Protoje released his "Feel It" riddim as an EP, featuring reggae artists Alaine, Romain Virgo, and Mortimer. The project begins with Protoje’s track, “Feel It.” This upbeat riddim is perfect for hitting the dance floor with that special someone or simply chilling with a loved one. Protoje’s delivery, which is usually sharp and combative, transforms here into something fluid and flirtatious. He describes it as “a song that brings people closer,” and that’s exactly what it achieves. Produced by Winta James, the tune seamlessly blends reggae, jazz, and soul, anchored by The Indiggnation’s light and airy touch.

Alaine joins the EP on "Summertime," with her warm and beautiful voice floating over the riddim. Alaine's glowing vocals meet Protoje's driving riddim, creating a soundtrack built for good vibes and movement.

Romain Virgo brings his infectious vibe to "Finally," a beautiful love song. His tender voice complements the riddim perfectly, flowing seamlessly with the beat. The track expresses heartfelt gratitude, enhanced by Virgo's silky vocals and grounded in faith.

Mortimer contributes to the final track of the EP, titled “Flowers & Flames.” His unique vibe and flow fit seamlessly with the riddim. The song explores themes of duality, growth, and creative inspiration. The “Flowers” symbolize growth, beauty, spirituality, and roots, while the “Flames” represent the passionate, fiery, and sometimes destructive elements of creativity and the music industry.

Protoje's "Feel It" riddim is designed to evoke a vibrant, light, and airy feeling that inspires movement, particularly among women. It features a fresh blend of reggae and R&B vibes. He aimed for the song to encourage people to dance, foster connections, and create a summery atmosphere.

One Love – Todd M. Judd

After eight years, Chronixx has made his highly anticipated return with the album Exile. Produced by Inflo, this 17-track project blends roots reggae with elements of soul, lovers rock, and neo-soul. It features introspective lyrics, layered harmonies, and organic textures. The sound of Exile feels reminiscent of the 1970s while still being relevant to today, thanks to its grounding in live instrumentation and heartfelt lyricism. Chronixx successfully bridges the golden age of reggae with a new era of consciousness. Once again, he has demonstrated why he is considered one of the most respected voices in reggae. The response to this new project has been nothing short of electric, with fans and critics alike praising its honesty, depth, and musical richness.

As the music softly glides in, almost as if it’s approaching from afar, the first track, “Exile,” feels like it needs to be turned up. Soon, the sound grows warmer, fuller, and more vibrant. It embodies a quiet confidence from a man who no longer feels the need to prove himself. While it has the essence of Bob Marley’s “Natural Mystic,” it also stands out as distinctly different.

With Chronixx toasting over a chunky bassline, a bubbling groove, and swirling horns, “Market” strikes the perfect balance. The production is astounding, as Chronixx delivers impressive lyrics that feel both spontaneous and thoughtfully crafted. He pays tribute to some legends in the genre, including Nicodemus, Burro Banton, and Super Cat, proclaiming: “Big respect to all farmers, seen, and all original DJs!”

We are treated to a beautiful lovers rock rhythm with “Sweet Argument,” featuring Chronixx flowing smoothly over this warm and soulful tune. The track offers an organic feel, showcasing Chronixx's emotional side. Another standout track, “Survivor,” brings a funky 70s groove while channeling the spirit of classic reggae and ska. This fantastic production will make you want to get up and dance, highlighting a vibrant fusion of genres.

“Family First” features an R&B-infused reggae beat that exudes warmth, unity, and positivity—an uplifting gift to the listeners. In this heartfelt song, the artist expresses, “I put the family first / For better or for worse,” honoring relatives and elders with a sincerity that avoids sentimentality.

“I Know What You’re Feeling” captures that classic Wailers vibe reminiscent of “Waiting in Vain.” The bass guides us through the rhythm while Chronixx effortlessly glides over the warm instrumentation, creating a sound that feels both timeless and fresh. Chronixx delivers his lyrics with smoothness, patience, and soulful emotion.

Chronixx connects with his spiritual essence in “Savior,” expressing his Rastafarian faith with depth and conviction. This track serves not only to entertain but also to enlighten. The bass-heavy riddim resonates deeply, while Chronixx showcases a dynamic range of styles, cadences, and vocals to take listeners on a meaningful journey. In “Keep on Rising,” the production is simpler, but the bass-driven groove remains prominent. Chronixx offers encouragement and comfort to those facing challenges, making it impossible not to nod your head to this infectious rhythm.

Chronixx presents a slow acoustic track with "Hurricane." While this song doesn't resonate with me personally, Chronixx delivers a haunting flow that draws you in. We continue with the slow acoustic vibe in "Genesis," which features a 70s soul influence blended with elements of roots reggae. The warm, heavy sound creates a timeless and emotional listening experience.

"Don't Be Afraid" reminds listeners to stay strong during difficult times with its fantastic bassline, crisp rimshots, harmonies, and horns. Chronixx delivers an almost militant vibe that is both bold and raw. Following that, "I and I" immediately brings a smile to listeners' faces with its uplifting rhythm. This song embodies a classic Bob Marley feel and carries a message of faith and unity. It serves as an anthem with a prayerful affirmation that states, "I will never lose my faith… Jah will always be our light." While the lyrics are simple, the layered harmonies and dub bass create a meditative atmosphere.

The previously released “Never Give Up (2025 Remastered)” blends classic soul, R&B, and roots reggae beautifully. Chronixx infuses so much emotion into this soulful love song, reminding us that love, like perseverance, requires stamina and strength. I loved this song back in 2022, and I find that I appreciate it even more now that it’s included in the album. Additionally, Chronixx offers us another soulful track, “Pain in Your Heart,” which features a distinct sound compared to the rest of the album. The production is fresh, sharp, vibrant, and creative, all while maintaining a sweet soulful vibe.

“Resilient” has emotional depth; it portrays love as a partnership built on mutual strength while recognizing that no man can fully understand a woman’s pain. It may be one of the best-written songs on the album, offering a poetic, sincere, and deeply human feel over a simple acoustic arrangement. The song concludes beautifully as The Music Confectionery joins Chronixx in a performance that builds to a surprisingly powerful crescendo at the end. Sounding as though it could have come from Tuff Gong Studio, Harry J Studio, or Studio One in the 1970s, “Scheming” features that classic reggae riddim. While the song has a sweet and fun vibe, Chronixx warns about people with deceptive, two-faced intentions who will reveal their "dark ways" if given the opportunity.

The album concludes with a track titled “Love is on the Mountain,” featuring a heavy bass, acoustic guitar, and beautiful harmonies. Chronixx delivers a poignant message as the listener is encouraged to drift away into the music. This heartfelt ending offers comfort to grieving siblings, with lyrics that ask, “Sister, why are you crying? Brother, why are you weeping?” It serves as a reminder that sorrow is temporary and love endures. This tender conclusion leaves fans hoping they won’t have to wait another eight years for new music.

Chronixx takes us back to the early days of roots reggae, as well as the soul and R&B of the 1970s. I have to admit that I’ve never been a huge fan of Chronixx; his previous work just didn’t resonate with me the way other reggae artists have. Perhaps it’s because of the music I grew up with—those sweet reggae grooves and the 70s soul and R&B that influenced my early love of hip-hop.

However, I love this album and how Chronixx has seamlessly fused these different musical styles together. The combination works perfectly in most cases and touches my heart deeply. This album stays true to the essence of reggae while incorporating just the right amount of vibes from other genres. With Chronixx's amazing lyrics and flow, this album stands out as one of the top releases of a year filled with great music. I can confidently say that Chronixx has gained a new fan.

One Love – Todd M. Judd

Straight out of Alberta, Canada, and coming to shake your speakers – meet Pariah. Pariah is a solo project of Quinn McGraw. When asked about this project, Quinn has said, “Pariah is an invitation to find our voice again, to find what still burns, and to find the light when we wander in the dark.”

There’s a strange kind of beauty in endings — a tension between loss and liberation. On this hard-hitting 5-track EP, Swansong, Pariah invites listeners into that tension, guiding them through a landscape of introspection and transcendence. From the first note to the last, these five tracks feel less like songs and more like chapters in a story of falling apart, giving up, searching, and finally persevering and rising above.

The record begins with an intro titled “Find Him” – it’s a whisper in the dark, ambient drones and faint, almost ghostly vocal fragments; it’s disorienting, fragile, and completely compelling. By the time the sound swells into the ending vocal simply stating, “Find the Pariah,” you, as the listener, have already been pulled into a world on the edge, teetering between reality and a lucid dream.

Truly kicking off the EP is “Pendulum.” If the “Find Him” intro is the eye of the storm, “Pendulum” is the storm itself. The track swings relentlessly, rhythms and riffs moving like a pendulum in constant motion. Vocals shift from raw screams to hushed reflections, echoing the oscillation of emotion — anger, regret, despair — that can trap the mind in endless cycles. There’s no respite, only the thrill of being swept along, until it crashes into silence once again.

Silence, however, is never empty. “Wanderer” (feat. Heal the Heart) opens like the first breath after a fall. The collaboration with Heal the Heart adds warmth and an almost ethereal glow, a conversation between two voices searching for meaning. The lyrics read like diary entries from a restless soul:
“For meaning in this sorrow
No life to show, no hand to hold
With nowhere to hide
I know the Truth, forgive me of my selfish pride.”

“Wanderer” is the echo that follows silence — the scream that refuses to die in the void. It’s the sound of searching for answers in a place where none exist, of dragging yourself back from the edge just to see what’s left. Pariah turns heartbreak into a kind of reckoning: the shattering moment when you realize the person you built your life around has vanished, leaving only fragments of who you thought you were. “Wanderer” doesn’t just mourn what’s lost — it haunts the spaces where identity used to live.

“Infinite Hologram” takes the narrative deeper, pulling the listener into questions of reality itself. Synths shimmer like distant stars, guitars slice through like shards of glass, and the lyrics reflect on existence in a digital and fractured world; it’s both unnerving and beautiful, a moment of revelation and confrontation with the self as both fragile and infinite. Quinn has said, “It [‘Infinite Hologram’] is rooted in stoicism, specifically memento mori, an ancient reminder that we all die.” “Infinite Hologram” is slated for the next single release on November 25, 2025.

Finally, the EP closes with the title track, “Swansong.” The song unfolds slowly, almost tenderly, with Quinn’s more ethereal vocals that are both tragic yet uplifting. In the final moments, the music unleashes and pulls you in for the ride, finally closing the circle; the journey ends as it began — with silence, but transformed.

Swansong isn’t just an EP; it’s a light in the dark. Through each track, Quinn reaches for the fragments of himself that nearly vanished, proving that even in the shadows, there is light. He offers a haven for the lost and faithless, a place where your silent screams can finally be heard. Pariah has crafted something that lingers in the mind long after the music stops, a haunting reflection on endings, beginnings, and the space between. The next single, “Infinite Hologram,” is set to be released on November 25, 2025.

When you think of death metal, you typically don’t think of a band bringing much theatrics to the stage. Even in the more melodic death metal scene, theatricality isn’t the first thing to come to mind. Avatar has been an outlier, bringing a stage show to every one of their tours. They have hit the road again for their In The Airwaves USA ’25 Tour, making its second stop at the Observatory North Park in San Diego, CA. Avatar is known for bringing more out-of-the-box-style bands on tour with them, creating a more alternative show than one may expect. This time, they have death westerners SpiritWorld and New Zealand Māori natives Alien Weaponry. Fans showed up early to make sure to catch this creative bill of bands.

Opening the night was death westerners SpiritWorld. First stepping foot on stage, the band was adorned in western-style suits with custom embellishments and decorations. I really didn’t know what to expect from them, but launching into their first song, “Relic of Damnation,” they were here to get the mosh pits spinning. Vocalist Stu Folsom sings with an aggression that feels like he’s on the verge of punching you in the face. Guitarist Matt Schrum brought the heavy chugs to his guitar playing and threaded guitar solos that made you scream with the energy of the song. Bassist Nick Brundy and drummer Preston Harper kept the beat heavy and moving. This was the backbone that kept the mosh pit spinning. SpiritWorld brought their thrash metal sound to the victims of San Diego with songs like “Waiting on the Reaper,” “Moonlit Torture,” “Lujuria Satánica,” “Comancheria,” “Unholy Passages,” “No Vacancy in Heaven,” and ending with “U L C E R.” The crowd was sufficiently warmed up and ready to continue to let loose with the music left to come.

Up next was a band that I have been very interested in covering for a while now and was happy to finally get to check out. Alien Weaponry hails from New Zealand, and all three members come from Māori ancestry. They take their heritage to heart and infuse it into their lyrics, as many songs are performed in the Māori language. Drummer Henry de Jong started off the set by doing a haka dance behind the drum kit to welcome us into their world that we were about to experience. Even though we might not understand the lyrics that guitarist and lead singer Lewis de Jong may be singing when they are in the Māori language, he is able to sing with such emotion and feeling that we can still flow with the energy of the song. Bassist and backing vocalist Tūranga Morgan-Edmonds provides the deeper guttural growls that add fury and aggression to the songs. Driving the songs are the groove and thrash metal sounds that speak the universal language of “let’s destroy this place.” Alien Weaponry kept up this energy for songs like “Te Riri o Tāwhirimātea,” “1000 Friends,” “Mau Moko,” “Taniwha,” “Rū Ana Te Whenua,” and ending with “Kai Tangata.” Alien Weaponry proved that metal can be understood by anyone, and the crowd was along for the ride. Good music will always be good music, no matter what language it is in.

It was then time for our headliner. The lights went out, and a thick fog rolled across the stage and into the audience as four cloaked men slowly rolled onto the stage, illuminated by a single lantern. The band performed their opening number, “Captain Goat,” as these hooded entities, before disrobing and launching into “Silence in the Age of Apes.” This was when we got the Avatar we are all accustomed to. From the carnival/military-esque stage attire to the windmill-laden headbanging and larger-than-life personalities, Avatar had returned to California!

Vocalist Johannes Eckerström is the ringleader of this motley crew of fiends, and he performs like a televangelist preacher welcoming us all to his congregation, as we are nothing more than devoted followers to the rule of Avatar Country. Guitarists Jonas “Kungen” Jarlsby and Tim Öhrström know how to write catchy riffs that carry a bounce to them. That bounce lets the fans windmill to most of the songs. Bassist Henrik Sandelin helps keep the rhythm with a groove to his playing, while drummer John Alfredsson may be the second most animated man on stage as he is constantly locking eyes with the fans and making the most ridiculous performance faces. He always changes his drumming style up from a flowing technician to a more robotic humanoid moving via gears and pistons.

I personally discovered Avatar with the release of their album Avatar Country, which has Kungen as the king of the band, while the rest of the members were his loyal servants. This was a very thematic era, and I’m happy that the band still dedicates time to this era with banners of King Kungen dropping from the rafters, and King Kungen taking a seat upon a golden throne to perform “Legend of the King” and “Let it Burn.” We even got a moment when Johannes performed “Howling at the Waves” and “Tower,” accompanied by himself on piano, which gave these songs a more personal and intimate touch.

Fans were screaming and singing along with every song that Avatar was able to fit into their set, like “The Eagle Has Landed,” “In The Airwaves,” “Bloody Angel,” “Death and Glitz,” “Blod,” “Colossus,” “The Dirt I’m Buried In,” “Tonight We Must Be Warriors,” and providing us with a three-song encore of “Dance Devil Dance,” “Smells Like a Freakshow,” and “Hail the Apocalypse.”

Avatar gave us 17 masterful songs from their huge catalog of music, and though fans may have been sad to not hear a few of their older tracks, this was still a setlist to tear the house down. SpiritWorld kicked things off with a powerful punch to the gut of thrash metal brilliance. Alien Weaponry brought their Māori heritage to California, and the fans dove headfirst into this historical legacy. Meanwhile, Avatar continues to be the best theatrical melodic death metal band performing currently. The term melodic death metal might put some people off, but take a chance and go see this show live, and I can guarantee Avatar will win you over with their live show. This was only the second stop in their tour, so you still have plenty of chances to see them before the year is over.

On October 26th, 2025, The Troubadour put on a magical show in the form of music thanks to Voila with the support of Monotronic and Not A Toy. The whole space was filled with people wearing bunny ears, like the ones you’d see with a magician. Voila’s show in Los Angeles proved why their current tour is called The Magic Word.

Monotronic got the energy of the show started. I thought it was cool how the lead singer would point out towards the crowd. They somehow combined pop, rock, and electronic in a way that blended naturally—the kind of music that always brings good vibes to a party. You could tell the whole crowd was getting into it. It was refreshing to see the smiles on the band as well. Their music will have you feeling nostalgic. Their sound was calmer than the rest of the artists, but that made it special in a different way.

Not A Toy surprised me when they came on. They entered the stage like headliners and had the whole audience excited. The lead singer had on a killer fit too, with a long leather jacket that felt like it came right out of Gotham. To top it off, his confidence on stage was something you couldn't look away from. The raised platform on stage only added to that energy. One of the band members at one point played a keyboard guitar and, during another, had a violin. They performed a cover of Kpop Demon Hunters and "Don't Trust Me" by 3OH!3 like they owned it. They had everyone clapping for their song "The Maze" and "Sith Mode" brought the heat. Genuinely a band that I wouldn't be surprised to see headlining their own tour next year. Even though it was my first time discovering them, I can’t wait to catch them again.

Now, Voila knew how to get the whole crowd excited without even coming on stage. A voice announced them as "the magicians" and essentially had us summon the band. The whole audience got loud for multiple songs to show that we were ready for Voila. I love how they had their set separated into four different acts, with each act representing one of their albums.

The acts were Happy Never After, The Curse of Breathing, Glass Half Empty, and The Last Laugh. It felt very theatrical—even Luke’s outfit reminded me of a prince and a Victorian-era vampire at the same time. One of the songs that got stuck in my head during their performance was "FMK." Another memorable experience was when they had the lead singer from Not A Toy come up and perform "After(H)ours" with them. The result was absolutely electrifying. I frequently noticed Luke and Gus reaching their hands out to fans—you can tell these guys are masters at interacting with their audience. The fans they interacted with looked absolutely starstruck. Voila really puts on a spicy, beautiful performance that is a pleasure for the eyes and ears. Gus’s "staying-in-your-head-on-repeat" vocals and Luke somehow always looking cool no matter what he does on stage make for an undefeatable combo. Their music is poetically beautiful and deeply relatable. The whole audience came together to sing "Therapy" and clapped and sang along to "Something Blue."

There were so many hair flips and jumps on stage that you could feel the energy. The smoke on stage also just made everything look cooler. In terms of shows I’ve been to, this was the hardest to pick edits for because, honestly, this band does not have a bad angle. Genuinely one of the most photogenic bands I’ve ever seen. They have perfected rockstar energy and stage presence. For most of their set, until I decided to shoot from the balcony, I was right in front of the stage. I’ve got to say, this is a band worth making your way to the front of the crowd for.

Seeing them up close just added to the experience. There were moments, like when Luke was lying down performing, that just had a higher impact being up close. A moment that will always stick with me is the way the light was hitting when a fan came up on stage for them to do a magic trick. The magic trick involved her picking the next song, which ended up being "Girls Don’t Come With Instructions." It is never a dull moment watching Voila perform. I listen to their music almost every day, and seeing them live for the first time has honestly been one of my favorite shows to capture this year.

This is a show I’d relive again and again if I could. All the bands were spectacular and made for a truly magical night. If you want to feel serenaded but also dance your heart out, then you can’t go wrong at a Voila show. You know it’s going to be a good show when you see bunny ears everywhere.

Few artists embody controlled chaos like Rico Nasty. At the Los Angeles stop of her Lethal tour, she turned the Fonda Theatre into a collision of punk, rap, and rage — a space where catharsis felt communal and every scream found rhythm.

Toronto artist SadBoi opened the night with MC TK, who also acted as her hypewoman, ad-lib partner, and (at times) unintentional photobomber. TK kept yelling, “Make some noise, LA!” every few minutes, like she was trying to manifest an earthquake.

It worked, though — people were dancing early. The bass was ridiculous. SadBoi’s set felt like a sweaty club set inside a live show: R&B flirting with rave. She twerked, sang, grinned, and flirted with the crowd like she knew exactly what she was doing.

At one point, she shouted, “I see some baddies in the crowd tonight!” before launching into “Baddies.” She wasn’t wrong. The room was full of them.

Their chemistry was messy but fun — you could feel the main-and-side-character dynamic right away. SadBoi owned the spotlight; TK ran circles around her trying to keep it hyped. (I have to admit, I did occasionally have to Photoshop her out of a couple of my shots.)

The set closed with “We Are Young” by fun. under a spinning disco ball, which was oddly emotional and kind of confusing. They didn’t really sing it — just danced while the crowd took over. It looked cool, but it also felt like they ran out of songs. Still, when that disco light hit the ceiling, everyone forgave it.

Then the lights cut, the crowd roared, and a deep “RICO!” echoed through the room.

She came out in black leather pants and a cropped top, flanked by a DJ and guitarist — a setup that already told you this wasn’t going to be straight rap. She’s always blurred genres, but live? It hits way harder. It’s punk, metal, rap, and rage therapy all at once.

Rico doesn’t really talk to the crowd — she attacks the stage. Every stomp shook the floor. Every verse felt like an uppercut. She barely stopped to breathe, let alone banter. At one point, a guy behind me just said, “She’s so angry,” which wasn’t false. But that’s the point — it isn’t chaos; it’s controlled precision.

When she hit “IPHONE,” everyone pulled their phones out (the irony wasn’t lost on anyone). The Kingdom Hearts sample came mid-set — and if you caught it, you knew. I screamed a little inside. Rico later joked on TikTok about noticing the few fans who did — the nerds hidden among the moshers.

Then came the surprise: Hayley Williams walked on stage during “Smack A Bitch.” For a second, nobody believed it. The screams that followed could’ve broken glass. The two of them — Rico snarling, Hayley grinning — was pure serotonin and chaos. The crossover I didn’t know I needed.

By the end, everyone was drenched in sweat — hers, ours, who knows. Rico said it was hard keeping secrets from fans before dropping an unreleased song from Lethal (Deluxe). And then she was gone — no encore, no farewell, just one final stomp before the lights cut to black. Walking out, the floor was still vibrating.

Rico Nasty isn’t here to charm you — she’s here to exorcise something. It’s rap, it’s rage, it’s therapy with eyeliner and distortion pedals. Not everything hit perfectly — the mix was heavy, her pace unrelenting — but the energy was undeniable.

I have to say it’s particularly impressive that she has shared studio space and credits with some of the biggest names in pop and alternative — from Charli XCX and 100 gecs to Doechii and Megan Thee Stallion — a sign that her reach spans far beyond one genre.

By the time the smoke cleared, there was no question why Rico Nasty’s name carries the weight it does. She doesn’t just headline — she dominates. And as the Lethal tour came to its end, she proved once again that chaos, when wielded right, can feel like control.

Thank you for the music!

Garbage may be one of the most commercially successful alternative rock bands of the '90s, but I feel they sometimes get forgotten about. They have been nominated for seven Grammys across their career, but you don’t hear many people talk about them in casual circles. Garbage has hit the road on their Happy Endings Tour in support of their latest album Let All That We Imagine Be the Light, and fans sold out the final stop of this tour as it came to the Hollywood Palladium in Los Angeles, CA. Fans packed into the Palladium, squeezing in tighter than I have ever seen before just for a chance to sing along with their '90s favorites.

Opening the night was LA natives Starcrawler. I was fortunate enough to catch these guys a few years ago in Las Vegas, and I was excited to see them again. Starcrawler brings a big, boisterous sound to the Palladium. Fronted by Arrow de Wilde, who is an enigma on stage, Arrow gets lost in her own world as she dances with herself like no one is watching, while singing the lyrics with a bite that you don’t want to mess with. It’s hard to pull attention off of a beautiful frontwoman, but guitarist Henri Cash was doing just that. Cash was flailing around like an anxious ball of energy, constantly whipping his guitar around his body and hardly ever looking at his guitar, yet never missing a lick. During their final song, “Bet My Brains,” Cash left the stage and ran up to the second floor of the Palladium to perform in the crowd. Fellow guitarist Bill Cash, bassist Tim Franco, and drummer Seth Carolina held down the rhythm of the band, being more stoic on the backline, allowing Arrow and Henri to unleash their inner beasts upon the fans. Starcrawler filled their set with some of their best work, like “Goodtime Girl,” “I Love LA,” “Stranded,” “If You’re Gonna Be Dumb, You Gotta Be Tough,” “Roadkill,” “It’s 3AM,” “Pet Sematary,” “She Said,” and “Different Angles.”

It was then time for our headliner, with Garbage taking the stage. As the band walked out for their opening song, “There’s No Future in Optimism,” the stage was illuminated in very specific overhead spotlights. As these lights bounced around the stage, they highlighted each band member almost as an introduction to the band. Moving into their second song, “Hold,” this was when vocalist Shirley Manson truly took control of the stage, stepping out from behind the mic stand and working the entire stage. Manson is a captivating singer, and it’s hard to take your eyes off her. It’s not just her powerful voice—you can feel her presence when she walks into a room, and you can’t look away. Manson always takes time in the set to talk about major political issues, and this night, she made a plea for equality in the world. It’s great to see someone with a stage like this speak on behalf of the betterment of the world.

Garbage has been a unique band by having a consistent lineup since its formation in 1993, with Duke Erikson and Steve Marker on guitar, and Butch Vig on drums. These men have been crafting iconic rhythms and melodies for generations now. Shirley never had a need to introduce a single song, as once one of these men started the opening to any song, the crowd immediately erupted into cheers as they knew the next classic they were going to get. From classics to even the songs from the new album, fans were along for the ride with hits like “I Think I’m Paranoid,” “Vow,” “Run Baby Run,” “The Trick Is to Keep Breathing,” “Not My Idea,” “Hammering in My Head,” “Wolves,” “#1 Crush,” “Bleed Like Me,” “Queer,” “Chinese Fire Horse,” “When I Grow Up,” “Cherry Lips (Go Baby Go!),” “Push It,” and “The Day That I Met God.” Garbage came back for a three-song encore that featured “Special,” “Stupid Girl,” and the final song being the fan favorite “Only Happy When It Rains.”

Growing up in the '90s, the songs of Garbage were part of my childhood. At least half the songs they performed unlocked a childhood memory I had forgotten about when hearing these songs. The music was a time capsule that transported me throughout my childhood. The venue was packed with fans of all ages who I know were going through the same existential experience with me. For a band I feel isn’t talked about enough, their music permeates pop culture and our lives. The next time Garbage announces a tour, please find yourself at one of the shows, as you will be blown away by a killer performance and music that you may not realize you have fond memories of.

For someone who came of age smack dab in the middle of the 2000s, A Day to Remember’s current Maximum Fun tour is about the best thing you could ask for. Featuring The Wonder Years, co-headliner Yellowcard, and of course A Day to Remember, the breakdowns are aplenty, and the sing-along choruses were throat-tearing.

This tour package is meant to feature four bands, actually, but unfortunately, English trio Dinosaur Pile-Up encountered some visa troubles and hadn’t yet made it to the tour package. Massive bummer for the fans of that band and really for everyone who came out to see this tour in the early days—but on the plus side, sort-of opener (sort-of because they had to start about 40 minutes later than anticipated) The Wonder Years got to play an extra five or so songs, and massive plus side, lots of them were from 2013’s The Greatest Generation.

The Wonder Years were a band that I had been meaning to see, but something always slipped through the cracks. I knew they had a reputation for a fiery live show, and I know that Dan “Soupy” Campbell had a reputation as an unforgettable live vocalist, but it just never worked out, you know? Well, 2013 me was absolutely thrilled because while the band played a ton from their various albums, there was nothing quite like hearing “Passing Through a Screen Door” following “There, There.” The hollow chords of the latter snapped me back to my past like a lightning bolt, Campbell’s soft crooning about repeated screwups exploding into raw vocal chords as he despairs about trying your best and still failing—it was everything I could have asked for. They filled that sold-out 8,000-cap room with a warmth and genuineness that is impossible to replicate. Dan had a moment where he spoke to the new listeners in the room—the new folks who were just now connecting with their music and feeling something stir. I wish I could have told him that he was still doing that for the longtime fans too.

Yellowcard was the surprise hit of the night for me. While I’ve never been what I could call a die-hard fan of theirs, there being some songs here and there that I appreciate (the obvious one being “Ocean Avenue”), their set kind of blew me away.

With a few breaks here and there, it’s easy to expect them to just kind of be cashing in on the wave of nostalgia bands making a return to form, but this is not the case with the string-studded pop punk of Ryan Key and company. What’s a little strange about the show is that Yellowcard is co-headlining with A Day to Remember, but from what I could tell, the 65 minutes of music that they put on was more or less a headliner experience front to back (which led to some kind of awkward momentum issues during ADTR’s set). But with that “full set experience” in mind—wow!

Flames, confetti, blasts of fog, a massive wall of LEDs, and a lighting director that certainly knew how to take advantage of a house rig—Yellowcard were not messing around, and the band members showed it. Each and every one of them occupied the maximum amount of space that they could use on the stage, with standout Sean Mackin spending time as if he had a step goal to get in by crossing back and forth the maximum amount of times. It was sincerely one of the better performances I have seen a band put on, with the energy of a group just starting out, and they are rounding out 28 years of existence!

Obvious closer “Ocean Avenue” had the cavernous Armory hopping along in fierce excitement. The baseball-shirt-studded 40-year-old near me as the set closed down absolutely lost his mind when the opening notes played—a reminder of how long the power of music can stick with us.

A Day to Remember’s massive stage was—I think—meant to be a massive, imposing presence as each member came out to enormous blasts of fog from the many jets lining the front of the stage. However, I think there was something lost in the planning between these co-headliners. Impressive in its own right, but following what Yellowcard put on, it felt a little scaled down. Either way, as McKinnon and co. took the stage, the opening du-du-dus of “The Downfall of Us All” came washing over the crowd, and that nagging thought was laid to rest—the party had begun again.

A huge wall of fans hung out on stage near the drum riser who got a very, very personal look out over the enormous crowd—a very cool and personal touch. The first things those folks probably saw as the halfway mark of “Downfall…” rolled through was what would more or less represent the rest of the night—wave after wave after wave of crowd surfers. While the rest of the photographers in the pit were only in there for about seven minutes, there had to be at least 20 people who security safely carried to the ground in that timeframe.

Song three jumped to Common Courtesy, and we had our first bang of confetti—the ADTR staple. Between that and the few songs off of Homesick, you were beginning to wonder when they’d cover their new material (this year’s Big Ole Album Vol. 1). Well—right afterward, in fact! They joked about not quite being Taylor Swift’s song, but their own little thing—and they played “Bad Blood” to raucous cheers. They danced around the corners of their discography the rest of the night (though made sure to give LeBron James a nice nod with a Space Jam clip prior to playing the song named after the NBA star). In all, a thunderous but standard night for the rock veterans, but really, what more could you ask for from one of rock’s most reliable bands?

The crowd at the State Farm Arena didn’t just get a concert Monday night. It got a living, breathing history lesson delivered by the man who helped write the soundtrack of the modern world. The second of two sold-out shows in Atlanta went nearly three hours, but no one checked their watch—not when you’re watching time itself walk across the stage holding a Höfner bass and smiling like he’s still the luckiest kid in Liverpool.

What’s astonishing about Paul McCartney in 2025 isn’t that he can still do this; it’s that he still loves doing it. You could see the passion is still there. He doesn’t need to be doing this, he surely doesn’t need to do it for three hours, but there is something about his legacy that he needs to show to the world, and it was a true gift to get to experience. The voice, more textured and human now, carries every decade inside it; behind him stands a band that isn’t just tight—they’re family. Paul “Wix” Wickens on keyboards, shaping the sound and steering the ship as musical director. Rusty Anderson firing off guitar lines like sparks from a welding torch. Brian Ray swapping seamlessly between guitar and bass, filling every corner of the mix. And Abe Laboriel Jr., pounding drums with joyful force, a locomotive in human form. Together, they don’t just back McCartney—they lift him, surprise him, and play these impossible, ageless songs in a way that still makes strangers throw their arms around each other without asking names.

McCartney didn’t draw neat borders between eras. Beatles classics slid into Wings swagger, which melted into solo tenderness. One minute the arena was thundering like a jet runway, the next you could hear people crying. The room swelled, shrank, and then swelled again, like lungs breathing in the last 65 years of music. The crowd skewed older, but a great mixture of younger fans were there, getting a chance to experience the legend as well. The night didn’t stay in the realm of nostalgia. McCartney is too aware, too present, too rooted in the idea that songs are only worth anything if they still mean something now.

Mid-show, after a run of Beatles crowd-pleasers, McCartney—always the great storyteller—told a story that hit the room like a lightning strike. He spoke about the Beatles’ first U.S. tour, their arrival in the South, and discovering, with shock and disgust, that their Alabama concert was segregated. “We’d never seen anything like it,” he said, shaking his head. “Black people on one side, white people on the other. And they told us, ‘That’s how it is here.’ And we said, ‘Well, that’s not how it’s going to be.’ So we refused to play. They integrated the audience. And after that, we put it into our rider: no segregation, anywhere.”

The arena went silent—not out of politeness, but reverence. Because it wasn’t a boast. It was a reminder: a band barely out of their teens, halfway around the world, insisted on human dignity and forced change with guitars and stubbornness. Power used the right way. Then he strummed the next chord, and the room erupted—not just with cheers, but with respect. Today, bands are shunned for their politics; the Beatles just did what was right.

There was another quiet devastation later in the set. The screens flickered with grainy footage of the 1969 rooftop concert, and McCartney began “I’ve Got a Feeling.” When the time came for John’s verse, Paul stepped back, let the music swell, and John Lennon’s voice, beamed in across decades, filled the arena. Paul watched the screen as he sang, and what was once film became resurrection. You could feel 20,000 people absorb the weight of it: friendship, grief, survival, art stronger than loss. When the song ended, McCartney looked out at the crowd and said softly, “I love doing that. It lets me sing with John again.” Not a line, just a truth.

Later came the tribute to George Harrison, delivered not with bombast but with tenderness. McCartney picked up a ukulele—one of George’s—and the room leaned in. He started small, plucking the melody of “Something” as if singing to an old friend. Halfway through, the band joined, the tempo lifted, and suddenly the arena was awash in George’s warmth: melodic, hopeful, unmistakably Harrison. You could see it on Paul’s face: not performance, but love. From there, the show took flight. Wings anthems turned the arena into a massive barroom choir. Beatles staples lifted people out of their seats. And when “Hey Jude” arrived—not sung, but shared—it felt less like a song and more like a collective heartbeat. Twenty thousand voices, strangers and families, arms thrown over shoulders, singing not because they were told to, but because it felt necessary.

McCartney’s show felt important. It had so much weight. In three hours, he reminded Atlanta of the humanity wired into his catalog. With every song, I could hear the impact it had on millions of people and how much change it inspired. As “Helter Skelter” and “Live and Let Die” blasted, I marveled at just how “metal” they seemed. Just as that thought touched my brain, explosions and flames erupted from the stage. McCartney was leaving it all on the stage. He didn’t ask the crowd to worship the past. He asked them to feel it, carry it, and maybe live it again. When the final chords of the Abbey Road suite rang out—“Golden Slumbers,” “Carry That Weight,” “The End”—it didn’t feel like closure. It felt like a handoff. Like he was giving the world back to us a little softer, a little kinder, a little more awake. And he walked off the Atlanta stage the same way he walked on: smiling, grateful, and somehow still searching for the next melody.

I will be honest, my knees were feeling it after standing for three hours, and the moment that thought hit me, I looked at Paul and saw the energy. I have no clue how he does it, but the sold-out crowd was truly blessed. A reminder of what music can do when someone refuses to shrink from the weight of it. This is surely the can’t-miss concert of the year.

Skillibeng has experienced a whirlwind of success since his 2019 single "Brik Pan Brik" took Jamaica by storm. From sold-out shows around the world to a steady stream of #1 hits on the dancehall charts, he has made a significant impact in the music scene. His follow-up hits, including "Badman," and the release of his debut album, Prodigy, have propelled him into the global spotlight. This success has led to collaborations with some of dancehall's biggest names and endorsements from internationally renowned artists such as Drake and Nicki Minaj.

Emwah Ryan Warmington, who hails from Saint Thomas Parish and grew up in the rural community of Lyssops, has built a solid discography with two previous EPs and three albums. His EP International is particularly notable for its diverse fusion of sounds and genres, further solidifying Skillibeng's position as a leader among the new generation of dancehall artists.

The EP begins with a remix of "New Gears" featuring Vybz Kartel, where both artists flow over a solid beat. It showcases the veteran artist working alongside a next-generation star. One standout track is "DADA," which features a sample from "Din Daa Daa" by George Kranz, along with a snippet from the 1966 "Bam Bam" by Byron Lee. Skillibeng shared, “The inspiration behind ‘DADA’ was the beat. It had the sound I was looking for. ‘DADA’ is the first track released from my highly anticipated EP titled International. This project essentially involves using different types of beats from various cultures and mixing them with Jamaican Patois as an experiment to showcase creativity and diversity.”

"Nipple Point" opens with a heavy beat, featuring electronic sounds that guide us through the song as Skillibeng delivers a strong and distinctive flow. Ghanaian pop sensation MOLIY joins Skillibeng on the track "Too Hot." This Afrobeat-inspired song highlights Skillibeng's immense confidence, emphasizing that his talent is so exceptional that he is "too hot to handle," making it difficult for other artists to compete with him.

The song "Anywhere" features a solid dancehall track with Ty Dolla $ign and Major Lazer. It speaks to the desire to escape a difficult or monotonous life and the longing for a change of scenery, often through money or travel, to achieve a better and more exciting existence. The lyrics convey a yearning to be in a place that is more glamorous, expensive, or exotic than the current reality. Skillibeng delivers a tight flow, while Ty Dolla $ign elevates the track even further.

On the other hand, "Bakaz," featuring Shaz, showcases a fusion of styles in its production, driven by a snare drum that guides the listener through the song. Skillibeng adopts a quicker flow here; however, I would have liked to hear more from Shaz.

"Big Strap," featuring Young Nudy, brings an old-school hip-hop vibe by sampling "Misdemeanor" by Foster Sylvers, which is also well-known from "It’s Funky Enough" by The D.O.C. Skillibeng delivers a fantastic rap flow, while Young Nudy sounds like he stepped straight out of the 90s for his verses.

Next is the "Tip Remix," featuring Ayetian and Nvtzz, who deliver a fast-paced flow with Skillibeng keeping up as they flow over this upbeat, Afro-Caribbean-inspired track.

"Ivany" refers to Jamaican TikToker and social media personality Ivany Wright. This track is a dancehall song dedicated to her and is produced by JWonder and Addy Prod. It’s a provocative song inspired by the viral spread of her explicit content, resulting in a bass-heavy dancehall banger.

The iconic Bam Bam riddim, famously known for Chaka Demus & Pliers’ hit "Murder She Wrote" in 1992, has been sampled by American producer Yeti for Skillibeng’s song, titled "Boom." The track features Dominican singer Tokischa, who delivers a rapid-fire verse that contrasts with Skillibeng’s slower, laid-back flow.

The EP concludes with the track "New Gears," which features a sample from the 1964 song "Mon amie la rose" by French singer Françoise Hardy. This sampling of Hardy's classic song brings a unique and unexpected element to the collaboration.

Skillibeng's latest project, International, marks a significant milestone in his career, solidifying his reputation as an artist who transcends genre and leads the new wave of dancehall. He skillfully blends contemporary styles with innovative and creative elements, while still paying homage to the past. Skillibeng's knack for merging raw, street-oriented lyrics with global musical influences and pulsating beats makes him capable of energizing dancefloors. His storytelling keeps fans engaged and captivated. This project celebrates the power of music to unite cultures and touch hearts around the world. Skillibeng invites listeners on a sonic journey, weaving together authentic street narratives with international sounds, and once again demonstrates why he is a voice for a new generation.

One Love – Todd M. Judd