Ballyhoo! kicked off their Summer 2025 tour in Harrisburg, PA, at XL Live, celebrating 30 years of beach rock, punk, and reggae. It’s incredible that after three decades, Ballyhoo! is still going strong. Led by brothers Howie and Donald Spangler, they released their ninth album, Shellshock, last year (check out my review), which might be their best work yet.
The night began with a private acoustic performance for a select group of VIP fans before the doors opened. Joined by the rest of the band—Scott Vandrey, Nick Lucera, and Mike Busch—they sounded fantastic. They played a few classics, took requests, and even sang “Happy Birthday” to one lucky fan. After answering questions and taking photos with everyone, it was time for the doors to open.
What struck me was the happiness radiating from that small group of fans; Ballyhoo! truly left a lasting impression on them.
Relatively new to the scene, the opening act was Beach Fly, led by singer and actor John DeMari, featuring Pops on lead guitar, Matthew James on bass, Sven Peltonen on percussion, and Jordenn Garcia on drums. These guys absolutely know how to rock the stage and kept the crowd entertained throughout their entire set. I’ve seen Jordenn perform while touring with Vana Liya, and I must say he is quickly becoming one of the best reggae drummers on the circuit, truly shredding the drums!
Beach Fly’s homegrown, organic sound is rooted in love and beach vibes. They embrace the modern reggae scene, drawing inspiration from bands like Slightly Stoopid and Rebelution, while also pulling from their favorites such as Xavier Rudd, Jack Johnson, and Surfaces. Their music transports the crowd to a fun, tropical surfside atmosphere filled with amazing beach vibes.
With John spending much of his youth on Brigantine Beach, where his father worked as a lifeguard, and Sven being an accomplished surfer, their connection to beach culture is evident. John has a wonderful voice that complements his charming demeanor and engaging stage presence. They performed songs like “Make It Work,” “Get in the Water,” “Tall Grass,” “Thinking of You,” “Monkey,” and “Crazy,” captivating the audience, who were eager for more.
I had a chance to hang out with them after their set, and they turned out to be super chill and fun guys!
Before their set, I had the chance to take some photos and hang out with Dustin Parks, Casey Kernohan, and Kevin Harvey of Cydeways. What fun, crazy, and super cool guys! I knew their performance was going to ROCK!
As Casey started pounding the drums and Kevin began strumming the chords for “Shadows,” the party was set to begin. When Dustin strolled out on stage, the crowd erupted with excitement. That’s exactly what Cydeways brings to the stage—a huge, fun party that blends a modern rock-reggae sound with alternative indie appeal, enhanced by sweet hip-hop grooves, creating their unique sound.
They infuse a laid-back reggae vibe into their live show while delivering a high-energy punch of alt-rock and hip-hop, making for an unforgettable experience. Dustin sounded fantastic all night, delivering sweet vocals and a dope lyrical flow. As they played their hits like “No Loyalty,” “Lockdown,” “Wasted Summer,” and “Ocean,” the party continued to roll on.
When they performed “Always,” I started to think about their sound and how the three of them bring so much tone, texture, and depth to their performance. It often feels as if five or six band members are contributing to this fabulous sound. As they closed the night with “Are You Down,” the crowd didn’t want them to stop but also understood what was coming next.
What I notice about Ballyhoo! crowds is the wide age range at their shows. It genuinely caters to all ages, with attendees ranging from 5 years old to 80, and they all enjoy the music together. Beach Fly kicked off the night with some chill, beachy vibes, followed by Cydeways, who rocked the stage. But when Ballyhoo! took the stage, they elevated the party to a whole new level, as they always do!
They jumped right in with “Shellshock,” the perfect song to get everyone dancing and jamming. Howie controlled the tone beautifully, sounding fantastic! They then played a crowd favorite, “Middle Finger,” which had everyone singing along. Another hit, “Clip My Wings,” followed, with the crowd again joining in with every word. Nick and Mike impressed the audience not only with their guitar and bass skills but also with their entertaining stage presence.
As they continued through their hits and classics, the energy in the room kept escalating. The upbeat ska vibe of “The Great Blackout” got the whole sold-out crowd moving; not a single person was standing still—they were all dancing their hearts out! They then treated long-time fans to some nostalgic tunes from their 2009 album, Cheers!, with performances of “Close to Me,” “The Friend Zone,” “Paper Dolls,” “Everything,” “Somewhere Tropical,” and “Alcohol Looks Beautiful Tonight.” It was clear that the long-time fans absolutely loved these classics!
It was time to lower the energy a notch and let the crowd relax and groove to “Dark Sunglasses,” “Morning Sunlight,” and “Walk Away.” As everyone swayed back and forth, they prepared to regain some energy. Once the crowd was ready to “Blaze Some Weed,” Ballyhoo! kicked things back up with “Scarlet Blue” and “Mixtape.”
Just when you thought it couldn’t get any crazier, Nick, Scott, Mike, Howie, and Donald rocked the stage with “Riddled With Bullets.” Did I see a mosh pit form? They jammed out all night long, feeding off each other’s energy, creating a perfect match in musical harmony.
No one wanted the night to end, so they treated the audience to the beautiful acoustic song “Meaningful.” Watching the crowd’s reactions was amazing; everyone was completely absorbed in the moment, making it a great way to wrap up the night. But Ballyhoo! had one more major jam to deliver, hitting us with “Selling Out” to close the party. What a way to end the night! There was so much energy, drive, and power throughout the performance!
Beach Fly, Cydeways, and Ballyhoo! delivered an incredibly fun, energetic, and powerful night of music. Each band brought a unique blend of genres to the stage, including reggae, rock, punk, ska, Florida and Maryland beach vibes, indie, and hip-hop. Most importantly, they conveyed a strong sense of love throughout their performance—love for the crowd, love for the music, love for the art, and love itself.
As the audience began to leave, every face was lit up with a smile, showcasing the joy and energy of the evening. This tour is sure to be amazing, and we were fortunate to be part of the very first night.
One Love – Todd M. Judd
Royal Blu, born Sean-Michael Francis, has gained widespread recognition for his skillful blend of reggae, hip-hop, dancehall, and R&B, creating a seamless style all his own. A native of Spanish Town, Jamaica, Blu is a multitalented singer, songwriter, and lyricist who has been hailed by Complex as "one of Jamaica's top artists to watch." His deep-rooted devotion to Jamaican music is evident in his delivery, while his eclectic appreciation for artists such as Nas, Michael Bolton, and Luther Vandross enriches his genre-defying sound.
After releasing numerous singles over the past few years, Royal Blu has now debuted his first album on Easy Star Records. The record is deeply personal, poignantly reflecting his experiences growing up in Spanish Town, Jamaica. It features 14 tracks, each curated to take listeners on a journey through his life. The album's sound and vibe are further enhanced by collaborations with talented artists, including Grammy winner Kabaka Pyramid, Protoje, The Autos, Akina Eman, D'Yani, and Runkus. Each featured artist adds their unique individuality, complementing the story being told.
The musical and personal journey begins with the title track, “Spain Root,” which features a vibrant Latin guitar and trumpet vibe. This song, along with the entire album, is a powerful and heartfelt expression of the artist's identity. It includes a moving prayer from his mother, Eileen Francis, making it a perfect introduction to the album.
In “Come From,” a sweet beat and rhythm support Blu's smooth vocals as he navigates themes of gun violence, the fear and paranoia it creates, and the ongoing struggle for survival in Spanish Town. He reflects on his mother's concerns about his life path, highlighting the difficult choices and potential dangers he faced while growing up.
Blu is joined by Kabaka Pyramid and The Autos on “Light My Way,” an inspiring roots reggae anthem. Kabaka delivers exceptional lyrics with a flow that elevates the song, while Blu contributes powerful lyrics that evoke deep feelings. Blu recently shared, “For as long as I've known myself, I've practiced always saying a prayer whenever I'm going out. I grew up in a place called Spanish Town, where anything can happen at any time, anywhere. So claiming that divine protection and guidance was, and still is, necessary for me to help navigate my way through the darkness. That's what ‘Light My Way’ represents for me.”
“Life From Kingston,” featuring Protoje, offers a fusion of Jamaican music and its various styles. It showcases staggered drops, muted yet rounded bass, brass elements, impressive rapping, and smooth lyrical flow, all complemented by layered reverb and polished production. Protoje’s compelling flow guides us through this musical journey.
The track “Ten” delivers an upbeat riddim, shifting its pace as Blu alternates between sweet vocals and hard-hitting rap, taking aim at those who may look better than they sound. He raps:
“Aye! Hate me or love me, I sing nicely, and I'm not dusty.
You don’t have a choice but to dress well.
In the studio, singing nonsense, but on stage, it sounds like nonsense.
Yo, I’m a singer; you can trust me to be clean!”
Royal Blu slows down the mood with “Long Lane,” showcasing a different side of his artistry. This track allows his vocals to shine as he asks his girlfriend, “What’s work without play?” blending R&B and reggae vibes.
Blu continues to showcase his talents with the slow jams and love songs in “Shoulda Love.” The track features his sweet vocals accompanied by a beautiful saxophone melody. In this song, Blu expresses a genuine desire for love and a reluctance to settle for something uncertain or insecure.
Sticking with the slow jam vibe, Blu presents “Stranger Twice,” characterized by a chill beat and subtle saxophone notes flowing throughout the groove. He explains:
“‘Stranger Twice’ represents an aspect of love that I believe we’ve all experienced at least once in our lives. I’ve always found it fascinating how relationships can shift from strangers to lovers and then back to strangers again. This cycle is something we often observe within families in Jamaica, leading to many broken homes. I wrote this song to capture the feeling of regret when someone who was once a stranger becomes your whole world, only to end up as a stranger again. This is a phenomenon I’ve witnessed in my own family, which inspired the cover art. We all try to overcome the notion that ‘nothing lasts forever’ when it comes to love, but more often than not, ‘Stranger Twice’ is the outcome we face. It’s a vicious and unforgiving cycle that affects everyone.”
Rising star Akina Eman joins Blu on the soulful track “Forever For Now.” Blu’s calm demeanor complements Akina’s emotional, expressive, and beautiful vocals perfectly.
“Arms” is a collaboration with dancehall star D’Yani, who also hails from Spanish Town. The song features a hybrid dancehall/reggae style, leaning heavily towards lovers rock. The theme revolves around keeping one’s arms open for the person they love, regardless of the circumstances.
In “Far From Home,” Blu shares his feelings as he transitions from a more elusive and slower tone to an upbeat vocal flow over a subtle beat and production.
Runkus, a collaborator of Blu’s since 2017, delivers a strong and powerful flow in “911.” With Runkus dominating the chorus, Blu follows up with an impressive verse, showcasing the chemistry they’ve developed over their eight years of collaboration. Fans are eagerly anticipating an entire album from the two artists together.
“Way Too Fast” offers a thoughtful reflection on a tragic shooting that occurred in Blu’s close-knit community when he was just 17. This experience prompted him to shift towards more conscious lyrics. The song stands out lyrically as one of the best on the album, conveying deep meaning and emotion over a simple yet impactful production.
Blu concludes his journey with “Little Brother,” an honest and deeply moving track that serves as a perfect finale for the project. Like the previous songs, it features a straightforward but powerful production. On June 27th, Harry J Studio celebrated the release of Royal Blu’s much-anticipated debut album, marking the beginning of a new era. Titled Spain Root, the album honors the proud upbringing and musical journey of the Spanish Town native, who was formerly known as Blu Kid. He has been honing his craft and building a movement alongside G.Wav, which includes artists like Akina Eman, Runkus, and Island.Wav’s KaleX and RiddimBoss.
Spain Root is an insightful and well-produced album, showcasing Royal Blu’s distinct style and personality throughout. The concept is clear and aligns perfectly with his vision. “This album is my love letter to where I’m from and to the roots that shaped me,” he shared recently. “Bringing it to life in a space like Harry J, surrounded by the people who have supported me on this path, is a full-circle blessing. I am grateful and excited for everyone to hear it.”
One Love – Todd M. Judd
Atlanta’s State Farm Arena last night, July 11, 2025, was a seething cathedral of 17,608 souls, every one of them buzzing like they’d been possessed by the ghost of heavy metal’s unkillable spirit. Ghost, those Swedish alchemists led by Tobias Forge, weren’t just playing a show—they were staging a goddamn uprising. Their occult carnival exploded with thousands of nuns in fishnets, creating a spectacle that was equal parts theatrical and electrifying.
Fifteen years since Opus Eponymous crept out of the shadows in 2010, Ghost has never stopped climbing. Each year, they’ve swelled their congregation with a brew of theatrical riffs and pop-metal sorcery. A decade ago, they haunted the 2,600-capacity Tabernacle here in Atlanta as a scrappy cult act. Now, they’re packing coliseums, with more cosplay Papa Emeritus robes than a Comic-Con fever dream. This isn’t just endurance—it’s a Heavy Metal Inquisition. Forge and his Nameless Ghouls have cracked the code, fusing Satan’s swagger with digital-age hustle. Last night proved they’re no fluke—they’re the new high priests of metal’s eternal flame.
Ghost’s empire isn’t just built on riffs—it’s a masterclass in world-building, echoing the early days of KISS. Their marketing is as expansive as the hellscapes they conjure onstage. Three hours before the show, fans braved the rain as the merch line snaked through Atlanta, clamoring for official T-shirts like pilgrims at a shrine. This isn’t just merch—it’s part of the mythology.
Their theatrical film Rite Here Rite Now grossed over $5 million at the box office, becoming the highest-grossing hard rock cinema event in North America. The film is a cinematic saga of betrayal and ritual that fleshes out their mythos, pulling fans deeper into their world. The Sister Imperator graphic novel takes the lore even further, crafting a backstory of a woman haunted by the murder of her fathers.
The evolution of the Papas—Papa Emeritus I through IV, Cardinal Copia, and now Papa V Perpetua—drives this narrative. Each new incarnation is a chapter that hooks fans deeper into the lore, from grizzled Papa I’s doom to Papa Perpetua’s chrome-masked swagger. This lore, woven through comics, videos, and stage banter, doesn’t just engage—it possesses, turning casual listeners into devotees who live for the next twist in Ghost’s unholy tale.
Just last week, on July 5, Forge, draped in his Papa Perpetua regalia, stood among titans at Black Sabbath’s farewell in Birmingham. He belted out Ozzy Osbourne’s “Bark at the Moon” to a sea of fists alongside Metallica, Guns N’ Roses, and Pantera. This wasn’t just a cameo—it was a coronation. Ghost was anointed as the youngest blood in heavy metal’s royal line, their inclusion as deliberate as a pentagram carved in stone.
Where Black Sabbath’s raw, working-class dread shook the ’70s, Ghost’s polished, sardonic blasphemy speaks to a generation wired for spectacle. When their song “Mary on a Cross” became a viral hit on TikTok, they embraced the new generation, most of whom weren’t even born when the band played their first gig.
The torn black curtain fell, and “Peacefield” from Skeletá erupted, its dark pulse a call to arms. It was followed by “Lachryma,” with the crowd chanting like it had been their anthem for years. Forge, his chrome-silver mask catching the light, strode across the stage like a pontiff who’s danced with demons and won. His voice—freed from prosthetics—cut through with raw, soaring power.
The eight Nameless Ghouls, no longer mere sidekicks but co-conspirators, donned stunning new top hat and tail costumes. They swarmed the sprawling stage, their guitars and keytar solos slashing through “Year Zero” as 17,608 voices bellowed “Beelzebub!” like a war cry.
“Spirit” and “Cirice” from Meliora (2015) landed like thunder, sharpened by a decade of road grit, while new cuts “Satanized” and “Umbra” slotted in like instant classics. The setlist was a masterclass, dusting off “Per Aspera ad Inferi” for the old guard. Each song was a pillar in Ghost’s gothic empire.
Pyro roared, golden glitter and 666-dollar bills rained during “Kiss the Go-Goat,” and the backdrop morphed from devilish stained glass to a molten hellscape. Every shift was a gut-punch of theater with a beating heart.
Phones locked in Yondr pouches meant no screens, no distractions—just a congregation living in the now. A family of freaks in nun belts, glittery pink jackets, and Papa V masks screamed “Mary on a Cross” like it was their last stand.
“Monstrance Clock” sealed the main set, with confetti flooding the stage. The encore—“Mary,” “Dance Macabre,” and “Square Hammer”—was a campy, crushing triumph. The crowd became a writhing, euphoric mass.
Are they Black Sabbath’s heirs? No. They’re Ghost, rewriting the scripture of heavy metal on their own terms. Atlanta shouted it from the mountaintop: we want more. Right here, right now!
The Skeletá North American Tour will continue to haunt the U.S. through September. This is a showcase not to be missed.
Oh Alice is a singer-songwriter and designer weaving fairytales with a voice that feels timeless and unravels in light, color, and memories. She can blend her velvety-vintage voice with fantasies and observations of the world into sounds that almost feel touchable.
Oh Alice's music is described as vulnerable and nostalgic. Similar to attending a therapy session on a troubled day, her mission in music is to create a safe space for her listeners to heal and grow, ensuring they are not alone.
Oh Alice’s debut mini-EP, HEARTSHOT, produced by Ari Pentelovitch, is a raw, glittering explosion of emotion — born from the chaos, clarity, and coming-of-age spirals of her early 20s. Released on her birthday (June 20), the project marks a milestone in both personal growth and sonic identity. Blending the glitchy confidence of Charli XCX, the experimental soul of FKA Twigs, the emotional layering of Imogen Heap, and the hyperpop honesty of Addison Rae, HEARTSHOT is what happens when pop sensibility meets internet-age vulnerability. Think late-night sleepover confessions turned into high-drama anthems — messy, melodic, and a little too honest in the best way.
Perfect for placements needing high-impact alt-pop with an edge, Oh Alice delivers infectious hooks, experimental textures, and a fearless voice that’s unafraid to break the rules — and your heart.
The “Ganja Farmer” or “Cowboy,” as Marlon Asher is affectionately known to his friends and fans, is a native Trinidadian and the first reggae sensation out of Trinidad & Tobago. He is now one of the most sought-after artists in the country and the Caribbean! Marlon chose the name “Asher,” derived from the 12 tribes of Israel, representing December. Inspired by some of the biggest reggae artists of all time, such as Dennis Brown, Barrington Levy, and the legend himself, Bob Marley, Marlon set out at a young age to create meaningful and positive music.
His breakout came in 2004 with the hit song “Ganja Farmer,” which took the Caribbean by storm and quickly made a name for him. He followed it up with “Ganja Cowboy,” another hit that went worldwide. These songs became instant classics, solidifying Marlon as a star. Now, 21 years after “Ganja Farmer” was released, he returns with a new album and another instant classic, Safe.
The album kicks off with “Give Praises,” featuring Luciano Messenjah, over a Latin string riddim with a reduced Nyabinghi beat. This is the perfect song to start the journey, showcasing Marlon’s beautiful lyrics and flow. Luciano’s vocals complement Marlon’s perfectly, creating a spiritual and uplifting vibe.
“Strictly High Grade” follows with a strong beat and sweet guitar, as Marlon changes up his cadence effortlessly over the riddim. The track delivers a hip-hop/dancehall vibe with a deep message.
Sizzla joins Marlon on “Never See Us Fall,” an incredible track where both artists bring uplifting lyrics and bold flows over a laid-back bassline. Sizzla’s classic style pairs seamlessly with Marlon’s, creating a song that inspires and energizes.
“Stay” brings a rootsy reggae riddim, with Marlon pleading with his woman to stay. His lyrical flow ties perfectly into the riddim, making this a heartfelt and relatable track.
“Diamonds and Gold” features Tarrus Riley belting out the chorus before Marlon takes over with a hard-hitting verse. Capleton then enters with his powerful delivery, elevating the song to another level. The three artists connect perfectly, asking the gangs of Jamaica, “Why are their hearts so cold?”
The title track, “Safe,” slows things down with a roots reggae riddim. This jam reassures listeners that there’s nothing to fear when Jah is your strength and shield.
“Revolution” serves as an anthem for the downtrodden and a stance against Babylon. With a solid beat and production, Marlon’s lyrics and flow shine, delivering a powerful message.
Masicka joins Marlon on “In the Hills,” a track with an ’80s-style sound that hits just right. The song celebrates the high-grade grown in the hills, with sharp lyrics from Marlon and a gritty edge from Masicka.
“Plastic Smile” addresses hypocrites and wolves in sheep’s clothing—those with no morals. The solid roots reggae riddim pairs perfectly with the song’s message:
“See it on them face, them wearing plastic smile.
I could feel the hypocrisy from a mile.
Tune into their energy, you'll feel the vibes, oh oh.
Yes Jah, he know. Pose as false prophet, then come and pretend.
Robbers and vampires, them soul want cleanse.”
Kyle McDonald from Slightly Stoopid joins Marlon on “I & I,” an upbeat groove praising Jah. Their chemistry is undeniable as they trade verses, making it clear why Marlon has toured with Slightly Stoopid. This is another standout track on the album.
“On My Way” is a short but sweet acoustic interlude that transitions beautifully into “Call Me,” featuring J. Boog. This love song delivers a pure, airy, beachy vibe, with Marlon and J. Boog trading sweet lyrics over a chill riddim. It’s the perfect track to grab your partner and dance.
The album closes with an upbeat rootsy riddim, as Marlon finishes the journey with a commanding lyrical flow. The final track exudes consciousness, spirituality, and deep faith, sealing the album with perfection.
Safe is a complete and prolific collaboration between Marlon Asher, Don Corleon, and VAS Productions, resulting in an album filled with thought, meaning, and timeless quality. Marlon’s ability to create meaningful lyrics and deliver superb vocals is complemented by top-notch production and a host of outstanding collaborators.
From spiritual reflections to fiery dancehall vibes, Safe showcases Marlon’s growth as an artist and a man. This album is not just a collection of songs—it’s a statement of resilience, positivity, and artistry. Whether you’re seeking inspiration, relaxation, or a reason to dance, Safe offers something for everyone.
Marlon Asher has once again proven why he’s a reggae icon, delivering one of the top albums of the year.
One Love – Todd M. Judd
Recently, in an interview with 99JAMZ in South Florida, Konshens was asked why he named his new album Pool Party. “Because it’s HOT!” he said, adding, “Not just in terms of the temperature, but the climate around the world. Everything is so negative and aggressive, dark and serious. Yo, let’s have a party. I don’t want to focus on, you know, music reflecting what’s going on—I don’t want to do that right now. Let’s just take a break.”
Working with producers Izybeats, BomboCat from Costa Rica, Markhize, Track Starr, and Hitmaka (who collaborated on the track with Eric Bellinger), Konshens created not just a summer album, but a party album for the near future—an album for therapy. This project was two years in the making.
“Mi start work pon dis album two years ago. It’s been on and off. It’s been done like four different times, but I never quite felt it was really ready. One day, the title just came to me. The world is upside down right now, it’s a whole lotta bullshit. War, natural disaster, and all kinda ting. I didn’t want to do an album that reflected the current state that we’re in. I wanted to do an album that is the opposite. I didn’t want to do an album that people remembered [alongside] wildfires in California or an Israel-Iran war. That’s why I took an approach of, let’s party,” Konshens explained.
Pool Party is a bold, infectious celebration of freedom, resilience, and the evolution of Jamaican music.
The album starts with “Our Father,” a spiritual and emotional introduction. While not in party mode, this hauntingly honest plea sets a reflective tone before diving into tracks that sizzle with vigor and brashness. The sweet beat and riddim complement Konshens’ flowing delivery.
“Money Dealings” follows with a strong beat and a deep, somber message. The bass, riddim, and Konshens’ lyrical flow create a hip-hop/dancehall vibe. Skillibeng joins Konshens on “Bend,” an anthem with dance instructions. This gritty, bass-heavy banger bridges old-school deejay energy with modern swagger, connecting two generations.
“Back Dat Azz Up” brings a seamless connection between hip-hop and dancehall, with Konshens effortlessly flowing over Juvenile’s classic beat. Born out of a live stream on Miami’s 103.5 The Beat, the intense reception inspired Konshens to record an official version for the album. The track has already earned props from Birdman himself and is destined to dominate clubs across the Caribbean and beyond.
Another club-ready anthem, “Gyal Time Again,” features Charly Black. This high-energy party jam leans fully into revelry, with Konshens and Charly Black delivering dynamic vocal flows. The party continues with “So Many,” featuring Lil Duval, a slightly slower and chill riddim celebrating the beauty of women.
“Badman” brings a tweaked version of the classic Bookshelf riddim by Tony Kelly, with Konshens asserting his dominance as a “badman” who gets all the women. His cadence and vocal presence shine over the riddim.
“Tight and Good” delivers an up-tempo beat with a Latino flow, showcasing one of Konshens’ best lyrical and vocal performances on the album. This steamy track adds a different mood to the project.
Konshens slows things down with “Show Me,” a track with an ’80s R&B and Prince vibe. “It’s kinda raunchy and pays homage to Purple Rain by Prince and ‘Under the Influence’ by Chris Brown. I’m very excited about adding it to my shows,” Konshens said.
“Rich Sex,” featuring Eric Bellinger and Moyann, is a seductive, slow wine groove that’s both radio-ready and perfect for slow dancing. The trio’s voices blend beautifully, creating a sultry and captivating track.
“Shek It,” a previously released track, continues the seductive groove. Konshens delivers an easy, commanding flow with lyrics like: “Big bumpa gyal, Wid the pretty face yu so special, To how she a wine mi must get her.”
“Red” brings an old-school dancehall riddim, with Konshens attacking the mic and “runnin’ da place.”
“Battle Zone” is a lyrical showdown between survival and success, featuring The Game. With west coast grit and commanding lyrics, the track highlights Konshens’ hip-hop flow. When asked how he got The Game to join, Konshens explained, “I was in Germany, and I heard a song that sounded like reggae with hip-hop drums. I told Izy I needed a beat with hip-hop drums and a Jr. Gong reggae feel. He sent me a beat in five minutes, and I cut the demo. We had the song for a year, and I decided to send it to The Game. He sent back two verses. Easy.”
“Wet and Wild,” featuring D’Yani, bridges generations with a dance-heavy beat that gets you moving. D’Yani’s smooth delivery perfectly complements Konshens’ style.
The album closes with “Deserve It All,” a dancehall anthem featuring Izybeats and Track Starr. This Afrobeat-influenced track is both danceable and uplifting, with a positive message that makes it an anthem for the summer and beyond. Konshens told Billboard, “Number one for me is track 15, ‘Deserve It All’; that’s the mode I’m in. I feel like music blessed me, and mi nuh feel guilty about receiving those blessings. I want more. I’m claiming it. I want to empower people to feel like they deserve to be successful and achieve their goals.”
This album is “another rebirth” for Konshens, delivering a project with meaning and fun. From profound reflection to fiery dancehall vibes and riddims, Pool Party showcases Konshens’ growth as a man, lyricist, and global artist. Whether you’re soaking up the sun or sweating it out in the club, this album offers a rhythm for every moment.
With its dynamic array of topics, moods, and textures, Pool Party stands as a complete artistic statement. Pushing for global appeal, Konshens infused Afrobeat, Latino, and hip-hop genres while staying true to his dancehall roots. He has truly delivered a HOT production to take us away from the negativity surrounding us today.
One Love – Todd M. Judd
Touring rock and metal festivals used to be a more consistent thing in years past. Sadly, some of our favorites like Warped Tour, Mayhem Fest, and Knotfest have either ended or transitioned into single-stop events. Well, a new summer touring festival has hit the scene and promises to light up each venue. Summer of Loud is traveling across the United States, boasting four headlining bands performing each night and tons of pyro to light up each city. The four headliners include powerhouse bands Beartooth, I Prevail, Parkway Drive, and Killswitch Engage, all rotating headlining duties at different stops. Along with these big names, the tour features The Amity Affliction, The Devil Wears Prada, Alpha Wolf, and a rotating opening band. The Summer of Loud Festival invaded the new Great Park Live venue in Irvine, CA, and fans were ready for a full day of headbanging and moshing.
Before the show could even start, the day was marred by some unfortunate setbacks. Sadly, The Devil Wears Prada had to drop out of the Irvine date due to a medical issue, though they were able to make the next stop. While it was disappointing not to see them, it’s better for the band to take the time to heal rather than push themselves. This caused the first band to go on 45 minutes later than originally planned. Additionally, the venue moved the door time back by an hour, leaving many fans standing in direct sunlight under 85-degree clear skies for longer than expected.
Another major setback was that, due to Irvine fire ordinances, the tour was forbidden from using any pyrotechnics. The pyro was a big visual factor in the festival’s presentation, and its absence felt like a significant loss. Nonetheless, each band knew they had to bring their A-game to make the day worth it for the fans—and they absolutely delivered.
Opening the show was Kingdom of Giants, making their Summer of Loud debut, replacing former opening band TX2. Wasting no time, they kicked off their set with “Asphalt.” As soon as the heavy guitars from Max Bremer and Julian Perez hit, you knew it was going to be a good day. But it was when vocalist Dana Willax unleashed the first screams of the day that the crowd truly came alive.
Though Kingdom of Giants had the shortest set of the day, they made sure to get the blood pumping. Mosh pits opened up, and crowd surfers began crashing over the barricade. Their setlist included “Wasted Space,” “Bleach,” the live debut of “Collide,” “Burner,” and ended with “Wayfinder.” Kingdom of Giants was the perfect choice to kick off this leg of the Summer of Loud festival.
Next up was Alpha Wolf, a band from Australia that has been gaining traction recently. They wasted no time, hitting the crowd with heavy, chuggy riffs to ignite the energy. Vocalist Lochie Keogh, wearing a custom Alpha Wolf-emblazoned San Diego Padres jersey, delivered one of the most ferocious vocal performances of the day. His screams felt like they were directed straight at you, full of raw intensity.
Guitarist Sabian Lynch, with his face mask, bleached hair, and confident stage presence, brought to mind Kakashi from Naruto. The band even opened their set with “Mangekyō,” a possible nod to the anime. Alongside fellow guitarist Scottie Simpson, bassist John Arnold, and drummer Mitch Fogarty, Alpha Wolf attacked the audience with songs like “Pretty Boy,” “Sucks 2 Suck,” “Sub-Zero,” “Haunter,” “Creep,” and “Akudama.” Despite the heat, fans gave Alpha Wolf all their energy, proving their growing popularity.
It was then time for The Amity Affliction to take the stage. This was my first time seeing them live, and they did not disappoint. Vocalist Joel Birch was all smiles, clearly enjoying every moment on stage. His harsh vocals paired beautifully with bassist Jonathan Reeves’ clean vocals, creating a dynamic ebb and flow in their music.
Guitarist Dan Brown delivered heavy riffs and fluid melodies, while drummer Joe Longobardi blasted the crowd with double-kick patterns. Unfortunately, near the end of their set, Joel Birch rolled his ankle during “It’s Hell Down Here.” It was later revealed that he broke two bones in his left foot. Despite the injury, Birch finished the set like a true rockstar, performing the final song with his foot in a cooler full of ice. The band announced they would not be dropping off the tour, ensuring fans can still catch them at future stops.
The first of the four headliners to perform was Killswitch Engage, metalcore legends who have been foundational to the scene for decades. Even with the bright sun blazing behind them, they delivered a powerful performance. Vocalist Jesse Leach showcased his incredible range, seamlessly transitioning between angelic cleans and gritty screams.
Guitarist Adam Dutkiewicz, known for his playful stage persona, rocked a pizza guitar, an “I’m with Stupid ß” shirt, and a headband that read “Beer.” Despite his antics, his guitar work, alongside Joel Stroetzel, was nothing short of inspiring. Bassist Mike D’Antonio and drummer Justin Foley kept the rhythm section tight, while the band crammed as many hits as possible into their set, including “Rose of Sharyn,” “This Fire,” “Hate By Design,” “My Curse,” and “Holy Diver.”
Our second headliner of the night was Parkway Drive, another Australian powerhouse. Opening with “Glitch,” vocalist Winston McCall commanded the crowd like a military sergeant, urging fans to keep the mosh pits spinning. Guitarists Jeff Ling and Luke Kilpatrick delivered driving hooks, while bassist Jia O’Connor and drummer Ben Gordon held down the rhythm.
Their setlist included fan favorites like “Prey,” “Vice Grip,” “Carrion,” and “Wild Eyes.” While Parkway Drive is known for their elaborate pyro rigs, the lack of fire due to Irvine’s restrictions was disappointing. Still, the band’s energy and performance more than made up for it.
As the sun set, I Prevail took the stage. This was their first tour without founding member Brian Burkheiser, leaving Eric Vanlerberghe to handle full vocal duties. Starting with “Bow Down,” the band brought ferocity to their set. Vanlerberghe’s unclean and clean vocals were effortless, while rhythm guitarist Dylan Bowman provided additional clean vocals.
Lead guitarist Steve Menoian added ambiance and texture to the tracks, while drummer Gabe Helguera delivered powerful, intentional drumming. Their setlist included “Body Bag,” “Self-Destruction,” “Hurricane,” and “Gasoline.” While Vanlerberghe did an excellent job, I hope the band considers bringing back a second vocalist to restore the layered dynamics that define their sound.
Finally, it was time for Beartooth to close the show. Kicking off with “The Lines,” vocalist Caleb Shomo brought unmatched energy, running across the stage and pouring passion into every song. From tracks about depression to finding happiness, Shomo’s emotional delivery connected deeply with the crowd.
Guitarists Zach Huston and Will Deely kept the riffs heavy, while bassist Oshie Bichar added depth with backing vocals. Drummer Connor Denis showcased his evolution, delivering nuanced patterns and powerful beats. Their setlist included “The Past is Dead,” “Sunshine!,” “Disease,” and “Riptide,” ending the night with “In Between.”
The Summer of Loud tour brought big, loud energy to Irvine, CA. While the lack of pyro was disappointing, the bands didn’t let it hinder their performances. Each act brought their best, making this one of the most exciting shows of the summer. I hope the Summer of Loud becomes an annual event, with new bands joining the lineup. Just one request: please find a venue that allows the full pyro experience.
Hard rock and blues guitar icon Gary Hoey is back with a scorching new album, Avalanche, released on May 9. He has been out on the road celebrating these new songs, wrapping up this first run of shows at the legendary Coach House Concert Hall in San Juan Capistrano on Saturday night, June 28. Joining Hoey onstage for this tour are his son Ian Hoey on second guitar, Mike Dutko on bass, and Stet Howland on drums, stepping in for Leah Bluestein, who is currently playing with Eagles of Death Metal.
Gary Hoey’s talents go far beyond his mesmerizing guitar mastery—he is also a soulful vocalist. The night kicked off with two spectacular cover songs: Don Nix’s “Goin’ Down” followed by Red Rider’s “Lunatic Fringe.” From the very start, it was clear this was going to be a magical show. With all due respect to the drummers who have played with Hoey over the years, it was extra special to see and hear Howland on the drums. An industry veteran, Howland has played with W.A.S.P., Metal Church, Lita Ford, and many others. His animated and precise drumming added an electrifying energy to the performance.
Hoey is one of the most pleasant and positive human beings on earth, and his between-song stories and outlook on life are always inspirational. Seeing him live, you become a fan not just of his music but of the man himself. Seven songs from the new album Avalanche were performed, each one top-notch. Hoey’s ability to create rock-infused blues and guitar-driven music that moves you remains in his DNA, even 30+ years into his career.
Ian Hoey, who has been playing live with the band for a few years, has taken on a larger role in the performances. He delivered more leads and even vocals on a cover of Jimi Hendrix’s “Little Wing.” Throughout the night, Gary and Ian often huddled up to jam, and it was clear how proud Gary is of his son. Ian has certainly inherited his father’s ability to shred on the six-string.
Dutko on bass held down the rhythm and brought the thunder with his playing. His interactions with Hoey were fun to watch, and it was evident that the band is tight and having a blast onstage. Of course, many Hoey classics were played, including “Peace Pipe” and “Who’s Your Daddy.” A particularly emotional moment came with “Dear Mama,” a song from the new album that Hoey wrote in memory of his late mother, to whom he was extremely close. It was a touching tribute that resonated deeply with the audience.
The night ended with a bang as the band hammered out a killer rendition of “Hocus Pocus” (a Focus cover), followed by the National Anthem, and then closed with a fiery cover of Jimi Hendrix’s “Foxy Lady.”
Before wrapping up, Hoey announced an exciting collaboration with AleSmith Brewing Company. He is releasing his own beer called “Summer’s Here,” and he and Ian will be at AleSmith Brewing Company in San Diego on July 12 to celebrate the beer’s release with an acoustic set.
Gary Hoey continues to prove why he’s a legend in the hard rock and blues world. With Avalanche, he delivers a fresh yet familiar sound, and his live performances remain as electrifying as ever. If you get the chance to see him live, don’t miss it—you’ll leave inspired, entertained, and in awe of his talent.
Ithaca Reggae Fest was back—and not just for one day. This year, the festival expanded to a two-day celebration in its seventh year, bringing fun, dope music, great laid-back vibes, a beautiful setting, and a super chill atmosphere. Stewart Park is the perfect location for a reggae festival; nestled up to Cayuga Lake, attendees were blessed with a refreshing lake breeze, sunny skies, electrifying performances, reggae vibes, love, and amazing people.
In addition to the music, Ithaca Reggae Fest offered the Lake Discovery Village, Yoga Village, Skateboard Village, Art Village, and Youth Village, creating an all-around wonderful weekend. The festival is dedicated to the protection of Cayuga Lake through a conscious celebration of Ithaca’s legendary reggae community and its history. Attendees also enjoyed incredible food and beverage vendors, as well as a variety of craft and merchandise vendors. Russ Friedell, a director for the festival, anticipated a record turnout this year. But for him, it’s not just about the numbers—it’s about the meaning of the event.
“The vibe of Reggae Fest is really peace, love, reggae, and community,” Friedell said. “The message of reggae music in general is pretty universal—peace, love, love one another, come together. In these times, that message has never been more necessary for us all to remind ourselves of.”
The festival kicked off on Friday evening with a free block party featuring a dance step and double-dutch troupe, GIAC Jumpers, EvoEvolution, indigenist artist Ononkwa-Medicine, and legendary reggae DJ Carter Van Pelt.
Saturday began with various yoga stations and practices, leading into the first performance of the day: the Gayogo̱hó:nǫˀ Cultural Celebration. Tribal members shared stories, songs, and dances with the crowd, even inviting attendees to join in some of the dances. A highlight was the warrior dance performed by three young members of the tribe.
DJ Mike Judah kept the reggae beats, riddims, and classic tunes flowing, setting the tone for the day’s events. Meanwhile, the Flatland Freestyle US Pro/AM Championship skateboarding runs showcased incredible athletes doing their thing.
Cha Cha & The Analogue Sons opened the music lineup with a unique sonic dub soul reggae vibe. Led by Cha Cha, a Ghanaian artist with a fantastic voice, the band delivered a sound that blended Afrobeat and reggae seamlessly. The horns and percussion added depth to their performance, and Cha Cha’s humble and sweet personality shone through.
Next up was Personal Blend, a seven-piece group from Rochester, NY, bringing an upbeat reggae rock set. Their feel-good party vibe had the crowd dancing, with the horn section and dual vocalists keeping the energy high.
The energy skyrocketed when Gunpoets hit the main stage with their hip-hop reggae fusion. The crowd danced, jumped, and screamed along as the band used their instruments and lyrics as weapons for peace, love, and justice. Their uplifting performance defied stereotypes, and I had the pleasure of chatting with Dan Lisbe afterward about his projects.
SingTrece followed, hailing from Erie, PA, with a stunning mix of soul, R&B, and funk. Her powerful, deep voice evoked comparisons to Chaka Khan, and her band was absolutely brilliant. From the horns to the percussion, every element of their performance left the crowd in awe.
Mihali took the stage next, delivering his signature jam-packed performance. His band’s horn players stole the show with their emotional and energetic playing, while the drummer’s solo was unforgettable. After the set, Mihali spent time with fans, taking photos and sharing the love.
Black Lion, from Lilongwe, Malawi, brought a unique roots reggae sound with his band Heatwav. Despite being a three-piece band, their sound was rich and multifaceted, blending complex rhythms with smooth vocals. I had the chance to chat with Black Lion, and I’m excited to add his music to my playlist.
The night’s headliner, Kabaka Pyramid, took the stage with his band, The Bebble Rockers. Known for his Rastafarian connection to Africa and his lyrical prowess, Kabaka delivered an electrifying performance. The Bebble Rockers’ riddims and beats were flawless, and Kabaka’s hip-hop-infused reggae about unity and love captivated the crowd. It was the perfect way to end the night.
Sunday morning started with rain, which delayed the yoga and skateboarding activities. But as the clouds cleared, the day turned sunny and beautiful. DJ Art-V entertained the crowd as they arrived, and Steel Pulse gave a sneak peek during their soundcheck, offering a taste of what was to come.
The day began with the Notorious Stringbusters, a bluegrass band that brought a reggae twist to their set, including covers of Toots and the Maytals. Their energy had the crowd dancing and jamming.
Ithaca’s own Metasequoia followed with their funky rock reggae vibe, blending genres like rock, reggae, alternative, and blues. Led by Star on keys and vocals and Roo on guitar and vocals, their unique sound transported the crowd back to the ’80s.
Double Tiger was a revelation. Led by Jay Spaker, the band delivered an incredible roots reggae groove. Jay’s voice, reminiscent of classic Jamaican reggae, paired perfectly with the band’s riddims and standout horn section.
New Planets brought a genre-defying set, blending reggae with funky dance music. Their performance featured Cha Cha, who added his dynamic drumming and vocals to the mix.
Giant Panda Guerilla Dub Squad, from Rochester, NY, brought high-energy jams to the stage. Their horn section carried the set, and Jay Spaker joined them for “Champion,” elevating the energy even further.
As the festival neared its end, Thousands of One delivered a powerful set of conscious music, blending afrobeat, funk, reggae, and hip-hop. Their dynamic performance featured standout moments from Jhakeem Haltom on vocals and Mark Wienand on saxophone and flute.
Finally, the legendary Steel Pulse closed the festival with a masterful performance. Led by David Hinds, the band delivered perfection, weaving their songs into a message of unity and love. Their energy and showmanship left the crowd dancing and smiling, ending the festival on the highest note possible.
TheIthaca Reggae Festis the most chill and laid-back festival I’ve ever attended. Everyone—from vendors to organizers, volunteers, photographers, and concertgoers—felt like a friend. The sense of community was palpable, and the music was unforgettable.
As Russ Friedell said, “The vibe of Reggae Fest is really peace, love, reggae, and community.” He couldn’t have been more right. If you’re looking for great music, a perfect lakeside location, and an atmosphere of love and unity, don’t miss the next Ithaca Reggae Fest. You’ll leave with new friends, unforgettable memories, and a heart full of reggae vibes.
One Love – Todd M. Judd
Tech N9ne just dropped his new album 5816 Forest, and to celebrate, he teamed up with Lil Wayne for the fifth time on a single we’re not going to forget anytime soon. “Yoda” is more than just a track; it’s a full-blown trip through hyperspace with a crash landing that leaves you reeling (in the best way possible). And the video? Pure chaos, in the most beautiful, frenzied way imaginable.
First off, Tech flexes his lyrical wizardry by actually rapping like freakin’ Yoda. That’s right, Yoda. And not in a corny, over-the-top way either. It’s bizarrely genius. Lines like “Be the, be the best I will” feel as if Tech spent a weekend on Dagobah training with the Jedi master himself. His delivery is sharp and exact, all while stepping seamlessly into this galactic persona. But don’t sleep on Weezy. He rides shotgun with classic Lil Wayne flair, dropping zingers like “I be green like Yoda,” locking into the theme with his quirky wordplay. Together, they’re effortlessly cool, weaving a track that bounces between swagger and absurdity in a way that just works.
Now for the visuals. Holy Sith, where do I even start? Picture a kaleidoscope of glowing lightsabers slicing through a haze of neon. Tech and Wayne stand at the forefront, commanding every second of the frame like they’re hosting the wildest Jedi rave in the galaxy. The video captures the vibe of the track perfectly: chaotic, creative, and completely unhinged. There’s no storyline, no deeper meaning to analyze. It’s just a visceral explosion of color, energy, and swagger.
What makes this even wilder is how proudly out-of-the-box it all is. Who else but Tech N9ne could pull off a concept like this without it coming off as a parody? He’s not just staying in his lane; he’s building new hyperlanes and pulling Lil Wayne along for the ride. These two consistently push boundaries when they collaborate, and “Yoda” is no exception.
Here’s the truth in plain English. You need to watch this video. Even if you’ve never spun a Tech N9ne track before or you think the Star Wars references might be lost on you, give this one a shot. It’s impossible not to get caught up in the sheer audacity of it all. And while you’re at it, grab 5816 Forest. If this track is any indication of what’s on the album, you’re in for a treat.
To borrow a note from Yoda himself, “Do or do not, there is no try.” Watch the video. Thank me later.