Last week, Prateek Kuhad made his way into Dallas, Texas, an evening filled with heartfelt melodies and genuine emotion. The singer-songwriter who opened for Ed Sheeran just a month or so ago, known for his soulful voice and introspective lyrics, delivered a captivating performance that left the audience enchanted. From the moment Kuhad took the stage, there was a sense of anticipation in the air. The room began to fill and there was this unspoken excitement that filled the room. Kuhad walked on stage and everyone cheered him on as he began to play. As he strummed his guitar and began to sing, it was as if time stood still, and all that mattered was the music filling the room.

Kuhad's songs, with their simple yet profound lyrics, resonated deeply with the audience. Whether he was singing about love, loss, or the complexities of life, Kuhad's words seemed to speak directly to the soul, evoking a range of emotions from nostalgia to hope. A favorite moment of the night was when he played "Tine Kaha" and the crowd all sang in unison.  Accompanied by only his guitar and fans, Kuhad's music came to life in the intimate setting of the Granada Theater. Each note was played with precision and passion, creating a beautiful tapestry of sound that enveloped the audience in warmth and comfort.

But perhaps the most memorable aspect of the evening was Kuhad's connection with the audience. Between songs, he shared anecdotes and stories, inviting the audience into his world and creating a sense of camaraderie that was truly special.  As the concert drew to a close, it was clear that Kuhad had left a lasting impression on everyone in attendance. His music, with its honesty and vulnerability, had touched the hearts of all who were fortunate enough to be there, leaving them with a sense of peace and contentment.  I didn’t know what to expect going in to the night but I left with some new songs to continue listening to. Can’t wait to see him again.

Unless you’ve been living under a rock in the past week or two, you’ve probably heard something about the “beef” between rappers Drake and Kendrick Lamar. As a hip hop fan myself, I’ve really been enjoying watching the slow build of tension amongst the large cast of characters that this started with turn into a rapid escalation between the last two men standing, Drake and Kendrick Lamar. The “battle” dynamic that exists within rap music is truly unique and is one of the elements that makes hip hop stand out amongst the other music genres. In this video pick, I’ll attempt to briefly recap the highlights of the beef and provide a little backstory for the video “Family Matters” by Drake. 

In efforts to keep this history lesson as concise, I’m only going to hit the major points in the escalation between Drake and Kendrick Lamar. There are many spinoffs and side stories but those are for another day. In the beginning, both guys were cool. They were cordial and even co-collaborators. Kendrick Lamar was featured on Drake’s sophomore album Take Care (2011) and Drake was featured on Kendrick Lamars sophomore album good kid, m.A.A.d City” (2012). In 2013, the seeds of this beef were planted. Big Sean dropped a record called Control which featured Kendrick Lamar. Kendrick stole the show on the track with a blistering verse that overtly called out all his fellow rappers at the time. From J Cole, Big KRIT, Wale, Pusha T, A$AP Rocky, to Drake, everyone was a target in the spirit of competition. After being asked about it in interviews, Drake replied that he didn’t take a liking to Kendrick’s words. Kendrick then responded with direct shots at the “sensitive rapper” in his verse on the BET Cypher of 2014. Since then, over the past 10 years, there have been subliminal shots or “sneak disses” aimed from both rappers at each other in a variety of capacities. 

Fast forward to 2024, former Drake collaborators Future & Metro Boomin both dropped a collaboration project titled “We Don’t Trust You”. For reasons I don’t have the bandwidth to jump into right now, this entire record was filled with Drake sneak disses from various rappers/musicians including Rick Ross, Future, Metro Boomin, and The Weeknd. One of them stuck out because it wasn’t so subtle. It was another Control moment; Kendrick’s Lamar rapped, “motherfuck the big three, it’s just big me” on the record “Like That”. For some quick background context: Kendrick Lamar, J Cole, and Drake have recently been considered the “big 3” in hop hop, but Kendrick made it known on this track that he’s in a league of his own. J Cole immediately fired back with a track called “7 Minute Drill” aimed straight at Kendrick on April 5th. However, after a couple of days of reflection, J Cole apologized for the track and removed himself from the drama and removed the song from the internet. Drake stayed in the fight. On April 13th, the Drake track “Push Ups” aimed at Kendrick Lamar leaked with stray bullets hitting Rick Ross, Metro Boomin, and The Weekend. Taunting Kendrick for a response, Drake dropped another dedicated diss just for Kendrick called “Taylor Made Freestyle” on April 19th. Still, Kendrick was silent. The internet and streets kept asking “Where’s Dot?” because this was the fight that Kendrick’s been waiting for. On April 30th, the Compton rapper finally re-surfaced and dropped “Euphoria” dissing Drake. On May 3rd, Kendrick Lamar went Back-To-Back (a term ironically coined when Drake dropped two songs back-to-back [with one of them named “Back To Back” (against another rapper Meek Mill in a separate 2015 battle) by dropping “6:16 In LA”. This is when things went haywire.

In response, Drake dropped “Family Matters” with an accompanying video (which I’ve included below) the same day, only to be met by ANOTHER scathing diss track by Kendrick Lamar called “Meet The Grahams” within an hour later. Both tracks were great, but due to recency bias and the scathing accusations made by Kendrick, Drake’s one song that day was buried by Kendrick's two drops. In addition, Kendrick’s arguably been the better lyricist, but one thing Drake has on him is his uncanny ability to make hits. The next day on May 4th, Kendrick Lamar dropped yet another song titled “Not Like Us” over a DJ Mustard beat. This was an absolute club banger and Kendrick showed he was far more versatile than people believed. This was three scathing tracks in 36 hours. On May 5th, Drake dropped one last song “The Heart Part 6” which appears (at this time) to signal the end of his attacks. He signaled that he’s ready to turn the page on the battle. Due to some heinous allegations on both sides and where this battle was headed, I think this is for the best. I don’t even want to repeat those allegations, but you’ll hear all about them when you jump into some of these songs. The internet has since regarded “The Heart Part 6” as the white flag and there have been no more diss tracks to date. There’s a consensus online that Kendrick Lamar is walking away with the W, but the fans really got a spectacle out of this one. Viewership and pop culture wise, this was probably the biggest hip hop battle since 50 Cent vs. Ja Rule (2002-2003) or even since Tupac Shakur vs. Notorious BIG (1994-1996). 

Check out Drake’s video for “Family Matters”. It’s the only video that was dropped in the back and forth between both rappers. It’s filled with little Easter eggs and subliminal (and not so subliminal) disses. I’ll give you the first one. You recognize that purple van that gets crushed during the first verse? It’s the same van on the cover of Kendrick Lamar’s album good kid, m.A.A.d city. I’ll leave you to find the other Easter eggs on your own… 

- Kris

Spotify has been a revolutionary service within the music industry. For better or worse, it has helped countless musical artists be discovered every day. It has helped me discover some of my now favorite bands to listen to daily. One artist that has come across my Spotify radio recently has been Taylor Acorn. She floats between multiple genres with her music but orbits the pop punk style the most. She’s embarked on her first headlining tour called the Good Enough Australia & US Tour. Playing her first ever headlining gig in Los Angeles at the Echo and bringing with her was World’s First Cinema. The line to get in was wrapped around the block with eager fans ready to show their support for their Taylor.

Opening the night was World’s First Cinema. With a name like that, I wasn’t exactly sure what to expect, but the band brought a blend of sounds to create a unique experience. Vocalist John Sinclair has a powerful voice behind him that bleeds emotion. Pulling double duty by handling the violin at times as well, this added a more enchanting tone to the songs. Guitarist Fil Thorpe turns his axe into more than a standard instrument in the band. Sending the sound through pedals and modulators he’s able to add more texture to the songs. With a mission statement of creating a moviegoing experience in a live concert event, World’s First Cinema weaved a setlist of songs that could not be tied down to one genre. From EDM inspired bangers where you could imagine a montage of dance scenes. To dreamy folksy songs where I picture a heartfelt woman longing for her husband to return. To more traditional rock songs, letting you see into the mind of our lead actor going through turmoil. And even throwing in crowd sing along songs. That, if you’ve never heard the band before, the music was easy enough to pick up and start singing along to by the second chorus. For an opening band, World’s First Cinema took the audience on an emotional journey that no one could have expected.

Cramming 350 people tightly into the Echo to sell it out, the fans screamed as the lights cut out as we eagerly awaited Taylor Acorn to take the stage. Starting out with her song “Gray,” the song has a soft opening build that entices the crowd to draw them in closer to her, before taking off with the opening chorus erupting the crowd into a jumping frenzy. Taylor has such a charismatic voice with a brightness to it that you can’t help but smile seeing her perform. But even with that brightness, she can bring such raw emotion to her songs about break ups and depression. Taylor even shared a touching moment with the crowd, about how she was on the verge of giving up on music a few years ago before her mom gave her the push she needed to keep going. And how she is eternally grateful, because if it wasn’t for that push, she wouldn’t be on her first headlining tour playing to us fans who came out to specifically support her and the music she puts out into the world. It was a true emotional rollercoaster of feelings as we rode through her songs like “Wishing You Hell,” “I Think I’m in Love,” “Sticking Around,” “Coma,” “Basement,” “True Crime,” “Good Enough,” “Greener,” “Certified Depressant,” “Everything Sucks,” “In My Head,” “Psycho,” and ending with “Shapeshifting.” With the final song ringing out, the fans chanted for more music from Taylor. The house lights came on, and the fans continued their chants for more. Letting Taylor hear just how appreciated she is.

When I first discovered Taylor Acorn on Spotify, I thought I found another fun pop punk artist. Yes, she has her songs about heart break and tragedy, but there was still so much fun energy behind the music. But seeing her live, I finally connected with the lyrics and what Taylor was saying. I drove into Los Angeles that night thinking I was gonna have a fun Friday night to start my weekend. However, both World’s First Cinema and Taylor Acorn had me digging deep into my emotions and feeling more of myself than I could have ever imagined. It’s moments like these why I love to experience music live and always push my friends to see their favorite artists live. It doesn’t matter if you love their entire discography, or there’s just a handful of songs that you enjoy. The experience you could have connecting with live music should never be missed. 

The Hip-Hop Reggae fused band from the Netherlands known as Postmen recently released a 7-track album, Royals. I came across them reading the review on World A Reggae, so I had to check them out.  They formed back in 1993 by Anonymous Mis and G-Boah and were influenced by Kool G Rap, Eric B & Rakim, Burning Spear and Bob Marley. They adapted their name from Burning Spear’s song “African Postmen.” Their debut single “Cocktail” entered the Dutch Top 20 charts and they have been popular there and throughout Europe ever since. Both Jamaican music and rap had established itself as dominate in youth culture in the Netherlands in the early and mid-90’s. As Anonymous Mis explained in an interview; “What I like about reggae is the positive vibe. It’s more peaceful and far less fashion-conscious than Hip-Hop. So our raps should radiate a sense of peace and unity. At the end of the day, we like to provide entertainment and education.”

I popped in Royals on and I have to say, I really like their groove and flow.  Some good stuff, I am a little surprised I have never heard anything from them before since they have been around for such a long time.  The album starts off with the title track, “Royals.” This song grabbed me right away, good beat and a good chorus.  Made me want to keep listening, the style in this makes me think of another artist, but I just can’t put my finger on it. Next is “Headscratcher” another solid tune, with a nice rap flow and beat.  My head starting to bob up and down. “This Is It” is next and has a little different flow than the first two, but another solid tune. A little more Hip-Hop/R&B flow to this one.  We get a reggae vibe next with “Leaving,” with a sweet reggae beat and flow but a real nice rap. I keep thinking, who do they remind me of, I just can’t figure it out. Next is “Rob N Steal,” a more Hip-Hop rhythm and lyrical flow.  I like how they mix this up, getting a sweet reggae feel and a little harder Hip-Hop vibration. They bring us to “Denied King,” a little more of an R&B feel with a skilled rap throughout, but with a slight reggae vibe going on in the background.  They finish this off with “Without A Plan,” a song that takes me back to the 90’s with the flow of the lyrics and the hard beat.  It then hit me, I get a Spearhead vibe from them, the 1997 Spearhead album Chocolate Supa Highway, the beats, the lyrics, the flow of the rap and the reggae vibe. I can also get their influences of Rakim, Burning Spear, Bob Marley and Kool G Rap, you can see where that all came together, but to me I really get that 90’s Spearhead vibe. This is an album worth a listen to if you are a Hip-Hop and reggae fan, especially those 90’s grooves. A nice production, sweet rhythms and beats and a nice mix between the rapping and singing. 

One Love - Todd

A fun music history fact that I love to think about, is that if it wasn’t for Pink Floyd concerts would not be the spectacle that they are today. Before Pink Floyd, bands were mostly just people performing with instruments on a stage. They were the band that took the idea of concert lighting and making it an aspect of the show. Bringing in stage dressing, themes, productions and truly making it a show. What they started all those years ago, other bands have latched onto that idea and implemented it to create their own unique stage shows. One band that is doing this better than most is Starset. Starset is a high concept band that isn’t just writing music but creating a story, lore, and a universe around the band. Because of this, they want to elevate their live shows to a full on production that takes fans out of a concert setting and brings them on a journey to the alternate world inhabited by Starset. Selling out the House of Blues in Anaheim, CA on the Immersion: The Final Chapter tour with no opener.

Starset likes to call their live shows Demonstrations, as they are revealing the truths behind their world. Stepping into the venue fans were greeted by a welcome screen sitting in the lobby of the House of Blues. This welcome screen projected a woman welcoming you to the facility on behalf of the New East. The New East being one of the mega corporations in Starset's world that is working to control the public. Before the band even went on stage, we were indoctrinated into a new world outside of our own.

Stepping into the actual concert space a white curtain draped across the stage. It was as if the revolutionaries were hiding their agenda before they finally had a moment to preach to the crowd. When the curtain finally dropped, we were faced with a double tier LCD wall screen. This screen was used to play short movie interludes between songs. These short movies helped to tell the story of the world. Talking about a biometric device implanted into the minds of the citizens called BMI. How tampering with the BMI or saying anything against the regime of the New East can land you in jail. And going on to show the first people that find a way to disable their BMI that leads to the potential freedom to come.

One of the most surreal aspects of this show was a giant LCD Fan apparatus setup right at the front of the stage. This apparatus held eight LCD fans, that when spinning at the appropriate RPM speed they will be able to display images just like a normal LCD screen across all eight fans. These fans also allowed for images to have more depth and a 3D aspect to them in a 2D plane. These fans were specifically displaying information from the resistance fighting against the New East. These were our James Bond/M5 moments of how we can help take down the establishment. With all of this stage dressing and production, this show could fill the stage of an arena, and Starset manages to pack it into a House of Blues stage. The only real downside to these fans was that the band was performing behind them. Though this is purposeful, as the band wants to become second to the overall show they are presenting. But if you are a person like me, who enjoys seeing the performers playing their instruments as well, it was difficult to see the band members.

Even though they can be hard to see at times, the band members are dressed in costumes. Almost as if the post-apocalyptic stylings of Mad Max had taken place in space. Cloaking the band members in armor and hiding their faces so they could not be tracked by the New East. Starset does encores differently as well, instead going into an Intermission. During this time, the LCD Fans were finally removed from the stage, and when the band came back to finish the show, they went through a costume change now looking more like a civilian. Blending into public to try and help us escape.

Walking into a Starset show is beyond anything you will experience at almost any other live event. The band carries lore behind them and story. They don’t exist to record an album, tour it, write new music, record a new album, rinse/repeat. They are trying to say something about society with their entire catalogue of music, and their stage show is the visual guide to what the meaning behind the music is. If we’re not careful, we can lose our autonomy as people and give too much of ourselves to technology. The human race has an innate freedom, and we should not give that up for anything. Take the time to enjoy life and be who you want to be. Though this tour is called Immersion: The Final Chapter, Starset is not done with their live Demonstrations, and they plan on going back into the studio soon. Will you help take up the charge against the New East next time they come to your town?

On a blustery San Francisco evening Metal, J-pop and animation fans alike were all treated to an immersive experience full of thunderous metal, cosplay ,choreography and sheer hilarity. I can only be talking about the Mutilation On A Spring Night tour featuring the uproarious fictional band Dethklok, J-Pop darlings ,Babymetal and the comical ensemble, Nekrogoblikon.  The evening was filled with fantasy, innovation, and infectious enthusiasm topped off with pure theatrical mayhem. This spring tour kicked off April 7th in the west Coast running through may 3rd ending in Portland.  Let's dig in!

First up was Santa Barbra’s Goblin-Metal band Nekrogoblikon, a gang of pure absurdity and foolishness that leads you to a goblinesque realm of fantasy the moment the band takes the stage. Nekrogoblikon is a band of goblins that all seem to feed off of each others  high energy and have the stage antics and camaraderie  that remind me of the “everyone in the pool” mentality. The front man  and hype Goblin is mascot, John Goblikon who shares vocal duties with Dickie Allen (a Goblin in Human form).  Amazing keys and vocals are handled by Aaron “Raptor” Minich.  Guitar shreds from Alex “Goldberg” Alereza are melodic and face melting at the same time.  Drums are keeping the time perfectly with Eric.W.Brown behind the kit. This melodic Death Metal outfit evoke fist pumping and head banging which is impressive and entertaining and a perfect way to begin the evening.

Next up is the mega popular, genre bending Babymetal, with their precise choreography, dance moves, enthusiasm and catchy pop melodies. They are accompanied by the bone crushing metal of the “Kami” band. Babymetal lives up to the hype with their electrifying stage presence, theatrical passion and overall dynamic performance. Led by the powerful vocals of Su-Metal, Moametal and Momometal,  they transcend musical boundaries by blending Japanese pop with Heavy Metal, accompanied by  visually stunning dance moves and incredible stage antics. Babymetal treated fans to a set of their biggest hits beginning with “BABYMETAL DEATH” as they approached the stage shrouded in dark red lights the choreography was a sight to behold, and the fans were all singing along to favorite tracks from all their biggest hits ‘PA PA YA”!! and “Gimme Chocolate”.  These tracks rang through the theatre as the” Kami” Band exploded liquid metal behind the dancing Queens of J-Pop. Their set was  stunning with top notch production, elaborate visuals and of course an amazing set design. After a 10 song set, we were treated to an encore “Road Of Resistance”.  This one blasted through the arena as fans were in a head banging, dancing frenzy, a perfect state to leave the crowd in for what mayhem lies ahead this evening .

Next up, the headliner of the evening, Dethklok, the fictional Death Metal band born From Adult Swim's hugely popular animated series, Metalocalypse.   Dethklok exploded on the stage beginning with a large LED screen to usher fans into a world of humor, gore and face melting metal. First the animation took center stage but as soon as Dethklok started to play,  a whole world of debauchery began.   This wasn't now just visually,  but now all senses were engaged. Over the top videos accompanying Dethklok's biggest hits were on display in full color, gore and astonishing mayhem. From the genius mind of Brendon Small, Metalocalypse was born with all from the animated series including the characters, voices the songs and all instruments (are masterfully handled  by Small.)  When touring, Small is joined by Death Metal Legend, Gene Hoglan on drums, Nili Brosh on guitar, Bryan Beller on Bass,  with Small handling lead guitar and vocals.  Overall,  its a stunning ensemble of sheer talent and genius. According to Dethklok, “All the fans hold the power”.  Even though the fans can only see a silhouette of the band, they show through crystal clear with the brutal onslaught and sheer intensity of songs they perform.  The overall setlist is vast, bringing Metalocalypse to life with flawless, satirical humor with songs like “I Ejaculate Fire”, “Aortic Desecration” and “Thunderhorse” - all with accompanying videos.  The crowd was in a metal induced  frenzy and (of course) laughter.  Head banging and crowd surfing was happening all over the arena. A three-song encore was the climax of the night as Dethklok bid goodbye to San Francisco. Selling out 2 nights in a fairly large arena is proof that Dethklok has (and will) continue to have a stronghold on the metal fans of the Bay Area for years to come. I know I will surely be in line to witness the debauchery, humor and sheer talent and genius of Brendon Smalls and gang again. Catch the Mutilation On A Spring Night tour in a city near you, you won’t be disappointed.

I’m not going to get into the “beef” between J. Cole and Kendrick and these other “beefs” because these aren’t real, they aren’t good, they really don’t know what a true Hip-Hop beef is all about.  These current beefs have no teeth, they just don’t push the needle, but then again today’s Hip Hop doesn’t have the teeth, the same meaning and talent that Hip Hop used to have. I grew up listening REAL beefs, from KRS-One and MC Shan, LL Cool J and Kool Moe Dee, Dr. Dre and Luke, 50 Cent and Jah Rule, N.W.A. and Ice Cube, Roxanne Shante and The Real Roxanne, as well as Nas and Jay-Z.  These were true battles, you couldn’t wait to hear the next album to find out the best diss tracks and lyrics. These battles weren’t won by record sales or awards, they were won by the fans choosing the winner, being celebrated by the masses. It took Hip Hop to another level. It is safe to say, for the most part, I don’t care for todays Hip-Hop or artists.  But there are a few I can listen to, a few that have a good flow and style.  J. Cole is one of them, and he’s a rapper that could work at different times throughout the history of Hip-Hop.

Might Delete Later is a solid album, or maybe it’s more of a mixtape, not that it matters what you want to call it, but we get that mixtape feel with how it comes together, or I guess doesn’t flow together. But it kind of has the J. Cole album feel where some songs are so strong and hit you in the face with his lyrics and beats, but others just kind of fall a little flat. He starts of with “Pricey” featuring Young Dro & Gucci Mane, with a slow soul beat, some great lyrics and a nice hook. Young Dro and Gucci Mane hit it pretty good in this as well. “Crocodile Tearz” a somber sonic tune with some of Coles most direct bars. The mixtape vibe flows to “Ready ‘24” with Cam’ron joining for a brief cameo. Cole sounds very energized on this muscular, pulse-bumping production with a sample of “I’m Ready.” Cole takes us to the almost cartoonist “Huntin’ Wabbitz.” This trap flow just never takes off, it has a few moments, but you keep waiting for it to take off. We move to “H.Y.B.” by J. Cole, Bas and Central Cee with a nice dose of energy thanks to Bas’ dizzy but catchy hook, giving the track a lot of personality with some sweet chill guitar licks. UK Rapper Central Cee’s appearance is dope, it takes this song to another level.

“Fever” is a catchy tune, it feels like it doesn’t fit in this project, and may not be one of the stronger songs, it is really about J. Cole's crooning. Does it completely work, no, but it is fun. We move to “Stickz N Stonez” with its clever harmonies and beat. Cole spitting like Cole spits, changing up his tempo from time to time. We are hit with what would be one of my favorite tracks “Pi” featuring Ab-Soul & Daylyt. Daylyt tag teams with Ab-Soul over this soulful groovy tune. But Cole hits us with a transphobic lyric which really effects how I am looking at him now. No need to go there. “Stealth Mode” by J.Cole and Bas is next and honestly I am not sure why people went crazy over this diss track about Kendrick. It is pretty mild like a store-bought Indian dinner. If you want to go after another rapper, make it real, make them feel it and think about it.  Its not a bad song, I was just expecting more. “3001” is up next where Cole unleashes a sonic assault, displaying his lyrical competence and dominance at this point of his career. This track has a menacing, bass-heavy beat that thumps rather than simmers, heightened by layers of unsettling synths. We move onto “Trae The Truth In Ibiza,” a song that kinda falls flat, not much too it musically or lyrically. The album or mixtape is finished off with “7 Minute Drill” a simple song with some good lyrics, he let’s us know several times he has much respect for Kendrick.  Which makes this whole “beef” seem silly. Some fans may think it’s great, but really it just makes it all fall short. 

As a release, Might Delete Later is good but it does feel at times like it was a bit rushed. There is some excellent J. Cole going on throughout, but some areas that it just doesn’t hit right.  It is a good set up to his upcoming album, The Fall Off. An album where Cole can prove he is one of the best of his generation.

One Love - Todd

Friday night April 26 was a special night in Pomona, CA as the electro-industrial masters Lords of Acid kicked off their highly anticipated 2024 North American tour at The Glasshouse with Lords of Acid mastermind Praga Khan playing a solo set for a 1-2 punch of in-your-face EDM. The band has been promoting the six-week tour on social media and it is quickly selling out as it heads East then circles back out West ending in Los Angeles on June 7.

SoCal Punk Rockers Ominous Duck, a band of angst driven youngsters opened the show with a 40-minute set mixed with original rockers and a few covers by System of A Down, Nirvana and Slipknot. Keep your eyes and ears peeled for this band – the crowd quickly warmed up to them and they succeeded at pumping them up for the epic night ahead.

Praga Khan is a legend in the electro-industrial / EDM world and at 65 years young he quickly turned the Glasshouse into an EDM rave as he and his band – his wife, Inja Van Gastel on keyboards/synth and longtime collaborator Olivier Adams on drums put on a high energy 45-minute set that had everyone in the venue dancing and waving their arms. Khan’s liveliness onstage was impressive as he was constantly moving and had the crowd mesmerized with his classic beats. Songs played included the show opener “Love”, “Breakfast in Vegas”, “The Power of the Flower” and the night ended with the two hits from Mortal Kombat, “Sub-Zero” and “Techno Syndrome”.

The fans had a 15-minute break to re-fill their beers before the lights turned red and Lords of Acid hit the stage opening with “Sex Bomb”. With Praga Khan now on keyboards/Synth and DieTrich Thrall on bass along with his rhythm partner Galen Waling hitting the drums and the sinister Creighton Emrick on guitars, they gave Pomona their first taste of Lords of Acid 2024 before the lovely new vocalist Gigi Ricci appeared for the second song “Scrood Bi U” and then party really kicked off. Ricci is a perfect fit for LoA and plays the role perfectly as she holds true to the original vocals while adding her own flair both sonically and visually.

The crowd was into the show every minute the band was on stage and somehow Praga Khan after just delivering a 45-minute solo set maintained his energy on stage for another 75 minutes as the fans “Praised the Lords” as they delivered their usual kinky, sex laced songs. Ricci had a smile from ear-to-ear the entire time onstage and repeatedly thanked the crowd for their support.

As expected, the ladies in the house were invited on stage for “Spank My Booty” and the tongue-in-cheek fan favorite “Pussy”. Ricci was enjoying interacting with the fans onstage as well as having fun with her band-mates. Of course, the blow-up dolls made an appearance during “Rubber Doll” as Inja Van Gastel joined the band onstage and also flashed a large sign with one side reading “Praise the Lords” on one side and the other side reading “Fuck the Rest” during the anthemic “Worship the Lords”.

The night ended with a bang as the band played “The Crablouse” followed by “Drink My Honey” and ended with the super sexy/hypnotic “I Sit On Acid”. The 2024 version of Lords of Acid is a show not to be missed and coupled with the sounds of Praga Khan, this is a night of epic music from a legend that played a critical role in defining the industrial/electronic music arena and has been an influence to many in all genres of music.

Praga Khan Set List:

Love | My Mind Is My Enemy | Remove the Armour | Breakfast in Vegas | Lonely | The Moon | The Power of the Flower | Luv U Still | Sub-Zero (The Immortals song) | Techno Syndrome (The Immortals song)

Lords of Acid Set List:

Sex Bomb | Scrood Bi U | Lover | The Most Wonderful Girl | Mr. Machoman | Out Comes the Evil | Marijuana in Your Brain | You Belong to Me | Spank My Booty | (A Treatise on the Practical Methods Whereby One Can) Worship the Lords | Rough Sex/Take Control | Rubber Doll | Voodoo-U | Pussy | Let's | Get High | LSD = Truth | The Crablouse | Drink My Honey| I Sit On Acid

In Southern California we have a lot of concert venues, many of which are famous smaller venues that bands play when coming up on their journey to notoriety. One specific venue is Chain Reaction in Anaheim California. My first time at this venue was in 2017 to see a band called Wage War. This show had one of the heaviest pits and craziest crowds I have ever been in. The mosh got so heavy that at one point a fan got pushed into the corner of the band’s stage riser, and sadly got busted open. The band stopped the show, personally pulled the fan out of the crowd, and made sure he was ok and safe before coming back on stage to finish the set. Ever since that moment, I’ve considered Wage War a band of upstanding people. A few years later now, they have evolved and are on a co-headlining tour with Nothing More, coming to the Riverside Municipal Auditorium in Riverside, CA. Opening the tour was Sleep Theory and Veil of Maya. Fans packed the auditorium for a night of moshing and crowd surfing.

Opening the night was Sleep Theory. These guys were ready to get the house jumping and rocking with their music. Opening the night with “Fallout,” and the first thing I noticed about this band is how powerful lead singer Cullen Moore vocals are. The man carries so much seductive passion in his voice you can’t help but fall for his singing. Paired with guitarist Daniel Pruitt who also handles the harsh vocals, Pruitt allows us to unleash our pent up anger. Drummer Ben Pruitt manages the mixing tempos of the music with ease, and a striking snare shot that sends shivers down the spine. While bassist Paolo Vergara sync’s up with Ben to elevate the rhythm section. Playing songs like “Enough,” “Paralyzed,” “Gone or Staying?,” “Stuck in my Head,” and ending with “Numb,”  Sleep Theory made the most of their short set time to give the crowd the best of what they have, and the crowd fed that passion right back to them.

Up next was Veil of Maya. I first saw this band when they performed on the Summer Slaughter festival back in 2017. I was blown away by their stage presence and they continue to entertain me any chance I get to see them. Guitarist Marc Okubo almost steals the whole show himself with how animated he is on stage. Riffing on some of the tastiest of djent licks, and weaving them into his melodies, all the while either headbanging or circle pitting constantly. Bassist Danny Hauser finger picks away at his seven string headless bass. Making the most of all the strings he has at his disposal, his fingers appear to waltz across the neck of the instrument. Drummer Sam Applebaum sounds like a machine gun firing off his double bass kick patterns with a furious blitz. Singer Lukas Magyar is a dynamic vocalist able to hit the clean high notes, and then drop into nasty harsh screams. Veil of Maya kept the energy high throughout their set with songs like “Tokyo Chainsaw,” “Artificial Dose,” “Godhead,” “Viscera,” “Outrun,” “Outsider,” “Red Fur,” and ending with “Mikasa.” Veil of Maya continues to be a stellar support act. However, Summer Slaughter 2024 was just announced with Veil of Maya as one of the headliners. This tour hasn’t been around for a few years, and to see Veil with a full headlining set shouldn’t be missed.

With the next band, I make it a mission to try and not miss any of their live shows when they come to town. Nothing More has become such a frequent band I listen to daily with their infectious melodies and Jonny’s piercing voice. No matter how good they sound on the album, it can’t hold a candle to their live show. Vocalist Jonny Hawkins is a fire that can’t be controlled on stage. Performing barefoot, shirtless, and dripping in paint he is a soldier going to war with his music. But a soldier is only as strong as his brethren, and Nothing More is more than just their frontman. Guitarist Mark Vollelunga was feeling his playing so much, he snapped a string at the beginning of the second song. Ever the professional, his playing couldn’t be halted by missing a string. Vollelunga even jumped into the crowd at one point, shredding right in the fans’ faces. Bassist Daniel Oliver was dressed as the coolest guy on stage with a puffy jacket and shades indoors. He has one of the most expressive faces, and it’s a pleasure to watch as he contorts his expressions through the show. Drummer Ben Anderson isn’t one to be lost in the back, playing with big movements and even bigger sounds to send the soldiers of Nothing More charging. Armed with songs like “If It Doesn’t Hurt,” “Let ‘Em Burn,” “Don’t Stop,” “Angels,” “Go to War,” “Tired of Winning,” “House on Sand,” “Jenny,” “Fadein/Fadeout,” and ending with “This is the Time (Ballast)” the crowd was happily recruited into this army. During the final moments of the show, Hawkins, Vollelunga, and Oliver all jumped into the front row of the crowd, Hawkins specifically armed with two drum heads, as the band went into a finally instrumental finish to the show. Nothing More plays with intense passion and energy that still connects on an emotional and human level.

Finally, it was time to see the band that I always knew could bring one of the craziest mosh pits. I was excited to see Wage War do it again at a bigger venue, and they did not disappoint. Opening their set with “Stitch,” as soon as the beat came in you could feel the auditorium physically moving with how much the crowd was jumping and ready to go crazy. As vocalist Briton Bond came in with his unclean vocals, the crowd surfers did not waste any time to start coming over the barricade. The thing I love about Wage War is how Bond’s unclean vocals layer with rhythm guitarist Cody Quistad’s clean vocals. Their dichotomy of melodic and harsh vocals is some of the best in the metalcore scene. The way the clean vocals are used to emphasize the harmonies to rock and headbang to vs the harsh vocals layered over the beat down style beats that let fans mosh and go crazy is just…chef’s kiss. Quistad’s rhythm section allows for lead guitarist Seth Blake to just go wild with the lead riffs. I also love watching bassist Chris Gaylord, as he’s not one to get forgotten at the back of the stage. He wants you to feel the grooves he’s laying down as he blasts his beats in the faces of the fans. Drummer Stephen Kluesener knows when he needs to let the beat build and raise the tension in the song, before going off on the kit and driving the song forward. Wage War played a solid set with songs like “Low,” “Gravity,” “High Horse,” “Godspeed,” “Magnetic,” “Prison,” “Teeth,” “The River,” “Alive,” “True Colors,” “Death Roll,” “Nail5,” “Circle the Drain,” and ending with “Manic.” The entire time the moshers and the crowd surfers could not be stopped.

One of the best feelings in the world is seeing a band you love grow from playing smaller venues to headlining their own tours at multiple thousand capacity venues. Wage War has been working hard to make their presence known, and it is great seeing them grow, and watching as the fans still rip the roof off any joint they play in. Nothing More continues to speak to me on a personal and emotional level that can imbue hope at almost any time of my life. Veil of Maya shouldn’t be missed on the upcoming Summer Slaughter Festival. But most of all, I can’t wait to see where Sleep Theory goes from here. I will be watching them grow and look forward to seeing them headline bigger venues just like Wage War is doing now.

Knox's headlining show at the Echoplex was one of those shows where you'd ask yourself: 'Wait, did this actually happen?' Not only did we have Knox for this mesmerizing show, but we also had Maryjo opening the night. The energy throughout the night was intense, and the crowd was ready for it.

Even before Maryjo’s set, she came onstage briefly and greeted the audience. Just from that experience, you could tell how down-to-earth she is. When she came on stage, Maryjo brought her eccentric personality with her. Her energy and charisma as she jumped around the stage was a sight to see. Her set list that night included: "Curious", "Drunk Tattoo", "Traffic", "Still Into You", "Cleveland", "Simple", "Should Be Us", "Don’t Call Me", and "I Woke Up". At a certain point during the set beach balls flew out from nowhere, but it still complimented the energy. Maryjo is that kind of artist who you can tell loves interacting with the crowd. She’s not afraid to make eye contact, and at some point, she even jumped into the crowd and got everyone dancing. She would also interact with her bandmates onstage, performing alongside her guitarist, making the performance much more exciting. You could tell everyone enjoyed being up on stage.

You can also tell that Maryjo is someone who doesn’t let anyone push her around. This is demonstrated in "Don’t Call Me", and it shows how much she knows her worth. I’d say she’s a good artist to look up to for that reason. The amount of emotion she put into her performance of "Should Be Us" was captivating, such as when she pointed toward her heart and the way she moved while being by the drums. It was also refreshing to see audience members cheer on the guitarist and his smile while playing. Having a band with you really does make a difference performance-wise."

Right before Knox’s set, the audience sang along to the music, creating a touching moment. We were all excited for Knox, and when he took the stage, he entered running. He kicked off with his song "Love Letter," prompting everyone to clap and sing along. Knox receives an immense reaction from his fans, surpassing even technically bigger artists. Alongside "Love Letter," Knox performed "Man Down," "Sneakers," "Hate My Guts," "Nevermind," "Porch Lights," "Dumpster Fire," "I Don’t Wanna Know," "Time Machine," "We’re Not In Love Anymore," "Change Your Mind," "Me, Myself and Your Eyes," "NYC," "I’m So Good At Being Alone," "Girl On The Internet," "Here’s To Us," and "Not The 1975." He also had a moment reminiscent of Ed Sheeran with the songs "Invisible" and "Whatever Else You’re Feeling Baby."

During "Man Down," the audience jumped with hands in the air. For "Nevermind," Knox engaged the audience in a competition to see who could be the loudest. While performing "Porch Lights," Knox’s movements matched the lyrics, adding an electrifying spin on stage. "Dumpster Fire" was visually captivating with quick movements and warm colored lights. "We’re Not In Love Anymore" evoked nostalgia, especially when Maryjo joined Knox on stage for a surprise performance.

Knox’s drummer and guitarist infused energy into the performance, with memorable moments on stage. The guitarist even made a heart sign to the audience. Knox’s tour, named after the song "I’m So Good At Being Alone," showcased his stage presence. "Girl on The Internet" highlighted social media addiction and the facade of happiness online. Knox concluded the night with "Not The 1975," adding a special touch with another guitarist joining on stage.

Knox and Maryjo’s stage presence is palpable, with Knox's fast movements drawing comparison to a roadrunner. Photographers seeking shutter drag practice would find Knox’s dynamic movements ideal. The audience knew every song by heart, singing along enthusiastically even during Knox’s acoustic performances. If you seek a blend of heartfelt melodies and high energy, don’t miss out on these talented artists.