Atlanta was ground zero for metal theater on April 2nd as Geoff Tate brought his Operation: Mindcrime – The Final Chapter tour to a packed house at Center Stage. This wasn’t just a nostalgia trip—it was a dramatic, tightly executed rock opera brought vividly to life by a commanding performance from Tate and his fierce, international band. With Operation: Mindcrime performed front-to-back for the last time, the night felt not only historic but deeply personal for the fans who’ve carried this record close for decades.
The evening kicked off with a lively set by the Irish trio Tomas McCarthy on their Fire and Water tour. The pairing of McCarthy’s vocals with Clodagh McCarthy on sax and vocals was sublime. Solid guitar work by James Keegan kept the beat going. They were a rocking band that made you crave a pint of Guinness and the rocky shores of Ireland. I’m looking forward to hearing more from them.
From the moment the house lights dimmed and the intro “I Remember Now” played over the PA, a palpable electricity settled over the room. It was clear the audience—made up of diehards in vintage Queensrÿche tees from every era—wasn’t here just to see a show. They were here to witness a legacy unfold one last time.
And what a legacy it is. Operation: Mindcrime remains one of the most ambitious and revered concept albums in metal history, telling the story of a disillusioned man pulled into political conspiracy, addiction, and eventual self-destruction. It’s part Orwell, part noir, and completely cinematic in scope. Hearing the album played live from start to finish is an immersive experience—like being dropped inside a dystopian novel with a crushing soundtrack.
Geoff Tate, as ever, was the magnetic centerpiece. At 66, his voice remains an instrument of astonishing power and control. He moved effortlessly from snarling accusations to vulnerable falsetto cries, capturing the complexity of the album’s protagonist, Nikki, with every note. “The Mission” was delivered with searing intensity, while “Suite Sister Mary” felt like a theatrical event unto itself, thanks in large part to the standout performance of Clodagh McCarthy, who handled both keyboards and the operatic vocals of Sister Mary with commanding poise. Her duet with Tate was goosebump-inducing and one of the evening’s most memorable moments.
Backing Tate was a band that felt hand-picked not just for their chops, but for their chemistry. Triple-threat guitarists James Brown, Amaury Altmayer, and Dario Parente made for an absolutely lethal trio—each one bringing distinct flavor while staying locked in step. Brown tore through solos with precision, Altmayer brought soulful phrasing, and Parente added the rhythmic backbone that made tracks like “Spreading the Disease” and “The Needle Lies” punch with grit.
On drums, Robert “Baker” delivered with relentless drive, mixing finesse and force through complex time changes and breakdowns. His playing on “Breaking the Silence” and “My Empty Room” gave the material emotional weight without ever dragging. Holding it all together with smooth authority was bassist Jimmy Wynen, whose thunderous low end kept the night grounded—even when the guitars soared into atmospheric territory.
By the time “Eyes of a Stranger” closed the Mindcrime portion of the show, the audience was already on their feet, cheering not just for a band that had nailed a flawless performance, but for the moment—a goodbye to a live chapter that has defined much of Tate’s post-Queensrÿche career.
But the show wasn’t over. Tate and his band returned to the stage for a rapid-fire encore that hit some fan-favorite highlights: “Empire” thundered with relevance, “Jet City Woman” rang out like a mission statement, and “Take Hold of the Flame” ended the night with an exclamation point. It was a fitting send-off to a tour that has celebrated not only a landmark album but an entire career’s worth of storytelling and musicianship.
Geoff Tate doesn’t just perform Operation: Mindcrime—he inhabits it. And with a band this sharp and a crowd this invested, the Center Stage show felt less like a concert and more like the final act of a rock opera decades in the making.
If this truly was the final full live performance of Mindcrime, Tate didn’t just do it justice—he gave it a hero’s sendoff.
Nothing More stormed into Chattanooga on March 28th, kicking off their Carnal tour at The Signal—and from the moment the lights dropped, it was clear the band had no intention of easing into things. They came in swinging, delivering a high-octane performance that felt more like a full-scale arena show than a club gig. If you’ve never seen them live, you’re missing one of the most electrifying acts in modern rock.
I first saw Nothing More back in 2014 when they opened for Chevelle in Nashville. At the time, all I knew was “This Is the Time (Ballast),” and it hit me like a freight train. I kept telling the friend I was with that she’d be into them—and within minutes, we were both fully converted. That show featured their now-iconic metal contraptions: elaborate, welded sculptures that doubled as percussive instruments and experimental gear. I even got to see bassist Daniel Oliver welding one of them years later at a venue in Clarksville. These guys don’t just play music—they build it.
The Chattanooga show opened with “House on Sand,” immediately setting a blistering tone. But it was “If It Doesn’t Hurt” a few tracks later that really sent the crowd into a frenzy. Frontman Jonny Hawkins, barefoot and covered in his signature body paint, led the charge with a raw, magnetic energy that’s become synonymous with the band.
While the setlist hit all the fan favorites, the standout moment for me was “Freefall,” the band’s latest single featuring Daughtry. Though Daughtry wasn’t present for this stop, the track held its own—and I can only imagine how powerful it’ll be live when the two acts share the stage on the upcoming Disturbed tour.
Guitarist Mark Vollelunga took a moment to introduce “Fade In / Fade Out,” written as a tribute to his father and son. It’s a deeply emotional piece, and one that resonates even more if you’ve experienced the kind of grief that reshapes you. That was followed by “Jenny,” a longtime fan favorite penned about Jonny’s sister and aunt and their battles with mental health—a track that never fails to land with impact.
Of course, no Nothing More show would be complete without the drum battle between Hawkins and drummer Ben Anderson. Jonny takes to his gothic-industrial drum rig while Ben mans the standard kit, creating a percussive duel that’s as visually captivating as it is sonically explosive.
They closed out the night with the track that started it all for me—“This Is the Time (Ballast).” No matter how many times I hear it, that song still gives me chills. It’s a reminder of why I fell for this band in the first place: powerful, passionate, and totally unrelenting.
Bottom line—if you’re craving a rock show that hits you in the chest and stays with you long after the lights go up, Nothing More delivers. Every time.
Parliament Funkadelic. The legendary collective of rotating musicians blended genres and sounds, with Parliament being more soul and horn-based, while Funkadelic leaned into a more experimental, psychedelic, guitar-based funk-rock style. While many musicians played with both groups and came and went over the years, there was one constant: George Clinton.
The man was so busy, the "P" in P-Funk could stand for prolific. George Clinton is a game-changer. He is a rule-breaker. George Clinton is the godfather of an entire genre. He invited the whole world—if not the entire universe—to get funky, and he had the mothership to get us there. He wanted us to be one nation under a groove. Clinton’s mind was so active, his output so prodigious, that he didn’t just have one huge band going—he had two.
Rolling Stone magazine recently listed The 25 Best Parliament-Funkadelic Albums. If there are 25 best albums, that’s a massive catalog. Speaking of massive, Parliament Funkadelic is also the largest band ever inducted into the Rock and Roll Hall of Fame, with Clinton and 15 other members making the cut in 1997.
The band’s impact is immeasurable. “Up for the Down Stroke,” “Chocolate City,” “Give Up the Funk (Tear the Roof off the Sucker),” “Flash Light,” “One Nation Under a Groove,” “Maggot Brain,” Clinton’s solo tune “Atomic Dog,” and countless others have become part of our musical DNA. And if you still don’t know the songs, you’ve heard the music. Clinton’s work has been heard on modern-day hits, as he is one of the most sampled artists of all time.
Now, Parliament Funkadelic is on the move again and on tour, coming to the House of Blues in Anaheim on Wednesday, April 30th. One hell of a way to end the month. It’s a show guaranteed to put a glide in your stride and a dip in your hip. The only question is: will the roof still be on the sucker when the night is over?
Heavy metal has been a staple of the music industry for decades. With every new generation, metal evolves in new ways, creating new subgenres of music. Two bands making waves on their own decided to team up for a joint metal tour, bringing two drastically different styles of music to one show under the same roof. Hanabie. is an all-female Japanese Harajuku metal band that delivers cute but ferocious music to the masses, while Kim Dracula showcases their talent with trap metal, infusing multiple genres of music along with rap. The two don’t sound like they should mix, but the House of Blues in Anaheim, CA, was sold out to see these two co-headliners. The audience was a diverse group of metalheads, kawaii metal outfits, Lolita dresses, and military-esque attire. The fans knew they were in for something special.
Opening the show was the post-hardcore band Kaonashi. With their first song, “Fairmount Park After Dark,” Kaonashi was a blast to the senses. Guitarist Alex Hallquist and bassist Ryne Jones assaulted the crowd with a wall of noise, held down by drummer Pao’s consistent backbeat. Within moments, the crowd was already headbanging, and the moshers were ready to stomp around the pit. But it was when vocalist Peter Rono came in that the true essence of the band was revealed. Rono sings with so much character and emotion that his vocals don’t necessarily sound like singing—it’s more like someone screaming at the top of their lungs in a frantic desire to be heard. This added to the musical chaos that Kaonashi created with their songs “Confusion in a Car Crash,” “You’ll Understand When You’re Older,” “Humiliation Ritual,” “Blood Red Camry Dance Party,” “Coffee & Conversation,” and “I Hate the Sound of Car Keys.” Throughout their set, Rono kept the crowd engaged, constantly calling for people to two-step and mosh harder. Without a doubt, Kaonashi had the most unique set of the night, and we were just getting started.
Up next was the heaviest band of the night, Crystal Lake. Hailing from Japan, this metal band has managed to make the crossover to a worldwide audience. Vocalist John Robert Centorrino has some of the nastiest gutturals out there. The depth of his growls resonates deep in the soul, and you feel your body vibrate from them. But it’s the guitarist duo of Yudai “YD” Miyamoto and Hisatsugu “TJ” Taji that unleashes an onslaught of guitar tracks—from vibrant and flowing melodies to heavy breakdowns and even some shredding. Not only that, but they are constantly running around the stage, entertaining the fans while never missing a note. Bassist Mitsuru and drummer Gaku Taura keep the rhythm section grooving and moving, ensuring the moshers never have a moment to catch their breath. Crystal Lake played a solid set of songs, including “Blüdgod,” “Disobey,” “Hail to the Fire,” “SIX FEET UNDER,” “Watch Me Burn,” “Lost in Forever,” and ending with “Apollo.” I can’t wait to see Crystal Lake headlining their own tour, as I know the crowd had so much more energy to give if the band could have kept going.
It was then time for the first of our co-headliners, Hanabie., to take the stage. All of the girls dressed in and represented the Harajuku fashion style. This means they wore different styles of Japanese street fashion all at once, creating a cute and girly pop aesthetic. In fact, as the girls walked on stage, one of the biggest security guards let out a chuckle at how cute they looked, especially following the heaviness of Crystal Lake. But it took only moments into their first song, “O•TA•KU Lovely Densetsu,” for vocalist Yukina to roar with her vocals, causing that same security guard’s face to contort into a look of shock and amazement.
Yukina effortlessly transitions from clean, cutesy, tropey anime-girl vocals to some of the harshest screams you’d expect from any muscle-headed, hat-wearing metalcore singer. Guitarist Matsuri unleashed some of the heaviest riffs of the night, while bassist Hettsu finger-picked away while headbanging and jumping around the stage. Drummer Chika managed to Caramelldansen dance in between providing some of the best dance grooves of the night and blasting us with double-kick frenzies. The J-metal dance party was in full swing at the House of Blues with songs like “NEET GAME,” “Meta-moru-phose!,” “Reiwa Matching-sedai,” “Ito Okashi MyType,” “GAMBLER,” “TOUSOU,” “Drastic Nadeshiko,” “Today’s Good Day & So Epic,” and “Osaki ni Shitsurei Shimasu.” Hanabie. is making a name for themselves in metal, and they’ve only just begun to show us what they truly have.
It was then time for our second and final co-headliner, Kim Dracula, to take the stage. Trap metal is not a genre I am familiar with, and I had yet to experience it live, so I was very intrigued to see what Kim Dracula would bring to the table. From the moment Kim entered the stage, they presented themself as an entertainer. Strutting to the front of the stage dressed like a military sergeant, with a mic stand resembling a bomb, they immediately commanded attention. Behind them stood a modified version of the old thirteen-colony American flag, altered to represent Kim Dracula’s nation. We had entered their country, and we were going to abide by their doctrines.
Trap metal, a form of rap metal, infuses hip-hop and metal elements into one genre. Kim Dracula mixed scream vocals, clean singing, spoken-word singing, and lightning-fast rap runs. This chaotic assortment of vocals was held down by a strong backbeat that kept the songs flowing. Kim Dracula intercut all of this with fusions of metal guitar riffs and even a saxophonist. These are all elements that sound like they shouldn’t work together, but that’s Kim Dracula’s genius—layering each vocal line or instrument to craft heavy metal music with strong, bouncing beats.
We got to experience all of this throughout their set with songs like “Land of the Sun,” “My Confession,” “Superhero,” “Drown,” “Undercover,” “Industry Secrets,” “Reunion and Reintegration,” “Are You?,” “The Turn,” a cover of Lady Gaga’s “Paparazzi,” “Seventy Thorns,” “Luck Is a Fine Thing (Give It a Chance),” “SAY PLEASE!,” “Rose,” “Make Me Famous,” and ending with “Killdozer.” I now see why so many people have heralded the name of Kim Dracula.
The House of Blues was in a constant frenzy of music genre-hopping. But just as Kim Dracula layered so many different types of music, this tour was layered perfectly with contrasting bands that still worked together on one bill. The fans never had a moment to let up from the barrage of high-intensity music that got the blood pumping, ready to unleash anything pent up from the week prior. It’s safe to say none of these bands are traditional—they all have something unique that lets them stand out, and the fans have found them. It’s now time for the people in attendance to help spread the word about Kaonashi, Crystal Lake, Hanabie., and Kim Dracula so we can see them grow to even bigger heights.
March 25th, 2025, at the Moroccan Lounge was an unforgettable experience. It was the final night of Braden Bales’ tour with support from Ezra, and both artists brought the energy of headliners. It was the kind of show where even the saddest songs left you feeling energized. Beyond the music, there was also a strong sense of community, making the night even more special.
Ezra hit the stage with confidence, immediately hyping the crowd with his song “Gauze.” Despite some technical mishaps, he kept the energy high and the audience engaged. He even brought out special guests, including Scro on guitar and Jomie for their song “Another Sad Song.” One of the most touching moments came when the crowd lit up the room with their phone flashlights during “Better On Mute”—a song that resonates deeply with anyone who has struggled with communication or social anxiety. Ezra also treated fans to unreleased music, including “Intermission,” and delivered a killer mash-up of Modern Baseball and Paramore, which had the whole room singing along.
What stood out most about Ezra’s performance was his incredible crowd control. Engaging an audience isn’t easy, but he made sure everyone felt welcome, no matter who they were. The energy in the room was electric—fans were dancing, responding to him, and even starting mosh pits. “The Pessimist in Me Is Always Right” was an emotional highlight, a beautifully written song that can hit close to home. Personally, I remember discovering it when I was stuck in a creative slump due to imposter syndrome, and it helped me push through and finish a script I had been struggling with. Ezra may have been the opener, but he delivered a performance that easily deserved an encore. It’s clear his music means a lot to his fans, and his impact is undeniable.
Then came the headliner, Braden Bales, who seamlessly blended emotional depth with humor. He’s the kind of artist who can make you laugh one moment and cry the next. His song “You Lied” struck a chord with many in the crowd, and hearing him open up about his journey to California was truly inspiring—a reminder to never give up on your dreams, no matter how difficult the road may be.
Braden’s set was filled with personal touches that made the experience unforgettable. He had the audience choose a code word—"watermelon"—which he cleverly wove into his performance in unexpected and entertaining ways. His song “Mr. Hyde” was an earworm that stuck with you long after the show, and “Me, Myself, and You” had the entire crowd singing and clapping along. A breathtaking moment came when the venue lit up with phone flashlights, creating a sea of lights that added even more emotion to his heartfelt performance.
The chemistry between Braden and his bandmate also led to some amusing moments, and one of the most touching gestures was when he passed the mic to a fan, giving them a chance to share their thoughts. These interactions made it clear how much he values his fans—not just as listeners, but as part of something bigger.
One of the most electrifying moments of the night was when Ezra returned to the stage to join Braden for “Glasshouse.” The energy was unreal, and Braden even jumped into the mosh pit, proving just how powerful it is when two talented artists come together. Another standout moment was when he brought a friend on stage and sang “I Don’t Wanna Know” to them—a fun and unexpected surprise. He closed out the set with “Chronically Cautious,” leaving the crowd wanting more. While many may know him because of that song, his music goes so much deeper than just one hit. Braden Bales is so much more than just the “Chronically Cautious” guy. His discography is filled with depth and emotion, and if you haven’t explored the rest of his music, you’re truly missing out.
March 25th was an iconic night, and it’s just the beginning. It won’t be long before Ezra and Braden Bales are headlining world tours, continuing to make an impact through their music. If you haven’t been paying attention to them yet, now is the time—because you won’t want to miss what’s next.
Mystical Joyride releases a new remix of their single "Gotta Do Me" featuring rapper Sri Kala.
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"
What’s up Hunnypotheads! March is coming to a close and that means spring has arrived and the race for the song of the summer is just about to begin. As the weather changes along with our listening tastes, I thought it would be fun to ride an indie wave with a round-up of artists that I’ve been digging this month. We got a global lineup for y’all with all roads going nowhere in particular.
There’s some rainy day romance from Above Velvet Air just ahead of monsoon season in the Philippines, and Eghoza is gearing up for a laid back ‘Holiday’ out in the UK. Of course, we couldn’t fully escape winter without a wee spot of ennui from Paris brought to you by CVANTEZ and After Berlin. Le Pain is bringing that same Franco-style stateside while DJ Zapper is turning self-doubt into a warehouse rave. Molly Kruse is crusading to make country emo again and The Wildwoods are wandering among the plains. From the L.A. heartland we’re flying into Six Foot Pigeons territory and honoring one of the true greats with a posthumous release from CHARLES AKA.
So if you’re sick of the same ol’ sweetener and are ready to go vegan after all this beef, take a song from this sampler and see how it tastes.
-Robyn DeLossa
Mac Montgomery, better known to us as DENM, brings his Southern-Cali reggae rock (with a little bit of hip-hop) on his new album Hot N Glassy. DENM has been making music since 2015, and while it took some time for him to start getting noticed, he is off to a huge start with his previous album Slum Beach Denny and now this latest jam.
I had never heard of him until I traveled out west to photograph Cali Vibes in 2022. My first thought when I saw the lineup for Cali Vibes was, “Who is DENM?” My first thought once he started performing at Cali Vibes was, “This dude has a pretty cool vibe and sound; I have to check his music out.”
The memory I took away from that performance was a little strange, but during his set (early afternoon in the California sun), his guitar overheated and stopped playing mid-set. He told the crowd what was happening, but as a true entertainer, he just kept on singing while the band kept playing. After grabbing another guitar, he finished off the set with no other issues. It was a great performance.
I started checking out his music and liked what I heard, especially when he released Slum Beach Party Vol. 1 with Landon McNamara. He has mentioned his influences are the Marley's, Chris Cornell, Bradley Nowell, Jimi Hendrix, Lenny Kravitz, and Kendrick Lamar. While listening to Hot N Glassy, you can really hear and feel these influences. It’s some good stuff.
The album starts off with two dope hip-hop-influenced tunes: “Califas2” and “Little Love.” They are more than just hip-hop, but that West Coast vibe and beat hit hard on both. “Califas2” features B-Real, who delivers a sweet rhyme, and that G-Funk groove flowing through is so nice. “Little Love” is a little slower but hits with a nice beat and a sweet flow from DENM. I’m already loving this album, and we’re only two songs in.
Benny Ranks joins DENM on “Cool Down,” which features a great guitar throughout the jam. DENM sounds great lyrically on this track, and Benny has a dope flow.
“Wild West” is next and is a really interesting track. It kind of takes me back to the early ’80s and a Cure sound. It may just be me, but that’s the vibe I get—which is not a bad thing. This upbeat song stands alone on this album, but I like it.
Next up is another good upbeat song, “Stoned Again.” I like his flow in this one, and you just can’t stop your head from grooving to it.
My buddy Heath’s favorite track is next: “Ride Slow.” This is a slow, chill track—the kind of song you just sit back and smoke a fat joint to (I wonder why Heath likes this one? LOL).
“I’ll Be Gone,” featuring Slightly Stoopid, comes at us next. This is a dope Southern Cali groove and beat. Great song, with DENM killing it on vocals and Kyle bringing that Stoopid flow to make this song a banger. The acoustic guitars on this one hit!
Jesse James Pariah joins DENM on “Wandering Soul.” They first hooked up over the pandemic for an impromptu session with Landon McNamara that blossomed into Slum Beach Party Vol. 1. The two of them work really well together, and hopefully, they will continue their collaborations.
Another track I really love is next: “OK Not Alright.” This one brings a nice beat and groove throughout, but it’s all about DENM and his flow and lyrics. This song is about doing your best to keep it together and trying to stay positive. It hits for me personally. This is a captivating alternative pop-punk anthem, but you still get those reggae elements.
Pepper and Kaleo Wassman join DENM on the next track, “Where I’m Goin.” Another great upbeat tune, it’s a song that keeps you going—and keeps DENM going:
“No one said that growing up would be this hard/Yeah, life’s a gamble and I got some shitty cards/I don’t know where I’m going/But I think I’ll get there soon/Hard times keep me growing/But I think they’ll be done soon.”
Kaleo hits with a dope lyrical flow that takes this song to another level. I really like the DENM/Pepper vibe.
My favorite track is up next: “Be Mine.” The song starts off with the “Don’t Worry Be Happy” whistling and then comes in hard with a nice beat and a slowed-down whistle floating through the song. I love DENM’s flow in this song, and the lyrics are perfect. This song has been on repeat, and my head won’t stop bopping up and down:
“When you talk about your problems, I default to want to fix them/It’s probably best to hug and just shut my mouth and listen/Baby, all you wanted was to tell me about your day/It wasn’t till the morning I knew what I should say.”
DENM slows it down a bit for us on “Fool,” a ballad with a sweet little groove. Great acoustic guitar in this one, and DENM once again sounds great.
The album finishes off with “Swimming Lessons,” another slow tune about keeping your head above water and doing what you need to do to persevere for your loved ones:
“Cuz life’s got good times with a little bit of pain/Hard times but you see through the rain so/I’m takin’ swimming lessons/So I can see the blessings/When the waves come crashing on down I can.”
This may be the best song vocally for DENM and really shows a different side—a good side—to him.
What can I say about this album? When I heard DENM was coming out with a new album, I was intrigued and interested in listening. But after listening to it a few times through, I think it’s a really good collection of dope songs. DENM hit on this album; these tracks and the lyrics hit.
He is a rising star in that American-reggae-rock-punk-hip-hop genre that takes us in many different listening directions. He fits right into that huge genre, and with this album, bigger, more seasoned bands (in different genres) should be all over DENM and asking him to tour with them. He’s got a great following that is only going to get larger and larger.
This album has a little something for everyone, no matter what your music genre go-to is. I thought about the album title, Hot N Glassy, and wondered if it describes the album or DENM. I think it’s a little of both—and in a good way. The lyrics give us an insight into who DENM really is, and I think the title fits perfectly. He is learning, growing, and staying positive about the future. A bright future.
26-year-old Peaches Adaba, whose real name is Sherese Chisolm, hails from Morant Bay, Saint Thomas, Jamaica, and has been listening to music her whole life. “I knew from a tender age I wanted to make music, but nobody had the time to listen and actually push me to make music. I grew up in Morant Bay surrounded by parties every other night and people who love to just play music as the sunrise,” she recently told Kaboom Magazine.
The fast-rising artist’s sound blends dancehall, reggae, and R&B—almost the perfect mix of all three throughout her album. Her musical influences include Tarrus Riley, Chronixx, and Usher, and you can hear these influences throughout her work.
The album starts off with “Sidem,” a rare dancehall love song. With a nice, sweet beat and her beautiful vocals, the song is based on Vybz Kartel and Sidem Ozturk's love story. The dancehall power couple met in 2015 while Kartel was serving time following a murder conviction. In January, the song entered the New York reggae charts at #30.
She follows up with “Reminisce,” a typical dancehall song about sex, but with the chill riddim and her stunning voice, it becomes so much more.
“Deal Breaker” is next and features Busy Signal. This may be my favorite track; Peaches has such a nice flow, and Busy Signal just kills it. They work very well together with their styles. While it is a fairly simple beat and riddim, it really hits nicely.
She takes us to “Like a River,” another nice chill riddim where Peaches flows over the music with a sweet drift until she speeds up her cadence, taking us down her wet river.
“Bet” hits with a slightly faster beat and more amazing vocals from Peaches. Another one of my favorites, this one keeps the head bobbing.
Peaches brings another standout track with “Oh Please.” A magnificent flow takes us along the song with a gorgeous sound. With a great chill beat, this track makes you want to grab that special someone and dance the night away.
The album finishes off with “Take Me Away.” I keep saying this is one of my favorites, but as I listen, I find myself loving each song more than the last, and “Take Me Away” is no different. This one hits differently with her vocal flow, mixing up styles and cadence. It leaves me wanting more.
Peaches Adaba is destined for greatness. She has a beautiful voice and great flow over some excellent production. She may just be getting started, but the sky is the limit. She has said, “My style is culture with a creative twist.” Her flow is very calming—something we don’t often see in dancehall—but she has an edge to go with that calmness.
This is what makes her unique: the blending of styles and music genres. And it doesn’t hurt that she has a magnificent voice—a voice that just pulls you in and keeps you focused. With her stage name being devised from her grandmother nicknaming her “Peachy,” she added the African term “Adaba” as a creative way to showcase her personality.
One Love,
Todd M. Judd
Anberlin’s In Motion / Never Take Friendship Personal tour hit Varsity Theater in Minneapolis this Tuesday, delivering a powerful and unforgettable night of nostalgic alt-rock energy. Their new touring lineup brought Matty Mullins on vocals, offering a renewed take on their sound while keeping their pulse-pounding, rock-forward instrumentation intact. Joined by The Dangerous Summer and Copeland, the show balanced anthemic hooks with emotional depth in an intimate yet high-energy setting.
The Dangerous Summer opened the night with their nostalgic pop-rock sound. Their style hasn’t changed much over the years, with Andrew Perdomo becoming more confident as a songwriter while keeping their signature identity intact. Their inclusion on the tour with Copeland and Anberlin was a geographic one (as Copeland’s singer would mention later), and Perdomo couldn’t wait to express how excited they were to be part of the lineup.
While they interacted with the crowd throughout, their focus remained on the music. The Dangerous Summer’s performance was tight, with strong vocals and dynamic instrumentals that carried well in the venue. They closed with “Gravity,” a highlight off their 2024 album of the same name—a perfect way to end a short but memorable set.
Copeland took the stage next, bringing a change of pace with their atmospheric and introspective sound. Their set was carefully crafted, leaning into the band’s signature blend of delicate melodies and layered instrumentation. Aaron Marsh bemoaned his aging body, joking that the anthems they’d be playing might have to be a bit subdued due to some nagging back issues. That kind of levity meshed well with their more reserved style, switching it up as they played the hits off of In Motion.
The contrast saw Marsh swapping between lead guitar and lead piano, but no matter the instrument, his intimate, delicate vocals arrested the audience, bringing them back to a simpler time of ripped jeans and shopping at Hot Topic. The crowd responded with quiet attentiveness, drawn into the emotional depth of each song. Though their energy was more subdued compared to The Dangerous Summer, Copeland’s performance was immersive, creating a reflective mood that contrasted well with the night’s lineup. It felt a lot like spending time with an old friend—one you were really happy to see again, as if no time had passed.
Anberlin closed the night out, and the setlist was exactly what you’d expect for the Never Take Friendship Personal 20-year celebration. Matty Mullins and company played the material all the way from the leading, eponymous song through “Dance, Dance, Christa Paffgen.” Watching these pros play this material that has meant so much to so many—including Copeland’s Aaron Marsh, who specifically mentioned it as an influence and talked about what a difference it made for them all being in Florida around the same time—with what appeared to be effortless grace really showcased what a powerful collective this band is.
Despite the absence of Stephen Christian, they sounded more or less exactly the same, but renewed and refreshed. Mullins brought a metal-tinged intensity that perfectly paired with Anberlin’s instrumentation, which has always leaned toward the heavier side of rock’s spectrum (at least for their rock hits).
After closing out Never Take Friendship Personal, they dipped into their discography for some great encores—including a sensational rendition of “Godspeed” off of Cities. It was an incredible show, and it was so great to see this band still kicking!