Black Lion, and I’m excited to add his music to my playlist.
The night’s headliner, Kabaka Pyramid, took the stage with his band, The Bebble Rockers. Known for his Rastafarian connection to Africa and his lyrical prowess, Kabaka delivered an electrifying performance. The Bebble Rockers’ riddims and beats were flawless, and Kabaka’s hip-hop-infused reggae about unity and love captivated the crowd. It was the perfect way to end the night.
Sunday morning started with rain, which delayed the yoga and skateboarding activities. But as the clouds cleared, the day turned sunny and beautiful. DJ Art-V entertained the crowd as they arrived, and Steel Pulse gave a sneak peek during their soundcheck, offering a taste of what was to come.
The day began with the Notorious Stringbusters, a bluegrass band that brought a reggae twist to their set, including covers of Toots and the Maytals. Their energy had the crowd dancing and jamming.
Ithaca’s own Metasequoia followed with their funky rock reggae vibe, blending genres like rock, reggae, alternative, and blues. Led by Star on keys and vocals and Roo on guitar and vocals, their unique sound transported the crowd back to the ’80s.
Double Tiger was a revelation. Led by Jay Spaker, the band delivered an incredible roots reggae groove. Jay’s voice, reminiscent of classic Jamaican reggae, paired perfectly with the band’s riddims and standout horn section.
New Planets brought a genre-defying set, blending reggae with funky dance music. Their performance featured Cha Cha, who added his dynamic drumming and vocals to the mix.
Giant Panda Guerilla Dub Squad, from Rochester, NY, brought high-energy jams to the stage. Their horn section carried the set, and Jay Spaker joined them for “Champion,” elevating the energy even further.
As the festival neared its end, Thousands of One delivered a powerful set of conscious music, blending afrobeat, funk, reggae, and hip-hop. Their dynamic performance featured standout moments from Jhakeem Haltom on vocals and Mark Wienand on saxophone and flute.
Finally, the legendary Steel Pulse closed the festival with a masterful performance. Led by David Hinds, the band delivered perfection, weaving their songs into a message of unity and love. Their energy and showmanship left the crowd dancing and smiling, ending the festival on the highest note possible.
TheIthaca Reggae Festis the most chill and laid-back festival I’ve ever attended. Everyone—from vendors to organizers, volunteers, photographers, and concertgoers—felt like a friend. The sense of community was palpable, and the music was unforgettable.
As Russ Friedell said, “The vibe of Reggae Fest is really peace, love, reggae, and community.” He couldn’t have been more right. If you’re looking for great music, a perfect lakeside location, and an atmosphere of love and unity, don’t miss the next Ithaca Reggae Fest. You’ll leave with new friends, unforgettable memories, and a heart full of reggae vibes.
One Love – Todd M. Judd
Tech N9ne just dropped his new album 5816 Forest, and to celebrate, he teamed up with Lil Wayne for the fifth time on a single we’re not going to forget anytime soon. “Yoda” is more than just a track; it’s a full-blown trip through hyperspace with a crash landing that leaves you reeling (in the best way possible). And the video? Pure chaos, in the most beautiful, frenzied way imaginable.
First off, Tech flexes his lyrical wizardry by actually rapping like freakin’ Yoda. That’s right, Yoda. And not in a corny, over-the-top way either. It’s bizarrely genius. Lines like “Be the, be the best I will” feel as if Tech spent a weekend on Dagobah training with the Jedi master himself. His delivery is sharp and exact, all while stepping seamlessly into this galactic persona. But don’t sleep on Weezy. He rides shotgun with classic Lil Wayne flair, dropping zingers like “I be green like Yoda,” locking into the theme with his quirky wordplay. Together, they’re effortlessly cool, weaving a track that bounces between swagger and absurdity in a way that just works.
Now for the visuals. Holy Sith, where do I even start? Picture a kaleidoscope of glowing lightsabers slicing through a haze of neon. Tech and Wayne stand at the forefront, commanding every second of the frame like they’re hosting the wildest Jedi rave in the galaxy. The video captures the vibe of the track perfectly: chaotic, creative, and completely unhinged. There’s no storyline, no deeper meaning to analyze. It’s just a visceral explosion of color, energy, and swagger.
What makes this even wilder is how proudly out-of-the-box it all is. Who else but Tech N9ne could pull off a concept like this without it coming off as a parody? He’s not just staying in his lane; he’s building new hyperlanes and pulling Lil Wayne along for the ride. These two consistently push boundaries when they collaborate, and “Yoda” is no exception.
Here’s the truth in plain English. You need to watch this video. Even if you’ve never spun a Tech N9ne track before or you think the Star Wars references might be lost on you, give this one a shot. It’s impossible not to get caught up in the sheer audacity of it all. And while you’re at it, grab 5816 Forest. If this track is any indication of what’s on the album, you’re in for a treat.
To borrow a note from Yoda himself, “Do or do not, there is no try.” Watch the video. Thank me later.
he Ruler is BACK! Richard Martin Lloyd Walters, or as we know him, Slick Rick, has been on hiatus for more than 25 years (as far as recording new music), coming out of retirement for a surprise release on Mass Appeal Media, Inc. and Idris Elba’s label, 7Wallace. The album is Rick’s first full-length project since his 1999 album Da Art of Storytellin’, which solidified his mastery of dense tales and his stylish flow. While he has been steadily performing live over the years, it was time for Slick Rick to bring out something new—something familiar, yet fresh.
Victory was four years in the making, with Slick Rick writing and recording the album between his birthplace of London and France. Rick explained that he didn’t want to record an album until he felt his artistic vision could be fully realized. Now, at 60 years old, he returns with a project billed as a visual and musical evolution. Rick described the title with his signature understatement: “Every story needs triumph.” For him, the victory is layered—surviving prison, circumventing deportation, navigating rap’s shifting eras, and arriving older yet better and stronger.
After the “Victory” intro, Rick dives right in with “Stress,” a hard-hitting track featuring a vintage old-school vibe. Over a dope drum beat, Slick Rick delivers an unyielding, fierce flow, using the chorus to lay out the reasons he’s mentally worn down—from loneliness to internal struggles. Giggs joins the track with his distinct style, detailing his own stress relievers, like treacherous women and high-quality Mary Jane. Together, Rick and Giggs create an honest and gritty track that perfectly balances agony and boasting.
“Angelic” follows with a sweet, chill yet upbeat rhythm, where Rick effortlessly glides over the beat. He reflects on the virtue of his youth compared to the disorder of today, while flexing on how much “La-Di-Da-Di” has been sampled and covered. Next is “Foreign,” which samples “Double Barrel” by Dave & Ansell Collins. With its upbeat tempo, Rick references the growing distance between him and his home, as well as the people who underestimated him during his absence. This leads into the “I Did That” interlude, where Rick reminds everyone of his accomplishments—he is, after all, The Ruler.
Rick switches things up with “Come On Let’s Go,” a house music track that feels slightly out of place on the album. While his lyrics and flow are solid, the song doesn’t quite hit, though it does feature a nice sample of “You Understand” by M. Rodriguez.
One of the standout tracks, “Landlord,” comes next, featuring a chill, reggae-infused beat. The riddim pulls you in, making you want to hit a cookout with jerk chicken, Jamaican patties, and Red Stripe. Rick vividly paints a picture of surviving the overpriced housing and hustle of New York City, showcasing his classic storytelling skills. The smooth blend of roots riddims and authentic storytelling makes this track a highlight.
After the “Mother Teresa” interlude, “Spirit to Cry” brings a chill beat with Rick flowing effortlessly over the top. The track briefly discusses those wishing for his downfall and features a slightly sped-up sample of Aretha Franklin’s “Land of Dreams.” The nostalgic beat and Rick’s flow transport listeners back to the ’90s.
Another favorite, “Documents,” features Nas and delivers masterful storytelling and gritty lyrical flow. The track’s production includes dramatic violin shots and rich old-school textures, sampling “Autumn Leaves” by Arthur Prysock. While Rick dominates his verses, Nas enters with a sharp, commanding verse that shifts the mood slightly but complements Rick’s style perfectly. Their collaboration is seamless, flowing over superb production.
“So You’re Having My Baby” hits with a piano-driven boom bap vibe, presenting a first-person narrative that feels like a courtroom testimony. Rick blends conversational speech with vivid, cinematic details, creating a compelling track.
The album returns to the club scene with another house music track, “Cuz I’m Here,” which samples “Ultra Violet” by Martin Ikin. Unfortunately, the track doesn’t quite fit the album’s overall vibe, and Rick’s flow feels less impactful here.
After the “Matrix” interlude, “We’re Not Losing” gets the album back on track with production reminiscent of RZA and Wu-Tang Clan. The beat is perfect, incorporating samples like “Un Mondo Di Parole” by Christophe, “Pulsar City Alarm” by Adams & Fleisner, and “Ironside” by Quincy Jones. Rick delivers a faster, harder flow, moving away from storytelling to bring raw energy.
The album closes with “Another Great Adventure,” a funky homage to Rick’s beginnings, produced by Q-Tip. The track has a classic A Tribe Called Quest vibe, sampling “If You’ve Got It, You’ll Get It” by The Headhunters. Rick shows a different side of himself here, mixing resilient cadences with unexpected subject matter about his daughter’s disability. His dark humor and realistic, idiomatic terms intensify the tension between empathy and discomfort, making this track a powerful closer.
The songs are relatively short, and the album is a quick listen, but one thing is certain: Slick Rick still delivers great storytelling and rhymes throughout this journey. Artists making a comeback often fall into pitfalls like long runtimes, drastic style changes, or excessive cameos, but Victory avoids all of these. Rick keeps the listener entertained and engaged.
The production, primarily handled by Rick himself, blends old-school hip-hop, house, funk, reggae, and boom bap with themes of imagination, perseverance, storytelling, and evolution. He doesn’t try to fit into today’s modern hip-hop trends; instead, the production feels like it was pulled straight from his era. Both seasoned fans and newcomers will appreciate this album as Rick channels his vibrant, relaxed charm and legendary storytelling.
The Ruler is truly back!
One Love – Todd M. Judd
Hailing from Seaview Gardens, Kingston, Jamaica, O’Neil Bryan, better known as Elephant Man, has been a mainstay in dancehall since 1995, when he burst onto the scene as part of the group Scare Dem Crew. Over the years, he has become known for his low, raspy, grumbling singing voice with a slight lisp, his trademark dyed yellow-orange hair, and his super-hyped stage performances. Alongside a few others, he has carried the dancehall torch for 30 years, staying true to the style that got him started while also evolving and adapting to the times. This ability has allowed him to retain his longtime listeners while bringing in new, younger fans.
The album kicks off with the previously released title track, “Dancing to the Max.” Using the Fiesta Riddim, Elephant Man sets the tone for the album with one clear goal: to get people dancing and having a good time. It’s the perfect song to start this dance party, and he’s already accomplishing his mission.
Next up is “God Is Good,” which samples James Cleveland and the Southern California Community Choir’s “God Is” from Cleveland’s 1979 album It’s a New Day. Elephant Man delivers a slower flow over the beat and riddim, creating a reflective yet uplifting vibe.
“Turn & Twist” follows, a reinterpretation of Chubby Checker’s original song. Rather than sampling a snippet, Elephant Man reimagines the tune with a chill riddim and a solid beat, offering a fresh take on a classic.
The energy ramps up with “Gimmi Rum,” a fun and energizing track that demands you get up and dance. The production is top-notch, featuring an infectious beat and exciting sounds throughout.
Next is “Dancing School,” which samples Diana Ross’s “I’m Coming Out.” This rousing track celebrates both old-school and new-school dances, once again compelling listeners to hit the dance floor.
“Work Out” keeps the party going with another great sample. This time, Elephant Man incorporates R. Kelly’s “Fiesta,” which itself sampled Pavlo Simtikdis’s “Fantasia.” His flow and vocals shine on this track, making it another must-dance-to anthem.
The party atmosphere continues with “Party Anthem,” featuring Busy Signal. Their styles and flows complement each other perfectly, creating a fantastic, high-energy track. It’s a collaboration that leaves you wanting more from the duo.
The album closes with a bang on “Yah Smaddy,” a track done in collaboration with Damage Musiq. This energetic finale pays respect to the communities and people in Jamaica who set the standard, while also calling out the fakes. The Montego Bay slang term “yah smaddy” inspired Elephant Man to do a roll call for the realest people in Jamaica, warning listeners to be cautious of frauds and their potential consequences.
With summer approaching, Elephant Man delivers the perfect collection of party songs that deserve a spot on every playlist. The album was brought together by an impressive lineup of producers, including Energy God Productions, DJ Mac, Damage Musiq, and Silent Addy, who crafted a series of party singles that don’t miss. Elephant Man brings his infectious energy, dope vocals, and signature style, keeping us dancing from start to finish.
One Love – Todd M. Judd
On May 29, 2025, the entire Regent Theater came to life with jumping, clapping, laughter, balloons, and boundless energy. It was the final night of Cheekface’s North America headline tour, with support from Pacing. Both artists brought a whimsical energy to the stage, each unique in their own way. It was clear that both bands have a lot of respect for one another. Together, they created a night that brought people together. The crowd was incredibly friendly and excited for the show—one fan even came dressed in a hotdog costume.
When Pacing took the stage, they immediately charmed the audience with their comedic spirit. They opened with a joke bit about chips, which had the whole crowd cheering. Lead singer Katie McTigue radiated confidence and charisma, performing with a constant smile and expressive hand gestures that added even more personality to the set. It was refreshing to see the rest of the band smiling and having fun as well.
Pacing’s setlist included songs such as “Chips,” “The Family,” “Sunny,” “Nothing! (I Wanna Do),” “Bite Me,” “Have You Tried Meditation,” “I Want to Go Outside,” “Annoying Email,” “Plnet Ftness,” “Boyfriends,” and “Live/Laugh/Laugh.” Fans of artists like Ricky Montgomery, Cavetown, and mxmtoon would love Pacing. Their songs are deeply relatable, even covering everyday struggles like canceling subscriptions. At one point, they shared a story about having to cancel subscriptions for a deceased relative, connecting with the audience in a heartfelt yet humorous way.
One of the best moments during their set was during “Boyfriends,” when they got the entire crowd to play pat-a-cake with each other. The room filled with joyful clapping and the sound of new friendships forming. Pacing is definitely an underrated artist, but their relatable music is sure to reach many more people.
Cheekface began energizing the crowd even before stepping on stage. Cardboard pigeons and a chipmunk plushie were placed around the set—a fun preview of the kind of energy they bring. Watching Cheekface live felt like being in a movie. Everyone danced like they didn’t have a care in the world. The crowd was so kind that people literally went out of their way to offer me their spot.
It was so easy to move around that I got to see the show from all perspectives of the audience, which only made the experience that much more exciting. At one point, balloons were being tossed into the air, and you could see the glow in the eyes of the crowd. Their guitarist brought rockstar energy with dramatic hair flips, while another band member performed with sassy, bouncy movements. Cheekface even got us to sing about cup noodles—over and over again. Their music offers a comedic yet pointed commentary on the state of society, including themes like social media. If you like Rare Americans, you’ll definitely enjoy Cheekface.
Their setlist included “Popular 2,” “Best Life,” “Flies,” “Featured Singer” (with a Cha-Cha Slide break), “We Need a Bigger Dumpster” (mashup with “Pink Pony Club”), “Rude World,” “Life in a Bag,” “Growth Sux,” “I Only Say I’m Sorry When I’m Wrong Now,” “Wind Is Gone,” “Noodles,” “When Life Hands You Problems,” “Military Gum” (mashup with “Give It Away”), “Eternity Leave,” “Art House,” “Yo Guy,” “Content Baby,” “You Always Want to Bomb the Middle East,” “Dry Heat,” “Hard Mode,” “Listen to Your Heart.” “No.,” and “Living Lo-Fi.”
One of the most epic moments of the night was when they got the entire audience to do the Cha-Cha Slide. Toward the end of the show, they took a moment to honor Stubbs, the band’s iconic dog mascot, who passed away during the tour. In their own way, Stubbs will continue to live on in the band’s art and in the hearts of fans. Hearing the lead singer’s speech was a poignant reminder to keep going, no matter how hard life gets—that there are things worth staying alive for. Cheekface is definitely a band the world needs right now.
I also want to give a special shoutout to my friend Tre, who told me about the show and has been running lights for the entire tour. Straight-up legendary work—the lighting that night was top-notch and the reason I was able to capture so many cool shots. The crew is a huge part of what makes a show like this happen, and the entire night was flawless.
I’m so glad I went and will now be playing Pacing and Cheekface on repeat. These are artists you definitely want to check out.
When the metal gods roll into Atlanta, you expect the sky to crack open, stadium foundations to quake, and enough raw, volcanic energy to power the entire South. Metallica’s June 3rd, 2025, spectacle at Mercedes-Benz Stadium delivered on that promise—blasting eardrums and scorching retinas.
Suicidal Tendencies kicked off the evening, though no press was allowed. Having seen them live before, I can confirm they’re legends, and braving the traffic to catch their set early is highly advised. The floor area was still filling up, so fans could easily get front and center for their performance.
Pantera was the first band I caught, delivering a fierce yet somewhat disjointed set. Their formidable power was diluted by the round-stage setup, which spread the band out and lacked the cohesion of the tight unit I’ve seen before. Phil Anselmo’s voice was incredible, and he prowled the stage, giving everyone a few moments of his intensity. If you ever get the chance to see Zakk Wylde and his Black Label Society, don’t miss it—he’s always amazing to watch. While Pantera remains an explosive band, this performance felt more like four individuals playing alone rather than a unified group.
Finally, the time came for Metallica to rage. Nearly sold out and rabid, the Atlanta crowd came ready to riot—loud, raucous, and shockingly youthful. When James Hetfield took a poll, half the hands shot up as Metallica virgins, a testament to the viral surge "Master of Puppets" received after its feature in Stranger Things. Hell, my first Metallica gig in 1986 had fewer fans in attendance than tonight’s merch line—a comparison that’s both depressing and glorious in equal measure.
Metallica barreled in with "Creeping Death," igniting the arena with thrash-punk pyrotechnics. Lars Ulrich’s drum kit setup was a cool trick. Never one to stay buried in the back, he had several kits embedded in the floor around the giant round stage, moving from kit to kit and giving fans a closer look. It added a manic delight to the showmanship, offering everyone glimpses of his sneering intensity.
But let’s be brutally honest about the circular stage gimmick: it’s a feast-or-famine gamble. One moment, you’re eye-to-eye with Hetfield, snarling out lyrics like a preacher possessed; the next twenty minutes, you’re stuck staring at empty microphones and vacant space. Even the towering screens, which leaned heavily on psychedelic visuals over practical live feeds, occasionally left fans gazing into abstract oblivion. I get it—they’re playing to a football stadium and want everyone to have the best experience, but I’d rethink those expensive floor seats.
Still, when Metallica hit their stride, the logistical grievances vanished into the vortex of sheer sonic catharsis. The savage churn of "For Whom the Bell Tolls" was gloriously brutal, and newer tracks like "If Darkness Had a Son" blazed with youthful venom. These aren’t aging rockers grasping at relevance—they’re primal beasts who’ve only sharpened their claws with age.
Robert Trujillo and Kirk Hammett’s mid-show doodle was a quirky highlight. Their spontaneous cover of "No Remorse" merged bizarrely and brilliantly into The Allman Brothers Band’s "One Way Out," a playful nod to the Southern setting that the crowd devoured like barbecue on a Sunday.
"Nothing Else Matters" offered a much-needed moment of communal vulnerability, with thousands of glowing smartphones illuminating faces and transforming the stadium into a cathedral of metal balladry. But sentimentality was fleeting, obliterated by the joyous chaos of that riff that set the metal world on fire in 1982: "Seek & Destroy."
As an old-school fan, I wanted to see a massive mosh pit encircling the round stage—thrashing rage, stage divers going over the railings, blood, and pandemonium. Instead, we got beach balls. I get it—that’s not who the band or the audience is anymore. Still, the only rage I felt was my own, watching everyone have fun with those massive beach balls.
Ultimately, Atlanta bore witness to Metallica’s defiant insistence on blending primal chaos with reflective melody, sentimental nostalgia with raw aggression, and quirky imperfections with breathtaking showmanship. Was it flawless? Never. Was it magnificent, absurd, and genuinely unforgettable? Absolutely. Because rock and roll at its best is never clean or tidy—it’s messy, loud, exhilarating, and undeniably alive. Metallica, even decades on, embodies that beautifully.