Growing up, you always have those albums that you discover and hold close to your heart. You play them over and over again until they almost become the soundtrack to your life. Two of those albums for me were Bullet for My Valentine’s The Poison and Scream Aim Fire. Discovering these albums in high school felt like opening a door to a whole new world of music, shaping what I continue to listen to today. Somehow, even though I cherished these albums beyond belief, I never managed to see Bullet for My Valentine live. I finally corrected that mistake when Bullet for My Valentine and Trivium announced their co-headlining The Poisoned Ascendancy Tour. With this tour, both bands would be playing their seminal albums, The Poison and Ascendancy respectively, in their entirety. The YouTube Theatre in Los Angeles, CA, was packed with fans of both albums, ready to relive two records that meant just as much to them as they did to me.
Opening the night was fellow metalcore favorites August Burns Red. The band wanted to get the crowd singing along right from the start, and there was no better way to do that than with a cover of System of a Down’s “Chop Suey!” The auditorium resonated with a choir of voices singing along with the band. Vocalist Jake Luhrs’ rendition of the song sounded perfect, but it was when the band moved into their original music that Luhrs truly got to show off his screaming chops. Lead guitarist JB Brubaker crafted driving guitar lines that enhanced Luhrs’ vocal talents without overshadowing him. When Brubaker stepped up for a solo, he didn’t hold back, letting his fingers dance across the fretboard. Rhythm guitarist Brent Rambler kept the melody flowing, allowing Brubaker to go wild with the lead lines. Bassist Dustin Davidson locked in with drummer Matt Greiner, whose flurry of double kicks got the mosh pit moving right at the start of the night.
August Burns Red made the most of their set with songs like “Paramount,” “Composure,” “Defender,” “Bloodletter,” “Vengeance,” “Exhumed,” “Marianas Trench,” and “White Washed.” They weren’t just the opener—they came across as a third co-headliner, as the fans gave them just as much energy, passion, and love as they would the next two bands.
It was then time for the band I was most excited for: Bullet for My Valentine. They kicked off their set with the very first song from The Poison, “Her Voice Resides.” As soon as my ears heard the song, I was instantly transported back to high school, listening to Bullet in my headphones instead of paying attention in class. Hearing Matt Tuck’s vocals live sounded just like the album. The energy and passion in the lyrics he wrote over two decades ago still resonate with everyone in the crowd.
Bullet is also a guitar-heavy band, and I could look around the entire venue and see so many fans air-guitaring their favorite solos along with Tuck and fellow guitarist Michael Paget. As the band performed The Poison front to back, the crowd went unhinged when they played the emo staple “Tears Don’t Fall” as the third song in the set. Bullet gave a heartfelt speech about how this song means so much to them, as it truly helped their careers take off. The fans reciprocated that love by moshing the hardest for this song and sending bodies flying over the barricade.
You’d think this would be the climax of the set, only three songs in, but we diehard Bullet fans didn’t let the energy die for the remainder of their performance. After finishing The Poison, Bullet for My Valentine returned for a two-song encore of fan favorites: “Knives” and, finally, “Waking the Demon.” After listening to Bullet for two decades, I was worried I might have put them on a pedestal and that their live show could fall short. I’m happy to say they smashed those worries and delivered one of my favorite sets of the year.
All that was left was our final co-headliner, Trivium. They are always in top form, but it felt like they brought a special energy this time, playing Ascendancy for the fans. Vocalist and guitarist Matt Heafy was a Jekyll and Hyde on stage. When he screamed, you could see the intensity in his eyes and the ferocity of a man who wanted to see carnage erupt in the pit. But when he stepped out from behind the mic to solo, he became a complete goofball—sticking his tongue out at the crowd and headbanging like a playful cat chasing a toy. The crowd loved both sides of him.
Fellow guitarist Corey Beaulieu couldn’t be held back from headbanging throughout the set, yet he never lost his place among the onslaught of guitar solos that Trivium unleashed. Bassist Paolo Gregoletto held down the low end with drummer Alex Bent, whose double kicks created a mini whirlwind behind the kit. Trivium elevated their show with a giant 20-foot inflatable fallen angel looming over the stage—the creature from the Ascendancy album artwork. As it swayed from side to side, it added grandeur to their performance.
Like Bullet, Trivium played their album front to back, which built excitement as fans knew exactly which song was coming next. They closed the night with a single-song encore of “In Waves.” Heafy commanded the crowd, saying, “If you don’t lose your voice after this song, did you really give us everything you had?” This caused the thousands of fans to shake the YouTube Theatre as we communally screamed the lyrics with Heafy to end the night.
The Poison by Bullet for My Valentine and Ascendancy by Trivium hold a special place in the hearts of many fans. Sometimes, with these full-album tours, the deep cuts don’t hit as hard decades later. But not this night. Every song from these two albums hit the heart and soul perfectly. For a few hours, I was a teenager again, rocking out in my room to some of the best music I had ever found.
What makes concerts even better is knowing you’re surrounded by thousands of people getting lost in the same mindset as you. We were all happy and in a state of pure bliss, wishing we could hold on to that feeling just a little longer.
Kenya Eugene is a Caribbean singer-songwriter hailing from St. Croix, U.S. Virgin Islands. She is the younger sister of Dezarie, an international Roots Reggae artist. Her passions include singing, songwriting, modeling, and acting, but music has been a major part of her life for around 15 years. Her music is a perfect blend of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B. What sets this album apart is her exquisite and beautiful voice—a voice that pulls you in right from the start. Her lyrics are equally captivating, drawing listeners in with socially conscious subjects while exploring themes of individuality, love, strength, and resilience.
The album starts off with “I And I,” which establishes the album’s foundation. In this song, she explores the concept of uniqueness from a Black perspective. Kenya Eugene examines the true origins of Blackness, the years of confrontation, and the resurrection of genuine Black identity. She embraces her roots and encourages us all to do the same. This track features a great Roots Reggae riddim with an aural background sound that flows seamlessly with her voice.
“Lift Up My Head” follows, offering a peaceful and warm feel with crisp percussion that will lift your spirits in any situation. Her voice brings an emotional genuineness with a melodic flow that once again pulls you into the song, which is about perseverance and mystical strength.
The album was produced by Alfred “Tippy I” Laurent of I-Grade Records and the Zion I Kings Production Collective, who bring their distinctive sound—deeply rooted in authentic Reggae while effortlessly incorporating modern touches. This collaboration is the perfect fit for the album. Together, they crafted a creation that feels not only fresh but also timeless—a true coherence of the old and the new.
Exploring the ups and downs of love, Kenya brings us “In and Outtah Love.” This track features another sweet riddim—a Lovers Rock riddim—flowing along with her prolific vocals in this deeply emotional song. The keys and drums are delightful, adding to the track’s charm.
The album concludes with “You Are I,” a song about self-worth with magnificent, uplifting lyrics. The song features vivid guitar grooves, lavish textures throughout, and silky rhythms. Once again, what stands out most is her amazing voice.
The production of the album is clean, crisp, and exceptionally well thought out. It is a beautiful fusion of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B that matches perfectly with Kenya’s beautiful, emotional, inspirational, and warming voice. “The EP is a reflection of who I am at the core—my roots, my faith, my love for people, and the energy that connects us all,” she recently said. “Working with Zion I Kings and Tippy I has brought this vision to life in a way that feels so natural and deeply aligned.”
Her music and this album are, as she describes it, Heart Music. There is so much love, strength, resilience, individuality, soul, and consciousness that it absolutely pulls you in and takes you on a fantastic journey.
One Love – Todd M. Judd
First Listen: Tesla’s “All About Love” – A Surprising Hit from a Rock Band I’d Never Heard Of
So, I just watched the music video for “All About Love” by Tesla—and to be honest, I had zero expectations going in. I’ve never really listened to this band before, and I’m not from the generation that grew up with them. But hey, I’m always down to try something new, and this one caught me off guard… in a good way.
The video itself is super simple—just the band jamming together, no flashy edits or dramatic storyline. At first, I thought the feel of it was a little dated, but overall it came across as real and refreshingly unpolished. You can tell the band has been doing this for a while, and it shows in how tight they are as a group. The guitar solos? Absolutely solid. There’s a chemistry between the band members that feels genuine and honestly pretty rare these days.
Jeff Keith’s vocals have this gritty, worn-in vibe that gives the lyrics real weight. “All About Love” is exactly what the title says—straightforward, no frills, but somehow still emotional and easy to connect with. It doesn’t try too hard to be deep, and that actually makes it work even more.
Musically, it’s got that classic rock sound—big guitars, steady drums, a catchy melody. It’s a far cry from what’s usually trending on Spotify or Apple Music, but that’s kind of what I liked most. It’s a reminder that good music doesn’t need to be trendy to be impactful.
Bottom line: Even if you’ve never heard of Tesla (like me), this song is worth a listen. It might just surprise you.
Attending my first Andy Frasco & The U.N. concert at Paradise Rock Club in Boston on March 1, 2025, was nothing short of a full-blown sensory explosion. I’ve been to plenty of shows, but none have captured the same raw energy, unpredictability, and communal joy that Frasco and his band bring to the stage.
From the moment the band walked out to Dolly Parton’s “9 to 5,” it was clear we weren’t in for a traditional rock show. Andy—decked out in flannel and flashing a wild grin—stormed the stage like a man possessed. Equal parts frontman, hype man, and unlicensed therapist, Frasco had the whole room in the palm of his hand within seconds.
Backed by the relentlessly talented crew that is The U.N., the set was a rollercoaster of sound and soul. Shawn Eckels lit up the stage with face-melting guitar solos, while the horn section kept the groove rolling with funky blasts of brass. Each band member had a spotlight moment, but together they operated like a well-oiled, whiskey-fueled machine.
The setlist was a party in and of itself—blending fan favorites like “Crazy Things,” “The Walk,” and “Try Not to Die” with unexpected covers like Joan Jett’s “Bad Reputation” and Nirvana’s “Smells Like Teen Spirit.” Each song brought its own kind of chaos, from singalongs to Frasco leaping off his piano bench mid-key smash.
The peak came with “Circus Life,” a moment that felt like the whole room took a collective breath before jumping right back into the madness. The encore, anchored by “Somedays” and “Dancin’ Around My Grave,” was pure catharsis—Frasco sweating, screaming, and dancing like a man celebrating life itself.
And that’s exactly what this show was: a celebration. Of music, of community, of letting go. This wasn’t just a concert for me. It was a night to remember—and the kind of experience that turns a casual or first-time listener into a lifelong fan.
Paradise Rock Club, Boston, MA
With the rise of heavy metal subgenres, one that has always held a special place in the world of metal is death metal—a genre that infuses the best parts of thrash and black metal combined with morbid lyrical content. Fans have found ways to connect with this macabre subgenre and push their favorite bands to new heights. Probably the biggest death metal tour of the year made its way through the legendary Kia Forum in Los Angeles, CA, with Swedish extreme metal icons Meshuggah finally returning to America and bringing Cannibal Corpse and Carcass along for the ride. Diehard death metal fans were eager to let themselves rage with these three staples of the genre.
Opening the night was Carcass. I last saw these guys at Psycho Las Vegas a couple of years ago and was excited to see them again now that I was more familiar with their music—and they did not disappoint. Vocalist and bassist Jeff Walker has an intimidating growl, like a rabid dog ready to attack. The sneer he holds on his face while singing just adds to the intensity of his delivery. Guitarists Bill Steer and James ‘Nip’ Blackford are a dynamic duo on their axes. With many solos, you could see them almost playing catch with each other, throwing the lead line back and forth, creating a tennis audience out of the headbangers. Meanwhile, drummer Daniel Wilding maneuvered between playing in the pocket and holding the beat down to throwing out blast beats that sent the energy through the roof.
Carcass kept this momentum going with songs like “Unfit for Human Consumption,” “Buried Dreams,” “Incarnated Solvent Abuse,” “Tomorrow Belongs to Nobody,” “Corporal Jigsore Quandary,” and “Heartwork.” One unique moment I got to experience at this show was while taking the elevator down to the floor of the Forum—Steer, Blackford, and Wilding ran into the elevator with us as they were on in five minutes. How many people can say they rode an elevator with Carcass?
Up next was, arguably, one of the most controversial bands in the death metal genre: Cannibal Corpse. For decades, they have been at the forefront of the scene due to the imagery they use in album art, merch, and especially their lyrics. I was finally ready to truly experience a Cannibal Corpse show. As vocalist George “Corpsegrinder” Fisher walked on stage, you could feel his presence fill the arena. The man has one of the deepest guttural growls I have ever heard, and the resonance of it can be felt in your chest.
Meanwhile, guitarists Rob Barrett and Erik Rutan played lightning-quick riffs with the intensity and attack of saw blades cutting through steel. Bassist Alex Webster and drummer Paul Mazurkiewicz locked in together, maintaining a rhythm section that let the moshers go wild in the pit. Cannibal Corpse had the fans eating out of the palms of their hands with songs like “Scourge of Iron,” “Blood Blind,” “Inhumane Harvest,” “Evisceration Plague,” “Death Walking Terror,” “Unleashing the Bloodthirsty,” “Summoned for Sacrifice,” “Stripped, Raped and Strangled,” and “Hammer Smashed Face.”
A moment that caught me off guard was when Corpsegrinder introduced the song “I Cum Blood” by shouting into the mic, “This song is about shooting blood, out. Of. Your. COCK!” The eruption from the crowd to just this phrase rattled the Forum. And people say metalheads don’t know how to have fun.
As the arena went dark, music played over the PA, slowly building in intensity and volume, creating suspense and tension as we waited for Meshuggah to take the stage. When the band finally appeared for their opening song, “Broken Cog,” the arena was flooded with a light show. Meshuggah is mostly known for the technical mastery of their instruments and sound, not so much for their stage presence. While the band mostly stood in place to play some of the heaviest and most technical music you’ve ever heard, the lighting package they brought created the atmosphere for the show.
This is one band where being further from the stage is a benefit, as you get to take in the entirety of the energy of the show. It was unique to see for a metal concert, as at points the arena was hit with a laser light show that felt more like an EDM event. Meshuggah truly made this a special metal show to experience.
But if you managed to get close to the barricade to truly see the band perform, you wouldn’t be let down. Vocalist Jens Kidman loomed over the stage, performing with a growling scream filled with rage. Guitarist Fredrik Thordendal wove guitar lines that floated through shred, catchy riffs, high-intensity solos, and melodic rhythms. The man is a true master of his craft. Rhythm guitarist Mårten Hagström and bassist Dick Lövgren held down the melody for the band, while drummer Tomas Haake proved why he is such a revered figure in the drumming community.
The man’s precision and speed are talents placed on a pedestal that drummers yearn to achieve only in their dreams. Yet he performed with ease, as if taking a stroll through the park. Meshuggah was locked in for songs like “Violent Sleep of Reason,” “Rational Gaze,” “Combustion,” “Kaleidoscope,” “God He Sees in Mirrors,” “Lethargica,” “Born in Dissonance,” “Dancers to a Discordant System,” “Swarm,” “Future Breed Machine,” and a two-song encore of “Bleed” and “Demiurge.”
As the music faded away and the lights came on, there was a new energy in the Forum. It was a communal energy of new friends who had just gone through war together. From Carcass to Cannibal Corpse to Meshuggah, there was an onslaught of chaos and carnage happening in the Forum.
This wasn’t just a concert where we bought tickets, sang along, and had a merry old time. This was almost a rite of passage for those who could camp down in the trenches of the pit and live to see the other side. Fans left with big smiles on their faces from the almost war-like experience we all had, and stories we will pass down to our children’s children of this magnificent night.
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.