January 22nd, 2025, at The Rebel Lounge in Phoenix, Arizona, was a night that took you back to the early 2000s. The night was headlined by Girl In A Coma, with support from GUSHR. It was a show that a lot of people had been waiting for. The venue may not have been the biggest, but the energy made it feel ten times larger.

GUSHR got the night rolling. They had two vocalists in the band, with the lead vocalist also being the band’s drummer, which made their sound more interesting. They have a nostalgic rock feel to them, and you could tell the drummer really enjoyed being on stage. One of my favorite moments was when one of the guitarists ended up singing a song. There was a lot of passion and energy in it. I’m excited to see what GUSHR does next.

You could feel the excitement from everyone, including longtime fans of Girl In A Coma, waiting for them to come on. When Girl In A Coma took the stage, they radiated confidence, topped with a sense of humor that could make even someone having a bad day laugh. If you’re into artists like Courtney Love or The Material, you'll love Girl In A Coma. The lead singer has rockstar energy.

Their setlist featured an electrifying mix of songs, including fan favorites like "The Photographer," "Say," and "Static Mind," alongside the hauntingly beautiful "Their Cell" and the dreamy "Clumsy Sky." They also treated the audience to new material with "Here Is Now" and "Invisible," adding fresh energy to the night. The show was filled with powerful moments, from the raw feelings of "Sappy" to the mesmerizing rendition of "As The World Falls Down," originally by David Bowie. Tracks like "Adjust," "Baby Boy," "Smart," and "El Monte" kept the crowd engaged before they closed the night with an unforgettable encore of "Si Una Vez." You could see why the band has fans who have stuck with them for years.

Girl In A Coma and GUSHR was my first show, in Arizona, and they definitely proved that Arizona concerts are worth checking out. I’m excited to see how both bands grow moving forward. Girl In A Coma made a strong comeback after being on hiatus, and their music still resonates in the hearts of everyone who listens to them. It’s haunting and beautiful in the best way possible. The love they have for their fans is beautiful too—I know they’re going to make the world a better place.

NAMM is always one of my favorite weekends. It is a time to celebrate music, rock/metal, and the merchandise. It is a great time to be a music fan. Besides the convention, another entity that captures my soul is the concerts. First one to check out is Metal Allegiance at the House of Blues in Anaheim, but the next one that metalheads flock to is at the Observatory in Santa Ana for the NAMM Guitar Fest. This is a show where the best of the best in guitarists showcase their talent to the NAMM crowd. Last year, I did not really feel that well because my heart was not fully into it. This time around, the blood was flowing through my veins like a river of fire. This year, John 5 headlined along with Marty Friedman, Nita Strauss, and Springfield/Kennison. This mecca of guitar legends was what was needed for Rabit and me after our first day at NAMM.

Nikki Stringfield and Patrick Kennison got the evening started for the NAMM Guitar Fest. Promoting their debut EP, Ghost Notes (released the day of the show), the husband-wife duo performed an epic acoustic show. It's awesome to see the Iron Maidens shred master strip down musically, baring her soul with conviction. Kennison is the Ying to Stingfield's Yang with his smokey country rock inspired riffs. The Heaven Below frontman was rough but harmonious with his voice as well. Backed with a sound machine that played the bass & drum licks for each song, they wowed us with tunes like "Where the Demons Lie," "Lunacy," "See Me Die Again," and Iron Maiden's "Aces High." Haunting, simple yet Majestic, everyone at the Observatory felt something special. The horizon looks bright for Springfield and Kennison.

Keeping the night rolling at full steam ahead was Nita Strauss. It is always amazing to see the shredding goddess do her thing when not on the road with Alice Cooper. Armed with her signature Ibanezs', Strauss and her gang got down & dirty with the Santa Ana crowd, starting with "Summer Storm." Each member of the band had an intrigal part that made their night a monstrous success. Rhythm guitarist Johnny D Young was a secret weapon, keeping the metallic sound flowing naturally. Katt Scarlett gave the riffs a classical/rock feel on the keyboards. Strauss' husband, drummer Josh Villalta, was a wrecking machine behind the kit. When Strauss went into "The Wolf You Feed," "Digital Bullets," "Dead Inside," and "Victorious," vocalist Kasey Karlsen stepped out from the shadows and ate us alive with her ferocious & melodic voice. Along with "Our Most Desperate Hour," "Mariana Trench," "Alegria," and "Quest," the night was scorched thanks to the maestro solos. Though her Rams lost the playoffs, Strauss won the hearts of the metal faithful in Santa Ana.

Another guitar god to follow Strauss was the mighty Marty Friedman. This performance would be very different from what was originally to be, for his band was stuck in Japan due to a ridiculous glitch with the Department of US Immigration. Instead of cancelling his night, Friedman soldiered on with backing tracks from his catalog and mustarded a top-notch spectacle of a show. The 62-year-old guitar ninja was swift and just with his Jackson X series. Friedman's style is a stellar fusion of neoclassical, thrash, and progressive metal where the West meets the East. With his platform boots and sleeveless flannel, this was an evening where Friedman was determined to give it his all solo wise. From "Amai Goe" to "Illumination," "Tearful Confessional," "Undertow," and "For a Friend," each tune had a unique quality that resonated with the artist and crowd in different ways. Whether it was sorrow or energetic, it was special. Though the night did not go the way he planned, he gave us his best because that is who Marty Friedman is...the best!

Saving the best for last is a headliner who needs no special intro for he is already special, John 5. The horror-inspired virtuoso, armed with his signature Fender Telecasters, has been keeping busy since officially joining Mötley Crüe. When it comes to NAMM however, this is his time to shine. The great thing about John 5 is that while he is primarily a metal musician, he is a versatile musician who can play pop, rockabilly, country, and straight up rock. There was one point where he brought his banjo for a little fiddle. With his drummer riding high on his kit, the fans were treated to a great array of tunes that included John’s original material and a few covers. As always, John 5 brought his stage screens that showed clips of horror & action flicks, with each clip complimenting his music. From “Six Hundred” to “Que Pasa,” “Crank It,” “Howdy,” “LA Express,” “I Am John 5,” “How High the Moon,” “Strung Out,” “First Victim,” “Black Grass,” “The Ghost,” “Cactus Flower,” and “Season,” John 5 brought us all to cloud 9. Of his covers, he performed his best with Queen’s “Crazy Little Thing Called Love” and a medley of guitar classics that honors the falling and still standing guitar heroes. Just like how he smiled over his lit up Telecaster, we all left that night with a sinister smile.

If there was a time needed for guitar heroes to shine, it was that night at the Observatory. I will admit, after walking around NAMM all day, Rabit and I were wiped. However, as soon as I heard the first licks coming from Springfield and Kennison’s acoustics, it put me in the mood. The whole night was exciting. Only wish that Friedman’s band had not been held up in Japan. Other than that, it was a rocking evening. To John 5, Marty Friedman, Nita Strauss, and Springfield/Kennison, I salute you. Horns up!!!

Photos by Matt 'Rabit' Martinez

I cannot tell you Hunnypot readers the last time I have been to the famous Whisky a Go-Go on the Sunset Strip. This iconic venue has stood the test of time since the 1960s, and I will admit, when the LA wildfires first struck, I was a little afraid it was going to turn into ashes. Luckily, that was not the case, and the Whisky was open for business. It was recently announced that famed lady guitarist Sophie Lloyd would be making her U.S. solo debut on January 16 at the venue made famous by groups like the Doors, Van Halen, and Mötley Crüe. The British axe master known for her YouTube videos and touring with Machine Gun Kelly has put a spell on us rockers and metalheads just itching for a new guitar hero. Ever since putting out her debut album in 2023, Imposter Syndrome, Lloyd is blazing her own trail for rock ‘n’ roll glory. Along with our longtime compadre Rockaholic, Rabit and I got the chance to head back to the Strip and witness a spectacle of a show. Following dinner and drinks at the Rainbow Bar & Grill, it was off to Whisky to see both Lloyd and rock sensations Dead Posey.

We made it into the Whisky just in time to catch the end of Dead Posey’s set. Fronted by the sizzling Danyell Souza, I was immediately enchanted by the band’s take on alternative rock, rockabilly, and punk. This blend made Dead Posey a kick ass sensation for the few songs we caught them playing. From “Welcome to the Nightmare” to “Scar” and New Order’s “Blue Monday,” I was grooving with a sense of aura. Dead Posey put me in the mood for what was about to come.

After a short intermission, Sophie descended from the stairs with her group and got her evening started with “Battleground.” Armed with her array of Kiesel guitars and EVH amps, Sophie dazzled us with her mesmerizing licks. I will say watching her perform would give Nita Strauss a run for her money. This woman is a shredding messiah who preaches what she riffs, clean and heavy licks. When she released Imposter Syndrome, there was a different singer for each song, and each vocalist brought their own uniqueness to the tune. Songstress Lauren Babic was one of those frontmen who appeared on stage and belted out her best, from “Hanging On” to “Won’t You Come,” “Fall of Man,” and “Avalanche” to name a few. Unfortunately, Inglorious frontman Nathan James (who was featured on the record) could not make it due to travel issues, but Babic, Danyell, and alternative pop rock songbird Izzy T took over, each packing a punch to our eardrums (in a good way). Steel Panther'S Michael Starr made an appearance to perform one of the night’s top performances, “Runaway.” His presence made it feel more like a Sunset Strip show. Sophie also collaborated with fellow guitar marvel Cole Rolland. When the two of them came together for “Lost” and mgk cover “I Think I’m OKAY,” it was like watching Penn & Teller create magic, only with guitars.

What was great about her set was that it was a lethal combination of originals and covers that made her an internet sensation. Whether it was Metallica’s “Enter Sandman,” Bon Jovi’s “You Give Love a Bad Name,” or AC/DC’s “Thunderstruck,” you could feel Sophie raw energy being transformed into a rocking euphoria. Her best cover that night was Pink Floyd’s “Comfortably Numb.” Listening to her riff away David Gilmour’s intoxicating licks transported me into a high buzz. For most of the night, it was the Sophie and Babic show. Each woman complimented each other’s capabilities to transcend metal. Other songs they performed included “Judge and Jury,” “Imposter Syndrome,” and the closer “Do or Die,” which brought the Whisky down.

Traveling to the Whisky that night was totally worth it. Though I was tired and sore the next day, it just gave me new concert battle scars to polish. Even with the fires still blazing in Los Angeles, Sophie lit up the Whisky and gave the loyal rock fans of Hollywood one hell of a U.S. debut. What was also cool was whatever tickets were left to be sold, $5 from each remaining sold ticket would go to the LAFD fund. This was a show for the books for myself, Rabit, and Rockaholic. Always great to be at the Whisky. To Sophie Lloyd and Dead Posey, I salute you. Horns up!!! I also pray, salute, and dedicate this article to all the first responders battling this inferno. Stay safe!!!

Photos by:  Matt 'Rabit' Martinez

Sacramento was treated to a thrilling night of synth wave, industrial goth, and unholy vampiric energy as the Colder Than Hell tour kicked off in the city. The planned Los Angeles show featuring Vampires Everywhere, Priest, and Julien-K, and was canceled the previous evening due to raging fires, making Sacramento the tour’s starting point. Despite the setback, all three bands captivated the crowd with their intense display of musical mayhem. The venue teemed with Sacramento’s gothic community, decked out in elaborate regalia, with fans of all ages gathered to revel in a night of techno, pop, and synth wave bliss.

The evening opened with the Long Beach industrial pop rock power trio Julien-K, a group formed in 2003 by former members of the band Orgy. This electrifying ensemble set the perfect tone for what was to come. Led by frontman Ryan Schuck on vocals, with Amir Derakh on programming, guitar, and keyboards, and Galen Waling on drums, Julien-K is renowned for their powerful live performances. They blend electronic rock with industrial beats to create an unforgettable sound. Schuck was dynamic, grooving on stage in a way that got the crowd moving with him. Derakh displayed masterful control of both guitar and keyboards, exuding a Gothic German persona that was captivating to watch. Meanwhile, drummer Waling anchored the performance with relentless energy. The band’s fans were highly engaged, adding an infectious energy to the set. Don’t miss Julien-K when they come to your city—they’re guaranteed to make an impression.

Next on stage was the Swedish synth wave act Priest, who took the performance to another level. Hailing from the dark waves of Scandinavia, the group consists of former members of the Grammy-winning band Ghost. Their set was nothing short of spellbinding. Frontman "Mercury" was enigmatic and brimming with charisma, captivating the audience with his stage presence. "Salt" layered the performance with atmospheric melodies on synths, while "Sulphur" added depth through programming and wielded a wicked keytar with flair. Rooted in electronic dreams and occult techno pop, Priest delivered their brand of High Octane Bop flawlessly. The audience was in perfect unison, singing along to every song—a sight that is always thrilling to witness. Their cyberpunk industrialism created an undeniable energy that left the crowd primed for the night’s headliner.

The grand finale belonged to Vampires Everywhere, an American post-metalcore and industrial rock band from Los Angeles. Led by the enigmatic Michael “Vampire” Orlando, a self-proclaimed real-life vampire, this band brought theatricality and a deep love for the gothic to their performance. Drawing inspiration from horror films and vampiric lore, Vampires Everywhere is aptly named after the 1980s vampire classic “The Lost Boys.” Michael Vampire embodied a Nosferatu-like presence on stage, complete with fangs and a menacing gaze, as he danced with eerie precision. Heavy riffs from guitarist Michael “Ghost” Rodd and booming basslines from Brandon “Blackout” Burke added a raw edge to their sound, while drummer Jesse James Smith intensified the atmosphere with his pounding rhythms.

The blood-red lighting enhanced the haunting aesthetics of their set—a perfect match for their horror-inspired themes, though challenging for photography. Their setlist spanned fan favorites and included their latest single, “Antichrist,” from the newly released album, The Devil Made Me Do It. This band is a must-see for fans of theatrical, genre-bending rock. Their Colder Than Hell tour runs through January, so catch them while you can. Personally, I can’t wait to see them again. And who knows, their vampiric energy might just turn you into one of them. It’s delightfully contagious.

2024 was a great year for live music and the experience of getting to see bands play live. Personally, I got to see some of my favorite bands, and even check off some new ones from the concert bucket list. January tends to be a bit slow, and many musicians take a much needed break to be home with loved ones, rest, and recuperate for the coming year. However, some artists are already itching to get in front of crowds, and fans are itching for live music. Emery decided to kick off their year with a short eight show run across the west coast, bringing with them a few different line ups. When they came to the Glass House in Pomona, CA Emery graced us with a lineup that included Lacey Sturm, Bad Luck, and 7D7D. It was a chilly night in Pomona, but as we packed into the venue, the place was warming up quickly waiting for the music to ring out over the speakers.

Opening the night was the duo of Time Commerford on bass and vocals, and Mathias Wakrat on drums, known as 7D7D. Many people may know Commerford’s name, as he is the bassist of Rage Against the Machine. However, with 7D7D he traded in those hard hitting, in your face tunes, for a more alternative rock groove. While on vocals, Commerford has a deep droning voice that comes across as hypnotizing. All the while, playing technical and grooving bass lines locked in with Wakrat. Wakrat isn’t sleeping behind the kit as every song he fills with groove and texture. 7D7D doesn’t just have Wakrat be the time keeper of the band, but they put his musicianship up front in the songs to star. The two men were on top of their craft for a solid 30 minute set. Though I can’t imagine many people knew who this band was, or even recognized Commerford as he was dressed down in disguise. It was an honor for our ears to hear such masters of their craft play for us.

Up next was a rock band from New York known as Bad Luck. Lead singer and guitarist Dominick Fox greeted the crowd with a heart warming deadpan hello. His demeanor as he snarkily hyped up the crowd actually came across as welcoming and I feel helped people connect with the band. Kicking into the music, Fox shimmied and danced in place behind the mic while playing his guitar. Lead guitarist Charlie Caruso crafted driving guitar lines filled with distortion and fuzz. While bassist Joe Fox was the chaos magnet on stage, dancing around anywhere he could get. Drummer Michael Sichel let his long hair be the show man, as he whipped it around while slamming on his kit. Bad Luck’s music got people bouncing and rocking in the crowd with songs like “Love Song,” “Noise in Your Head,” “Top Drawer,” “Cold Bones,” “Matching Tattoos,” “Willoughby,” and ending with “Impressive Depressive.” A special moment during Bad Luck’s set was when all the band members spotted a 10 year old girl holding a sign that said “This is my first concert, and you are my favorite band.” Each band member made sure to acknowledge the girl, and I can only imagine how special her first concert was because of it.

It was then time for the legendary Lacey Sturm. This singer rose to prominence with her decade tenure with the band Flyleaf, who she recently rejoined in the last couple years. But she is still carving out time to perform as a solo artist. With the reaction of fans in the crowd as she walked on stage, her solo work is just as beloved as her Flyleaf work. Opening with a song off her latest album Kenotic Metanoia, “Intro (My Heartbeat).” This song was all emotion and vibes with the lighting being dark and dramatic, but it bled perfectly into Flyleaf’s “I’m So Sick.” Kicking things off with one of her band's biggest hits captured the attention of the crowd and had the whole place singing with her. You can tell how much passion Lacey sings with as she is constantly dropping to her news as if the power of the song is too much to stand up against, and instead just letting the raw emotion spill through her lyrics. Lacey has a very strong connection with her religion and God and took a few moments to talk about it with the crowd. Something that was different though, was this wasn’t a preachy sermon about God. But was the story about how Lacey found him and how he saved her from committing suicide as a teenager. The speech was incredibly heartfelt, and you could see fans shedding tears as we got to connect with a true human aspect of Lacey Sturm the person. Lacey Sturm filled the remainder of her set with songs from her chart topping solo albums, and other Flylead favorites like “State of Me,” “Vanity,” “Rot,” “Are you Listening,” “Terrible Mistake,” “Fully Alive,” “Wonderful,” “All Around Me,” and ending with “Forever.” It was truly a passionate set to get to experience.

Finally, it was time for our headliner, Emery. The band took a poll asking how many people in the crowd was this their first time seeing the band. They’ve been around for over two decades, and I was one of the people to raise my hand. Seeing all the new faces with their hands raised in the crowd, just encouraged Emery to truly send it and give us a kick ass show to start off our year. Co-clean vocalist Toby Morrell skillfully blended more soulful singing and melodies along with in your face screams when the song called for it. Fellow co-clean vocalist and bassist Devin Shelton helped to harmonize and create a unique dichotomy of clean singing with each song. But a lot of the ferocity came from keyboardist and unclean singer Josh Head who would step out from behind his keys to roar at the crowd. Near the end of the show, even jumping into the crowd to crowd surf while still tearing it up on vocals. Guitarist Matt Carter and Chris Keene were heating the stage up with their licks that fans have come to love. While drummer Dave Powell was in his own world at the back of the stage, getting lost in the rhythm of his playing. This was a special show as the band was celebrating their album The Weak’s End by playing it in its entirety, along with other fan favorites like “The Ponytail Parades,” “Disguising Mistakes With Goodbyes,” “The Note From Which a Chord is Built,” “By All Accounts (Today Was a Disaster),” “I Don’t Know You at All,” “Fractions,” “Studying Politics,” “The Party Song,” “Under Serious Attack,” “Edge of the World,” “As Your Voice Fades,” “The Secrets,” and ending with “Walls.”

For my first concert of 2025, this was a great way to kick off the year. Surrounded by other people jonesing for a fix of live music straight to the veins. 7D7D was a groove machine, and a great way to warm up the crowd. While Bad Luck brought in some hard rock pop punk vibes that every elder emo appreciated. Lacey Sturm had the most passionate set I’ve seen in a long time and created that special human connection with the crowd. While Emery created a space where everyone got to let loose for the first time in 2025. Emery set the bar high, and now that I got my first official fix of the year, I can’t wait to see what other bands are going to bring it in 2025.

Hello friends. It's 2025, and Hunnypot is thrilled to be celebrating its 25th Anniversary! Join us as we relive the most memorable moments, well over 500 legendary events and counting. We'll be sharing videos, photos, and classic flyers on our Instagram page. Follow along for all the flashback fun.

Hunnypot is committed to fostering a vibrant community for supervision and licensing professionals, while also introducing you to some of the most talented new DIY artists worthy of your attention. On that note, let me introduce Mystical Joyride!

The band has been featured within the Ecstatic Dance community and played at such Festivals as Lightning in Bottle, Soulplay, and Love Long Beach, as well as featured vocalists like superstar Aloe Blacc and Ghanaian reggae/afro beats artist Rocky Dawuni. They just released their new afro/Indian-house-tinged album House Magic featuring more amazing global artists like QVLN, Evan Hatfield, and Gingee. They provide an unforgettable live experience with positive messaging and dancy vibes. 

Mystical Joyride is the genre-fluid Psychedelic World Pop band flying their spaceship between the spiritual and the ratchet; formed in 2015 by married couple Leah and Joel Van Dijk, the band sought to explore Leah’s existential questions with the Wizardry of Joel’s production skills. Leah, born of the musical legacy of The Commodores, and Joel (guitarist for Aloe Blacc and producer for many) put their sounds together to form this new identity.

After their first EP, they added the sensational Bengali singer Arzeen to the band after having him feature on a few of their records and loving the results. Their live set combines electronic music with live instrumentation, sometimes as a duo and sometimes as an ensemble of Joyriders. Mystical Joyride is an experience of contemplation, meditation, and straight-up shaking that ass.

Focus tracks: "Gonna Be Alright", "Get This Fire Started" & "Superpowers"

Hunnypot is proud to be Mystical Joyride's exclusive sync representative Masters & Publishing, ask us about LICENSING! 

STREAM/DOWNLOAD (DISCO)

The Holiday season is here and that can only mean one thing – it’s time for the 29^th annual Gary Ho Ho Hoey Rockin Holiday Tour. The hard rock / blues rock guitar icon created his first holiday themed guitar instrumental record in 1995 – Hoey’s balance of classic holiday tones blended with just the right amount of hard rock and metal has created many Christmas classics re-made as well as several of his own compositions. The Ho Ho Hoey Rockin Holiday Tour is as much of a holiday tradition for his fans as are their own rituals.

The 2024 edition of the Ho Ho Hoey Rockin’ Holiday Tour kicked off in Florida on November 19 and on Sunday night December 22, the last show was played to a capacity crowd at the legendary Coach House in San Juan Capistrano, CA. Hoey made this year’s tour a true family affair as his son Ian Hoey is also playing guitar and on bass is Mike Dutko who happens to be engaged to drummer Leah Bluestein (who also plays live with Eagles of Death Metal and The Midnight Cowgirls). A bit after 8:00pm the band took the stage and delivered 90 minutes of guitar driven holiday cheer.

The night started with “The Twelve Days of Christmas” and Hoey asked the Coach House How they were feeling and if they were ready for the Ho Ho Hoey Christmas Show and the show was off and running. The Holiday show is just packed with Christmas classics and this year’s band was as tight as ever. There is no doubt Gary Hoey is one of the most skilled and talented players in the music business, but he is also just one of the nicest, most down to earth people you will ever meet and that comes across as he speaks to the crowd in between songs. His son Ian seems to be following very close in his Dad’s footsteps as he demonstrated his guitar skills throughout the night and took center stage on a few leads – its always so rewarding seeing parents work with their children – you could tell Gary was super proud and just having fun.

In addition to all the Christmas music a few Gary Hoey classics were thrown in including “Peace Pipe” and “Linus and Lucy” and Hoey dedicated “Rockin’ Around the Christmas Tree” as well as a few other songs to his late Mom who he was super close with. Hoey also played his new holiday single “Angels We’ve Heard on High”. The rhythm section of Dutko and Bluestein complemented the intense guitar playing and the chemistry between the entire band was infectious and added to the thrill of the show. 

The last few songs of the night really took the show to the next level, the Coach House is a seated venue, but all were on their feet at this point with a cover of Jimi Hendrix’s “Fire”, a KILLER rendition of “Hocus Pocus” and then “The Star-Spangled Banner” ending with “Santa Claus is Comin’ to Town”.

If you have never experienced The Gary Ho Ho Hoey Holiday Show – set a reminder now to get tickets for the 2025 version next fall. There is no better way to celebrate the Christmas Holiday than with the extraordinary live performance Gary Hoey and band put on.

Going into 2025 it sounds like Gary Hoey will be a busy man as he has a new album to be released in March 2025, also rumors of a project to be released with Lita Ford and he will be touring with Lou Gramm and then ending the year with more Ho Ho Hoey Holiday shows.

Gary Ho Ho Hoey Holiday Show Set List:

The Twelve Days of Christmas | Deck the Halls | The Little Drummer Boy | The Nutcracker (Sugar Plum Fairy) | Angels We've Heard On High | Peace Pipe | Rockin' Around the Christmas Tree | Winter Wonderland | My Favorite Things | Have Yourself a Merry Little Christmas | Jesu, Joy of Man's Desiring | Frosty the Snow Man | Still Got the Blues for Christmas | Jingle Bell Rock | The First Noel | You're a Mean One, Mr. Grinch | Linus and Lucy | Fire (The Jimi Hendrix Experience cover) | God Rest Ye Merry Gentlemen / Greensleeves / Carol of the Bells | Hocus Pocus | The Star-Spangled Banner | Santa Claus Is Comin' to Town

On December 17th, Million Miler made his California debut at Genghis Cohen with support from Goldtooth and Brake. All of them are amazing artists. I unfortunately missed Goldtooth, but I got to capture the raw energy that is Million Miler and Brake. Both artists got the crowd excited in different ways. Million Miler is also the debut solo project of lead singer Tom Higgenson from Plain White T’s, aka the band known for the song "Hey There Delilah". The show also celebrated his album release of his debut album TV.

I saw Brake perform a while back at The Shed, and to say he’s gotten better would be the understatement of the century. Brake brings his own blend of charisma, humor, and relatability to all of his performances. Brake’s music isn’t easily defined by one genre, but just imagine Midwest emo mixed with country, alternative, and rock with a lot of ukulele moments, and you’ll get Brake. I also thought it was pretty wholesome how he put his setlist on his hand as well. His smile while performing helped make the energy of the room a happy one. His songs performed that night include "Cigarettes & Black Lipstick", "Like The First Time", "Whiskey N’ Lace", "Dear Everyone", "u jump i jump", and a "Say My Name/Cry Me a River" cover.

During "Like The First" Time, he had the whole audience clapping and dancing along. The whole audience was cheering a good chunk of the time, including during "Cigarettes & Black Lipstick". Brake is also really good at keeping the energy going even during moments when he needs to talk in between songs. The relatability of his music is the kind that people from all different walks of life can connect with. He highly impressed people who were catching him live for the first time, so he’s definitely someone you should check out if you haven’t already.

Now Million Miler, the icon for the night, completely packed the whole space. He performed his new album TV and even had this intro that felt like an older TV commercial ad. It was the kind of set that made you feel like you were going back into the 80s. His music is synth-pop with a nostalgic, playful energy inspired by the 80s. He even had a heart mascot come out at one point. Despite how packed things were, everyone was dancing. The stage was decorated to match the vibes of the set, and there were even heart balloons.

He jumped around the stage like he owned it, and his hand gestures matched the music. He performed his song "Light at the End of the Tunnel" on an acoustic guitar, which I feel made the song that much more emotional. His song "It’s All Happening" will make you feel nostalgic for the bands you grew up listening to. Even his song talking about how this girl wasn’t coming back had a playful energy to it. I really enjoyed how he kept up with the 80s TV-type ads throughout his set. One of the ads talked about believing in a strong connection, and that’s exactly what it felt like the fans have with his music.

He also brought out a bunch of red glow sticks at one point, and everyone was waving them around. The set had an intimate atmosphere that I feel like a lot of stadium shows could not pull off and lack. It felt like one big community. Even if you’re not into 80s or synth music, even if you feel no connection to the 80s at all, Million Miler is the type of artist that it doesn’t matter—you’ll still be dancing to his music anyway. Definitely a completely different vibe from his music with The Plain White T’s, but I’m here for it. One of his songs especially is now stuck in my head.

These were both sets that I swear will live in my head rent-free, and one of the best parts is both artists are incredibly down-to-earth, so you’d find them talking to everyone after the show. Million Miler even had a section where people could leave heart sticky notes that other people would grab. I got someone’s Instagram handle on one of the ones I grabbed. Everyone had a good time, and it was one of those nights that you didn’t want to end. I’m incredibly excited for what Million Miler and Brake do next. In fact, I think a Brake and Million Miler collab song would be a real big hit, honestly.

It was April of ‘92, I was in college at my favorite bar The Lions Den listening to DJ Darryl G spinning on the 1s and 2s when he said you got to hear this new Dr. Dre song “Deep Cover.”  I was a huge Dre and NWA fan and was excited to hear his first solo single.  And Darryl G said you got to hear this guy with him, I think he’s got some talent (little did we know what Snoop would become), Snoop Doggy Dogg. This song was so good, and Snoop had this super unique sound, but not a gimmick, a unique sound with dope lyrics and flow.  Who was this guy? Later that year we got to hear Snoop on Dr. Dre’s The Chronic and then in November of ’93 Snoop released his debut album and hit album Doggystyle.  Little did we know at that point that we would get 19 more albums (including a Reggae and Gospel album) from him, that he would become an international star; movies and TV appearances (including a show with Martha Stewart), start a production company, Wrestle at WrestleMania, be involved in political activism, charity work, commentator for the ’24 Paris Olympics for NBC, and so much more; you name it and Snoop has probably dabbled in it. There are not too many people in this word that are relevant to pretty much every age group from 5 to 100 like Snoop is.

This is supposed to be a follow-up to Doggystyle, a part 2, but for those expecting Missionary to pick right up where Doggystyle left off, you will be disappointed. These are not 22 and 28 year old's putting out a debut album, these two have lived a full life, grown in so many ways and are in their 50’s (like me) where life is a lot different.  If you go into this with an open mind and are hopeful that two amazingly talented individuals can put out a good Hip-Hop album, you will not be disappointed.  Dr. Dre starts us off with “Fore Play” featuring BJ the Chicago Kid, it’s really an intro, but it perfectly sets the tone for this project….”Snoop Dogg makes the world go round, you are now about to witness the strength of street knowledge.” Love the music and sample of the Stylistics “People Make The World Go Round,” but I really wish this was made into a full-length song, it’s that good. Dre’s boombastic beats transitions smoothly right into “Shangri-La.”  A great production by Dre, this snaps hard and these are some of Snoops best lyrics and flow we have heard in quite some time.  He brings it, we almost forget that he is a really good rapper, but this track reminds us of that right from his first verse. “Outta Da Blue” is a classic throwback 80’s-style beat, and the way Snoop Dogg and Dre go back and forth on this is absolutely awesome.  More solid lyrics and flow from both of them and you get that old NWA Dre flow with his lyrics. Next up is almost a two-for-one for the listener, “Hard Knocks.” The first half of the song is reminiscent of Jay-Z’s “Hard Knock Life (Ghetto Anthem)” with the children’s chorus and flow of the song, but then it slows down a little and we get Snoop just flowing easily through the second half of the song. This song works well but could have also worked as two separate songs.

Another song that Dre takes us back with those 90’s beats is “Gorgeous” featuring Jhené Aiko. Rugged keys flow over that beat for an undiluted West Coast funk sound. Snoops lyrics are solid on this, but honestly what makes this song is Jhené, she sound great on this track. When I saw the next song, “Last Dance With Mary Jane” and who it was featuring, Tom Petty and Jelly Roll, I was intrigued but also thought how is this going to work.  Well, Dre made this work and pulled off what I think is one of the better songs on the album bringing us a modern update to ‘93’s “Mary Jane’s Last Dance.”  His production is fantastic, and Snoop does a nice job with his flow. I love the Tom Petty chorus and harmonica and while I’m not a Jelly Roll fan (can’t actually tell you any song of his), his style works really well in this song. The catchiest and most fun song is next up with “Thank You.” It's a great West Coast-flavored jam with an awesome sample of Sly and the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)." I love Snoop's lyrics and he takes us back a few times with some his old school rhymes. “Pressure” comes in next and while it isn’t a bad song, after following “Thank You” it does fall slightly flat.  This features K.A.A.N. but even his flow on the chorus is a little flat. Not a bad beat by Dre but it could have been a little more “electrifying.”

One of my favorite tracks, possibly my favorite, is featuring Sting, “Another Part of Me.” Great production from Dre and a really nice flow from Snoop. I love Sting in this, he brings it and I love this Dre, Snoop, Sting combination. Bringing us a silky vocalization, Snoop pours out that laid-back Westside flow over Dre’s production with a variety of strings reminiscent of those 80’s grooves from The Police. Method Man and Smitty join Snoop on “Skyscrappers” and Dre brings us back to that older Hip-Hop flow and another top production, but what this song is all about is three rappers on top of their craft and almost competing against each other on this track.  Some great lyrics by all three and that straightforward old school wordplay make this an instant classic. Snoop gave us his alter-Rasta-ego Snoop Lion back in 2013, and while I really didn’t care for that album, maybe because I am a huge Reggae fan, I really only liked “Lighters Up” and “Smoke the Weed” and that was probably because of Mavado, Poopcaan, and Collie Buddz. So, when “Fire” came on I thought, not another Reggae-esque Snoop Lion song. But I love this jam, it’s a nice smooth laid-back groove with some sweet melodic island lyrics from Snoop. Cocoa Sarai gives us a sweet vibe with an irie Rastafarian flow. She is that essential element to complete the song. “Gunz N Smoke” reunites 50 Cent and Eminem with Dre and Snoop, and while not quite as dope as the old days of 2001 or Get Rich or Die Tryin, this is a strong song. While the production is not one of the strongest ones on the album, much like “Skyscrappers” this is about three legends, Snoop, 50 and Eminem, bringing us stout lyrics and vocals. They each take their turn and bring us memorable verses.

“Sticcy Situation” brings us the same idea as “Hard Knocks” with a nice switch-up, but this one feels right as one song. I love the samples of “Hyperbolicsyllabicsesquedalymistc” (Isaac Hayes), “Tom’s Diner” (Suzanne Vega), and “Raptivity” (Ronnie Gee) by Dre, this song is a masterpiece the way he put it all together. Cocoa Sarai shines again on this track, in fact she absolutely kills it, not only with the hook but also on her verse to end the song. K.A.A.N. brings us a real nice Nate Dogg flow that just takes me back to those early 90’s G Funk era times. BJ the Chicago Kid is perfect on another great track, “Now or Never.” Dre hits us with another nice sample, this time Mobb Deep’s “Survival of the Fittest,” and another solid production. Snoop hits us with some great lyrics, some of the best we’ve heard from Snoop, and then we get Dre on the mic once again, showing us that he’s not only the best Hip-Hop producer but a great MC as well. “Gangsta Pose” featuring Dem Jointz, Stalone & Fat Money is one of those Dre beats that you can’t help but bob the head up and down to. It oozes with that dope, cruising down the street, don’t mess with my energy flow.  Good roll from Snoop, changing it up a little throughout the song, and Dem Jointz, Stalone and Fat Money bring this song to the next level, while not huge parts, Dre brings them in just enough.  The album is finished off with “The Negotiator” with a great sample of Soul Dog’s “Can’t Stop Loving You.” Not one of the best songs on the album and while I understand why this was chosen as the last song, I actually think “Now or Never” would have been the better choice to finish this off. Snoop hits us one last time with some solid lyrics and a nice flow and Dre finishes off with a solid production.

Hip-Hop has been lacking something for years; meaning, great lyrics, boomin’ beats, dope rhymes, sweet production and intuitive ideas, in my opinion.  But over the past few months we have had three (four if you count Dre’s producing) icons stepping back into the ring with some really dope albums; The Force (LL Cool J), Man Down (Ice Cube), and now Missionary. Are these albums as great as my favorites from each of them; Bigger and Deffer, Lethal Injection, Doggystyle and The Chronic, better, no and probably not close, but are they all solid albums, YES! Snoop Dogg and Dr. Dre brought us an album, that as my friend Bill just said to me, “it’s growing on me more and more.” Dre has done a fantastic job with the production, including some dope samples along with some great rap flows and Snoop has hit us with some of the best lyrics and vocals since back in the days before he went to No Limit Records. While Snoop has hit international fame and notoriety for so many things other than his music, this album brings Snoop full circle back to the Hip-Hop world and showing the world that he stills got it.

One Love – Todd Judd