Scottish punk rock legends The Exploited packed The Observatory in Santa Ana, CA, on Thursday night, February 27, along with SoCal natives and fellow punk rock veterans D.I. and Total Chaos for a night of old-school hardcore punk rock debauchery.
Celebrating their 35th anniversary as a band, Total Chaos brought exactly that to the stage—chaos. With their home base just 40 minutes inland in Pomona, The Observatory was packed, and fans wasted no time conjuring up circle pits and crowd surfing. Many tried to get onstage, and vocalist Rob Chaos did his best to encourage the crowd to get rowdy and unruly.
Casey Royer of D.I. is an Orange County punk rock legend, with roots in Adolescents and Social Distortion dating back to 1979. With D.I. being a huge inspiration for many OC bands, it’s always an event when they play in SoCal, and this night was no exception. Royer, along with Clinton Calton and Trevor Lucca on guitars, Eddie Tatar on bass, and Joey Tatar on drums, picked up right where Total Chaos left off, whipping the crowd into an even greater punk rock frenzy.
Joining D.I. onstage for the song "Hang Ten in East Berlin" was another punk rock legend, Ross Lomas from English street punk pioneers GBH. Two hours into the night, security guards were working non-stop catching crowd surfers and trying to keep fans off the stage—and the most extreme part of the night was just beginning.
Total Chaos and D.I. surely ignited The Observatory, but the speed and aggression of the music were about to reach a whole new level. Wattie Buchan, with his iconic red mohawk, took the stage with the rest of The Exploited: Irish Bob on bass, Steve Campbell on guitars, and none other than Garry “G-Man” Sullivan from The Cro-Mags on drums. From the first notes of "Let’s Start a War" to the final sound of "Was It Me"—and all 22 songs in between—The Exploited had Santa Ana in a blazing frenzy of hostility. Buchan has not lost a step over the years and remains the same angst-driven, politics-hating, anti-religious punk who carved a path of destruction and respect all the way back in 1979 to today.
Catch The Exploited on tour until March 15, ending at the Punk Invasion at The Belasco Theater in Los Angeles.
The 70s and 80s really saw the evolution of the guitarist stepping out in front and being the star of the band. Names like Eddie Van Halen, Yngwie Malmsteen, Randy Rhoads, and Joe Satriani were masters of putting their instrument at the forefront of their music, shining with some of the best solos ever written—sometimes even overshadowing the rest of the song. Another guitar legend of the time who had a different viewpoint about how the guitar should be used was Jerry Cantrell of Alice in Chains. Cantrell has carved out a place in musical history by writing guitar tracks that create emotion and depth. If he takes the time to solo, that solo will usually enhance the overall song rather than take away from the vibe of the music.
In between touring with Alice in Chains, Cantrell has found time to release five solo albums. He is currently hitting the road in support of his latest solo album, I Want Blood, and recently made a stop at The Belasco in Los Angeles, CA. Fans packed the venue to hear this grunge legend live.
Opening the night was industrial band Filter. Right off the bat, the band set out to create a mood in the venue, forgoing the use of most of the lights except for select spotlights shooting around the room. The audience was there to get lost in the music that Filter has been putting out for decades. Founding member and vocalist Richard Patrick isn’t exactly a traditional frontman on stage but instead a being of pure musical talent. Swaying and rocking on stage while giving his all in his vocal duties, Patrick performs as a creature lost in the minimal lighting of the venue. Backed by Jonathan Radtke on guitar, Bobby Miller on bass, and Rosh Peterson on drums, the band created a bombastic wall of sound that penetrated eardrums with songs like "You Walk Away," "The Drowning," "For the Beaten," "(Can’t You) Trip Like I Do," "Jurassitol," "Take a Picture," "Drug Boy," "Welcome to the Fold," and ending with "Hey Man Nice Shot." Filter got the crowd rocking for the entire set, creating an atmosphere that was perfectly primed for the headliner.
It was then time for the headliner to take the stage. As the rest of the band walked on, the tension and excitement built for the legendary Jerry Cantrell to greet his fans. Opening the set with "Psychotic Break," Cantrell harmonized and provided additional vocals alongside lead singer Greg Puciato. Together, they created a nasally droning vocal style packed with emotional depth and feeling. But it’s with the guitar in hand where Cantrell truly shines. He may not be the flashiest guitar player, but he doesn’t need to be when crafting groove-infused rhythms and choruses that pull listeners into the music. Occasionally stepping to the front of the stage for solos, Cantrell gave fans moments to soak in his presence.
Cantrell even mixed in some Alice in Chains classics, featuring "Them Bones," "Down in a Hole," "Man in a Box," "Hate to Feel," "Would?," and "Rooster." However, it was Cantrell’s band that truly brought his solo music to life. The lineup included Greg Puciato on vocals, Zach Throne on guitar, Eliot Lorango on bass, and Roy Mayorga on drums. Together, they filled The Belasco with Cantrell’s solo tracks, including "Vilified," "Afterglow," "Atone," "Off the Rails," "Held Your Tongue," "Cut You In," "My Song," "I Want Blood," "Had to Know," "Angel Eyes," "Let It Lie," and "Rooster."
For this night at The Belasco, grunge was king again. Cantrell’s writing and playing remain unmatched, and the audience was fortunate to experience his artistry for a couple of hours. His musical talents helped shape and cement Alice in Chains as the historic group they are, and his solo work continues to showcase his creative greatness. After this tour, Jerry Cantrell will continue performing in support of Bush during the summer and make some festival appearances. If you’re a fan of Alice in Chains, grunge music, or want to relive the musical height of the 90s, be sure to catch Cantrell when he coming your way and catch his show!
As I walked into the Belasco, I saw many people wearing CHVRCHES merch from different eras. The energy was palpable, a shared excitement for seeing Lauren Mayberry live as a solo performer for the first time after more than a decade in a Scottish synth-pop trio. As the very last show of the US leg of her tour in support of her debut album Vicious Creature (EMI Records, 2024), Mayberry brought grandiosity and theatricality to songs that explore themes of darkness and feminism, the latter being a well-known cause for the soprano singer-songwriter.
She brought along Cult of Venus as the opener—undoubtedly a fellow feminist powerhouse! A New York native, Cult of Venus performed solo, alternating between electric guitar and synth while filling the room with a clear, impactful voice that soared in an almost angelic way. There was introspection and elegance in an electric performance that at times blended the ambient, soothing sounds of Vancouver Sleep Clinic with the wandering energy of Bon Iver. They retraced a seemingly lonely journey—an anonymous one—since nobody truly knows their identity or what they really look like. Their face is always obscured by long blonde hair, making them a mystery. Even as a photographer in the photo pit, I found it nearly impossible to capture more than an inch of their face—at first, it made me question my own skills.
After waking up to the smoke and fires in Los Angeles, Cult of Venus wrote "Mountains", a song about rebellion and desperation—a call for help, even as they sang, “There ain’t no savin’ me.” It wasn’t the first time their music transcended into themes of strength and resilience; they have previously performed across many all-female prisons and detention centers. They closed their set with their latest single, "Algorithm", a powerful electronic track that gave me "Nightcall" by Kavinsky vibes, setting the perfect energy for Lauren Mayberry’s entrance.
Mayberry opened with her latest single, "Crocodile Tears", announcing herself with an "ultra-catchy eighties inspired tune sprinkled with jittery synths". As a self-proclaimed villain, she found it thrilling to see men's tears. Throughout the show, she danced and invited the crowd to clap along to the heavy synth and beats, with fans singing and moving in sync. Mayberry was radiant, glowing under the blue lights in her fairy-like red dress, commanding the stage with the confidence of a veteran performer. Beyond delivering a five-star performance with her distinctive, emotional vocals and magnetic stage presence, she was also highly entertaining during intermissions.
She recounted the story of the red megaphone she brought on stage for "Something in the Air"—one she had ordered online, only to receive it with a photo of Donald Trump using it and a message thanking her for her purchase. In shock, she stepped back, thinking, “Don’t touch it!!” Her story triggered waves of laughter and boos from the audience before she quipped, “Okay, I gotta shut up before they deport me.” As it turns out, the megaphone also doubled as a powerful light, adding a striking annonciateur energy to the stage, alongside vintage white telephones she used as props.
A breathtaking surprise during her set was Mayberry’s cover of "Bittersweet Symphony" in her signature style—grandiose, expansive, focused, and magnetic. I had to stop and take it all in. But Mayberry didn’t stop there. She created quiet, deeply personal moments too, like with "Oh, Mother", a piano ballad and ode to her mom. Singing “Oh, mother, I couldn’t do it without you” and “What would I do without you?” brought a hush over the crowd. In a Reddit AMA, Mayberry admitted that this song made them all weepy and sad in the studio because it’s “a depressing song”—one that wouldn’t have fit within CHVRCHES’ emotionally and sonically different direction.
The show ended with "Sunday Best"—the perfect closer for her final US show, which happened to be on a Sunday. Mayberry had previously explained that the song’s bridge was the hardest to write on the album, but finally cracking it felt “extra-euphoric.” The crowd felt that way too—extra euphoric. Thank you for the music, Lauren Mayberry!
- Lio
During the pandemic, Deleon “Pele” Hamilton had an urge to create something new, something from his heart and soul. His creative juices were churning. With the help of guitarist Nicolas “Nico” Groskopf and singer Elton Earlington, the trio got to work on a new project, a new journey, a new album. The album and concept revolve around the themes of love, struggle, upliftment, and resilience.
“What started with simple voice-note recordings, pen and paper, and an acoustic guitar has now blossomed into the truest and purest reflection of how I was feeling and what I was going through, as well as what I wanted to share with the world. The songs on this album are very special to me, and I do hope that you’ll find the same solitude when you listen,” Pele recently said about the work. While this was created out of Pele’s thoughts and desires, with the help of Nico and Elton, this project also came together with other amazing musicians. Among them are Wayne “C-Sharp” Clark, Oral Brown, Aston Barrett Jr., Kirk Bennett, and Peter Samaru on drums; Llamar “Riff Raff” Brown, Andrew Marsh, Kevon Webster, and Koriq Clarke on keys; and Hector “Roots” Lewis, Robert Malcolm, and the late Denver Smith on percussion. This is a truly Jamaican roots reggae band and album.
“This project is my life’s testimony and the philosophy by which I live,” shared Pele. “Once there’s life, it’s more than enough reason to keep giving your best.”
The album opens in the most perfect way with help from Steel Pulse on “Freedom Fighter.” This is a fast-paced rhythm with such a great sound and a powerful message about systemic injustice and liberation. David Hinds is at his best on this groove that perfectly blends the styles of F.Y.A.H. and Steel Pulse. Pele was recently quoted saying about the album, “Four years ago, while at one of my lowest points, I had no choice but to surrender my all to music.” That is the perfect quote for the next track, “Never Give Up.” This is another fast, upbeat song, and Elton sounds fantastic.
“Oh Oh Oh” comes at us next, with a carefree reggae riddim that just puts a smile on your face. The band hits us with “Free Your Heart,” a song that dives deep into mental health and taking care of yourself, with Nico delivering some nice guitar work to guide us through.
Next, it’s time for a nice rocksteady groove and a chill love song, “Cool Down.” The harmonies on this track are so sweet, with some great horn play by Sheldon Palmer. Love this song. Hollie Cook joins them on “When I’m With You.” Another love song and a sweet duet between Hollie and Elton—they sound so incredible together, going back and forth, sharing harmonies and a beautiful message. Another song I love “Live My Life” is a plea to start all over again with the one you love after making a mistake:
"Baby forgive me please and forget that/
Please set that all aside/
Life without you is a set-back/
Please step back in my life/
I was a fool but now I realize/
How could I lose the best part of my life.”
We stay with the love songs with a really funky groove in “Love Got A Hold.” This is a really fun song—you just want to dance and have a good time! We get some self-reflection with “Where You Gonna Run.” Another great track with Elton once again sounding amazing, but this is also about the instrumentalists: Nico on guitar, Pele on bass, and the percussion and drums walking us through this voyage.
We have reggae and jazz great Glen Browne, the world-famous bassist and guitarist, joining F.Y.A.H. on “Hold Up I Head.” Glen has been making music since the ’60s and is an amazing addition to this song, with nyabinghi drums carrying us through. Glen brings us his warm, calming voice, passing on his wisdom with the inspiring lyrics. This is a sweet, soothing song for the heart.
Next brings us another collaboration, but not like we would expect. “I Believe” features Alborosie, but not joining Elton on the mic. The song was recorded at his Schengen Studio, and he adds his expertise on keyboard, percussion, and guitar, while also working on the production of the song.
The song that probably shows off Elton’s range and beautiful voice the most is the final track, “Brighter Day.” This is a multi-dimensional song that really steps away from the reggae sound and brings us a nice mix of styles and genres. Nico finishes it off with a sweet guitar solo, a perfect way to conclude this journey that Pele, Nico, Elton, and all their friends have taken us on.
One Love,
Todd Judd
Vybz Kartel’s firstborn, Jaheim Palmer, aka Likkle Vybz, released his first solo EP, Love Lane, on Valentine’s Day on his Uptown Gaza Records label. He said he wanted to release something dedicated to the ladies: "I just want the work to speak for itself, honestly. [It's] four songs for the ladies, because you know that you cannot leave the ladies out. I really want them to resonate well with anyone who takes the time out to listen to what I have to say," Likkle Vybz said.
This EP is a different vibe, a different style than we are used to hearing from Likkle Vybz. He has been doing music for a while now—when your father is one of the most popular Jamaican artists ever, that will happen—first as a duo known as PG13, starting in 2014 with his younger brother Likkle Addi, and then releasing tracks over the years such as “Fully Gaza,” “No Cap,” “Lemonade,” and “Rich Off.” There is real growth we hear from Likkle Vybz with this 4-track EP.
"I've been wanting to drop a solo EP for a while now, so I have been putting in the work to build myself musically,” he recently told The Star. “I was at home looking for some rhythms, and I found one by Kahtion Beatz, and instantly I was hooked and started the hook. I wrote that song (“Ready”) the same night. I eventually went back to it and fixed it, and then we perfected it in the studio, and the same for the other tracks where perfection is concerned; some songs took longer than some naturally,” the deejay told the Jamaica Observer.
“Ready” is the first track, and the first thing that hit me was how different this song was from his others. Not in a bad way at all, just not expecting to hear what I was hearing. It’s an appealing beat and groove, and I can understand why he got hooked. He has a great flow throughout; you can hear the maturity and growth in his voice and lyrics. Loving the flute at the end, just taking the rhythm to another level.
He follows up with “Miss Independent,” an infectious, silky beat. The blending of rhythmic patterns makes it a perfect song to get up on your feet and hit the dancefloor. Likkle Vybz brings charmingly catchy lyrics with an energetic melody.
Vybz Kartel joins his son on “Secret” with a nice, solid beat and rhythm. The guitar flows over the beat, flowing right along with Likkle Vybz’s vocals. While this song is a slow and chill groove, Vybz Kartel comes in HARD—no surprise—and it adds another level to the song. They really complement each other with their styles, cadence, and voices.
The EP is finished with what is probably my favorite track, “Best Friend.” I just really love Likkle Vybz’s sound and lyrics in this. His flow is great, taking us along this journey, flowing through the beat with melodious vocals and harmonious phrases. The rhythm just has me grooving and bobbing my head.
This is a really good EP, one that makes me want more and will have me waiting for more from Likkle Vybz. When your parent is such a huge name in music—not just in Jamaica but worldwide—it can be hard to find your own style and break away on your own. I think we are seeing the maturity of Jaheim, but also him finding his own way, his own style, while still keeping close to the “family business.” His father has been a huge influence on his life and career, of course: “He has had a great impact and, even during the creative process, I took some time out to appreciate the influence on my style, especially for this project. It’s a great feeling, honestly, it reassures me that I’m progressing and going in the right direction,” he recently told the Jamaica Observer.
This is for the ladies, but it is really for everyone—great rhythms, lyrics, and beats.
One Love,
Todd Judd
Hall of Fames are a touchy subject for me. When it comes to sports Hall of Fames, it feels almost liberating because members are voted in based on merit, talent, and impact. The Rock ‘N’ Roll Hall of Fame, however, is a completely different beast. Artists are voted in based on what the old elitists of music like and who they like, not on what the people want or appreciate. This is especially true for metal bands and artists, who often do not get the respect they deserve.
Luckily for them, there’s the Heavy Metal Hall of Fame, which takes place during NAMM week. It’s a ceremony where artists and contributors in the genre are recognized and respected. Rabit and I have covered the last three or four ceremonies, and we once again showed up for the 2025 inductions. This year, the following were honored as inductees: Pantera’s Dimebag Darrell, Arch Enemy’s Alissa White-Gluz, guitarist Doyle Wolfgang von Frankenstein, Megadeth guitarist Jeff Young, Poison drummer Rikki Rockett, former Fear Factory vocalist Burton C. Bell, Dangerous Toys, and radio station KNAC.
Normally, there’s a red or black carpet to welcome attendees, but that wasn’t the case this year. This event typically takes place in the ballroom of the Marriott Delta in Garden Grove, but for 2025, it was held at the Grand Theater in Anaheim. There was no carpet—just a simple entrance where journalists and photographers improvised, creating a make-shift carpet experience for the arriving artists. It was different but creative, as we wanted to grant the artists the respect they’ve earned. Many journalists, including myself, had to fight for interviews, but I was lucky enough to snag six or seven of them (check out the YouTube audios below).
During the ceremony, we were treated to stellar metal performances by the Jeff Young Band, Wicked, the Alibis, and an all-star jam. The inductees expressed heartfelt thanks to their fans and to the writers who promote them with intense passion.
I’d say this year’s Heavy Metal Hall of Fame was interesting in a unique way. While it lacked the traditional red carpet, we improvised, creating our own walkway—much like the Stitch Riot fashion show had done before. Through this, we actually gained more access to the ceremony itself and got to witness some incredible sets, including an unforgettable performance by Wicked, who we had the pleasure of seeing again the next night with Metal Allegiance.
As for the inductees, while most couldn’t attend, their presence was still felt throughout the night, and we cheered on those who could make it. It was a great celebration of the genre and an overall fantastic night for metal lovers. I’m already looking forward to next year’s event. To the class of 2025 inductees into the Heavy Metal Hall of Fame, I salute you. Horns up!
Photos by: Matt 'Rabit' Martinez
There are a lot of different music genres in the world—good old-fashioned Rock ‘n’ Roll, Heavy Metal, and Pop—but the one genre that stands apart from all others is Progressive Rock (Prog Rock). Its non-traditional song structures, unconventional time signatures, and experimental sounds make it truly unique. Bands such as Yes, King Crimson, Rush, and Pink Floyd pioneered and popularized this musical style in the ’70s and ’80s. However, in the ’90s, Dream Theater combined the sounds of these innovators, added a bit more heaviness to the mix, and elevated themselves as the modern-day kings of Progressive Rock, never looking back.
2025 is an exciting year for Dream Theater and their fans. The band is out on tour in North America celebrating their 40th anniversary, and they made a stop in Los Angeles at The YouTube Theater on Saturday night, February 22, for a SOLD-OUT show. Adding to the excitement, original drummer Mike Portnoy rejoined the band in 2023. This marks the first Dream Theater tour with him in over 15 years. If that weren’t enough, the tour is also in support of their critically acclaimed new album, Parasomnia, released on February 7. The album features Portnoy’s first appearance on a Dream Theater record since 2009’s Black Clouds & Silver Linings. That’s a lot to celebrate!
“An Evening With Dream Theater” kicked off at 7:40 p.m. with no opening act, and for the next three hours, Los Angeles witnessed five of the most talented musicians on planet Earth dazzle their eyes and ears. The night began with the 9+ minute “Metropolis Pt. 1: The Miracle and the Sleeper.” Drummer Mike Portnoy, guitarist John Petrucci, keyboardist Jordan Rudess, and bassist John Myung blasted the song's powerful intro before vocalist James LaBrie took the stage, belting out, “The smile of dawn arrived early May,” marking the start of a magical night of celebration. Although this was technically a seated show, everyone in attendance was standing and remained on their feet for the entire performance once the music started.
Three huge video screens provided the stage's backdrop along with additional video displays on the edges of Jordan Rudess' massive keyboard setup and beneath Portnoy’s colossal drumkit. The visual spectacle, complete with lasers shooting into the crowd, was perfectly synchronized with the music and its themes. LaBrie welcomed the audience to the 40th Anniversary tour and made it clear he expected the crowd to match the energy of the band's performance. Spoiler alert—they did.
With many Dream Theater songs spanning significant lengths, there was no need for dedicated solos, as each musician already had ample opportunity to demonstrate their incredible skills. The musicianship in this band is unparalleled. Petrucci seamlessly moved between his six- and seven-string guitars, Myung expertly wielded his six-string bass, and Portnoy’s colossal drumkit seemed to have more cymbals and components than any stage could hope to contain. Rudess’ keyboard might as well have been a device from another dimension, producing sounds and atmospheres that transported the crowd. During these extended instrumentals, LaBrie would often step offstage, only to reappear just in time for the next vocal part.
About 75 minutes into the show, after a crushing rendition of “The Dark Eternal Night,” LaBrie announced a 15-minute intermission. Upon returning for Act II, the show resumed with a video montage spanning Dream Theater's entire catalog before the band launched into two songs from Parasomnia: “Night Terror” and “Midnight Messiah.” Both tracks were standouts, featuring heavy, groove-driven guitar riffs and showcasing some of the finest music the band has crafted in years.
The song selection for the evening was the perfect blend of fast, slow, new, old, and everything in between. Act II climaxed with the haunting soundscapes of Jordan Rudess’ keyboard introducing the marathon 24-minute masterpiece, “Octavarium.” This epic track encapsulates everything Dream Theater embodies as a band. Of course, no Dream Theater show would be complete without an encore. And what an encore it was—three songs totaling about 27 minutes. The grand finale came with the iconic “Pull Me Under,” delivering the ultimate capstone to a phenomenal concert. For all the reasons this tour feels so special, as highlighted early in this review, this night in Los Angeles may have been the most memorable Dream Theater performance to date—beyond incredible. THANK YOU, Dream Theater. Keep on ROCKING!
A special note on the performance: With all due respect to Mike Mangini, who is an extraordinary drummer and an even better human being (thank you for your incredible contributions to the band), seeing Mike Portnoy back behind the drumkit was nothing short of epic. He belongs there—as a founding member of the band and a vital ingredient in the Dream Theater machine. This is what the fans have been hoping for, and it’s everything we could have dreamed of.
Act I
“Metropolis Pt. 1: The Miracle and the Sleeper”
“Act I: Scene Two: I. Overture 1928”
“Act I: Scene Two: II. Strange Déjà Vu”
“The Mirror” (with “Lie” solo outro)
“Panic Attack”
“Barstool Warrior”
“Hollow Years” (‘96 demo version)
“Under a Glass Moon”
“The Dark Eternal Night”
Act II
“Night Terror”
“Midnight Messiah”
“This Is the Life”
“Vacant”
“Stream of Consciousness”
“Octavarium”
Encore
“Act II: Scene Six: Home”
“Act II: Scene Eight: The Spirit Carries On”
“Pull Me Under”
Munga Honorable, whose given name is Damian Rhoden, has released his latest album, a 15-track collection of songs that are straight-up classic Munga, with a little growth and newness. He’s been doing this for 20 years, though it doesn’t seem like he’s been around that long, consistently bringing great beats and hard lyrics from day one. The veteran deejay recently shared, “I’m beyond excited to share this album, G.R.E.A.T., which stands for Gangsta, Rasta, Entrepreneur, Artistic, Tenacity, which you will notice as the characteristics of this album and my 20-year-long career.”
The album starts off with a nice, chill introduction-type track, “Toast Life,” a groove that sets the tone for what’s to come. The title track follows and is 100% classic Munga. With its strong dancehall beat and Munga’s powerful lyrics flowing over the rhythm, he hits incredibly hard on this. Up next is one of the standout tracks, “Riches,” which features Demarco. Both Munga and Demarco bring their A-game on this one; their chemistry is undeniable, and their styles complement each other flawlessly. “In Vain” slows it down with a more relaxed rhythm, but the lyrical flow remains sharp. Then comes “Leggo,” moving back into a faster tempo as Munga dominates this lively track.
Previously released, “50 Caliber,” featuring Bounty Killer, keeps the energy high with an excellent back-and-forth between Munga and Bounty, both owning the mic. “Bad People” follows, bringing us back to classic Munga vibes. This track easily stands out as one of the best on the album. “Rev” kicks in with an infectious repeat of “Rev Rev Rev Rev,” hitting you in the face with its bold rhythm. Another gem, “Rifle Man,” comes next, delivering vivid storytelling about the gangsta life. Its dynamic drums and flowing riddim pull you into the narrative. We then get “Pretty and Smart,” another high-energy track showcasing Munga’s faster cadence and command over the beats.
The album shifts gear with a trio of slower songs. “Heart and Soul” is a standout—another one of my favorites—that gives us a refreshing glimpse of Munga’s emotional range. “People Things” follows with a slower flow paired with a harder beat. The balance here is fantastic, with its exceptional lyrics and vocals. “Avoid People” keeps the slower pace but adds a groove that’s easy to connect with. I especially love how Munga plays with his voice and cadence throughout this track, making it personal and relatable. This section of the album is all about pure vibes and heartfelt performances.
The energy picks up again with “Free,” a party anthem designed to get you moving. “I want to drink some rum, smoke some trees, have some fun,” Munga sings, capturing the track’s carefree, celebratory spirit. He closes out the album with “System Fail,” a powerful closer featuring more poignant lyrics. “The system is a failure, and Rastafari is the savior, it’s a parliament traitor, no not them listen to Bunny Wailer.” The message is impactful, and Munga’s delivery is as strong as ever.
Munga Honorable’s latest project highlights his signature blend of Reggae and Dancehall, offering a deep, varied listening experience. The album embraces the classic Munga sound with high-energy anthems while also slowing it down for expressive, touching ballads. Despite 20 years in the game, Munga remains authentic, evolving while staying true to his roots. His description of G.R.E.A.T. couldn’t be more accurate—it brings that gangsta flow, Rasta vibes, entrepreneurial spirit, artistic grooves, and remarkable tenacity. This is a solid album that will stay in rotation for a long time.
One Love – Todd Judd
Sacramento music enthusiasts were treated to a night of pure, unfiltered rock and roll with Myles Kennedy, Tim Montana, and Sons of Silver. The line snaking around the Ace of Spades was a clear indicator that the night was going to be unforgettable. Let’s break it down.
Kicking off the evening were the Los Angeles-based rockers, Sons of Silver. They’ve been on the road in support of their debut album, Runaway Emotions, which has been a resounding success so far. Their music skillfully blends tragedy, punk, and harmony, creating something truly unique. The band's lineup boasts former members from renowned '90s bands like Candlebox, Skillet, and Pearl Jam. Known for their energetic performances and neo-classical rock influences, Sons of Silver bring an engaging stage presence that sets them apart in today’s rock scene. The band's album Doomsday Noises was released in 2020, followed by Ordinary Sex Appeal in 2022, and their new album Runaway Emotions released in January 2025. With a growing fan base and increasing acclaim, they continue to captivate audiences as they share the stage with Myles Kennedy on this tour.
Next up was the dynamic performer and direct support act, Tim Montana, a country-rock artist hailing from Montana. Dubbed the "single-wide survivor" and an "off-grid wonder," Montana fired up the crowd alongside his band, affectionately known as the “Shrednecks.” While he’s widely celebrated for his collaboration with Billy Gibbons of ZZ Top, Montana proved that he’s more than capable of holding his own. His sound mixes country, heavy metal, and raw rock and roll, drawing from personal tragedies to craft deeply resonant songs. His performance included tracks from his upcoming 2024 release, Savage, featuring songs like "The Devil You Know." He also surprised the audience with a unique take on 2Pac’s "California Love." Lyrically, Montana doesn’t shy away from heavy subjects such as domestic violence, addiction, and abuse, giving his songs a weighty, authentic feel. Backed by his incredible stage presence and a tight-knit band, Tim Montana delivered a performance that solidified his place as a rising star.
Finally, the highlight of the evening arrived—Myles Kennedy took the stage. The packed house eagerly awaited the rock maestro himself, and he delivered as expected. Performing solo, without Slash, Kennedy commanded the crowd with ease, a testament to his prowess as a performer. This tour, in support of his third solo album The Art of Letting Go, has been a success across the board, and Sacramento was no exception. Known for his powerful vocals and dynamic stage presence, Kennedy impressed with deeply soulful guitar tones and vocals that were both soothing and mesmerizing.
The performance showcased Kennedy both as a solo artist and as the frontman of Alter Bridge, backed by the talented Zia Uddin on drums and bassist-manager Tim Tournier. This power trio delivered some of the most electrifying rock and roll I’ve seen in a long time. The setlist was expansive, including a cover of Alter Bridge’s "Lover," older tracks like "Say What You Will," and new music such as "Nothing More to Gain" from his latest release. His emotional delivery and connection to the audience shone brightly, leaving no doubt that Myles Kennedy is in a league of his own.
This high-caliber performance made for an unforgettable evening. If this tour comes to your town, don’t miss your chance to experience the magic of Myles Kennedy and his incredible band live.
Released on February 17, 2025, “You Know Better” is the latest sonic masterpiece from The Ritualists, serving as a tantalizing preview of their forthcoming full-length album, Too Pure to Cure. This striking single not only showcases the band’s distinct musical identity but also reinforces their reputation as boundary-pushers within the alternative and post-punk genres. Paired with a visually stunning cinematic video, this release elevates The Ritualists' artistry to new heights.
The video itself is a marvel. From start to finish, it grabs your attention with its seamless interplay of light, shadow, and color. It’s as if each frame was pulled from a dream—haunting yet beautiful, nostalgic yet otherworldly. The infusion of vintage-inspired aesthetics, from retro costumes to warm film-style filters, contrasts perfectly with the modern-day precision of the visuals. There’s an intentionality here, a sense that every shot was designed to amplify the emotional weight of the song. It’s a rarity to encounter a music video where the imagery feels as deeply evocative as the music—and “You Know Better” nails that balance with poise.
Musically, the single is quintessential Ritualists, blending their signature alternative edge with lush post-punk influences. The track’s eerie melodies and layered instrumentation pull you in, creating an immersive soundscape that lingers long after the first listen. Vocal layers courtesy of Christian Dryden weave introspective lyrics through the meticulously arranged sonic textures, creating a relationship between the narrative and sound that feels both intimate and universal. It's music that doesn’t just ask to be heard—it demands to be felt.
What really stood out to me, though, is the dual storytelling at play here. The music and video feed off each other, each enhancing the other’s message in a way that few artists manage to achieve. The song’s haunting introspection pairs flawlessly with the video’s evocative visuals, pulling the viewer into an emotional, almost cathartic experience. It's not just entertainment—it's art.
The Ritualists have always excelled at walking that fine line between the past and the present, paying homage to the greats who influenced them while forging an identity that's unmistakably their own. “You Know Better” is no exception. It’s an exquisite showcase of their ability to tap into the raw, emotional core of their art and transform it into something meaningful and unforgettable.
From the hauntingly poetic lyrics to the cinematic visuals, “You Know Better” is the perfect teaser for what's to come on Too Pure to Cure. If this single is any indication, the full album (set for release on April 22nd on Suite 484music) is going to be nothing short of spectacular. The Ritualists have once again proven themselves to be true visionaries—musicians and storytellers who understand the deeper connection between sound and vision. For fans, both new and old, this is a must-watch, must-hear release that solidifies their place among the contemporary music elite.
Simply put, “You Know Better” isn’t just another music video—it’s an experience. One worth taking in over and over.