Friday night April 26 was a special night in Pomona, CA as the electro-industrial masters Lords of Acid kicked off their highly anticipated 2024 North American tour at The Glasshouse with Lords of Acid mastermind Praga Khan playing a solo set for a 1-2 punch of in-your-face EDM. The band has been promoting the six-week tour on social media and it is quickly selling out as it heads East then circles back out West ending in Los Angeles on June 7.
SoCal Punk Rockers Ominous Duck, a band of angst driven youngsters opened the show with a 40-minute set mixed with original rockers and a few covers by System of A Down, Nirvana and Slipknot. Keep your eyes and ears peeled for this band – the crowd quickly warmed up to them and they succeeded at pumping them up for the epic night ahead.
Praga Khan is a legend in the electro-industrial / EDM world and at 65 years young he quickly turned the Glasshouse into an EDM rave as he and his band – his wife, Inja Van Gastel on keyboards/synth and longtime collaborator Olivier Adams on drums put on a high energy 45-minute set that had everyone in the venue dancing and waving their arms. Khan’s liveliness onstage was impressive as he was constantly moving and had the crowd mesmerized with his classic beats. Songs played included the show opener “Love”, “Breakfast in Vegas”, “The Power of the Flower” and the night ended with the two hits from Mortal Kombat, “Sub-Zero” and “Techno Syndrome”.
The fans had a 15-minute break to re-fill their beers before the lights turned red and Lords of Acid hit the stage opening with “Sex Bomb”. With Praga Khan now on keyboards/Synth and DieTrich Thrall on bass along with his rhythm partner Galen Waling hitting the drums and the sinister Creighton Emrick on guitars, they gave Pomona their first taste of Lords of Acid 2024 before the lovely new vocalist Gigi Ricci appeared for the second song “Scrood Bi U” and then party really kicked off. Ricci is a perfect fit for LoA and plays the role perfectly as she holds true to the original vocals while adding her own flair both sonically and visually.
The crowd was into the show every minute the band was on stage and somehow Praga Khan after just delivering a 45-minute solo set maintained his energy on stage for another 75 minutes as the fans “Praised the Lords” as they delivered their usual kinky, sex laced songs. Ricci had a smile from ear-to-ear the entire time onstage and repeatedly thanked the crowd for their support.
As expected, the ladies in the house were invited on stage for “Spank My Booty” and the tongue-in-cheek fan favorite “Pussy”. Ricci was enjoying interacting with the fans onstage as well as having fun with her band-mates. Of course, the blow-up dolls made an appearance during “Rubber Doll” as Inja Van Gastel joined the band onstage and also flashed a large sign with one side reading “Praise the Lords” on one side and the other side reading “Fuck the Rest” during the anthemic “Worship the Lords”.
The night ended with a bang as the band played “The Crablouse” followed by “Drink My Honey” and ended with the super sexy/hypnotic “I Sit On Acid”. The 2024 version of Lords of Acid is a show not to be missed and coupled with the sounds of Praga Khan, this is a night of epic music from a legend that played a critical role in defining the industrial/electronic music arena and has been an influence to many in all genres of music.
Praga Khan Set List:
Love | My Mind Is My Enemy | Remove the Armour | Breakfast in Vegas | Lonely | The Moon | The Power of the Flower | Luv U Still | Sub-Zero (The Immortals song) | Techno Syndrome (The Immortals song)
Lords of Acid Set List:
Sex Bomb | Scrood Bi U | Lover | The Most Wonderful Girl | Mr. Machoman | Out Comes the Evil | Marijuana in Your Brain | You Belong to Me | Spank My Booty | (A Treatise on the Practical Methods Whereby One Can) Worship the Lords | Rough Sex/Take Control | Rubber Doll | Voodoo-U | Pussy | Let's | Get High | LSD = Truth | The Crablouse | Drink My Honey| I Sit On Acid
In Southern California we have a lot of concert venues, many of which are famous smaller venues that bands play when coming up on their journey to notoriety. One specific venue is Chain Reaction in Anaheim California. My first time at this venue was in 2017 to see a band called Wage War. This show had one of the heaviest pits and craziest crowds I have ever been in. The mosh got so heavy that at one point a fan got pushed into the corner of the band’s stage riser, and sadly got busted open. The band stopped the show, personally pulled the fan out of the crowd, and made sure he was ok and safe before coming back on stage to finish the set. Ever since that moment, I’ve considered Wage War a band of upstanding people. A few years later now, they have evolved and are on a co-headlining tour with Nothing More, coming to the Riverside Municipal Auditorium in Riverside, CA. Opening the tour was Sleep Theory and Veil of Maya. Fans packed the auditorium for a night of moshing and crowd surfing.
Opening the night was Sleep Theory. These guys were ready to get the house jumping and rocking with their music. Opening the night with “Fallout,” and the first thing I noticed about this band is how powerful lead singer Cullen Moore vocals are. The man carries so much seductive passion in his voice you can’t help but fall for his singing. Paired with guitarist Daniel Pruitt who also handles the harsh vocals, Pruitt allows us to unleash our pent up anger. Drummer Ben Pruitt manages the mixing tempos of the music with ease, and a striking snare shot that sends shivers down the spine. While bassist Paolo Vergara sync’s up with Ben to elevate the rhythm section. Playing songs like “Enough,” “Paralyzed,” “Gone or Staying?,” “Stuck in my Head,” and ending with “Numb,” Sleep Theory made the most of their short set time to give the crowd the best of what they have, and the crowd fed that passion right back to them.
Up next was Veil of Maya. I first saw this band when they performed on the Summer Slaughter festival back in 2017. I was blown away by their stage presence and they continue to entertain me any chance I get to see them. Guitarist Marc Okubo almost steals the whole show himself with how animated he is on stage. Riffing on some of the tastiest of djent licks, and weaving them into his melodies, all the while either headbanging or circle pitting constantly. Bassist Danny Hauser finger picks away at his seven string headless bass. Making the most of all the strings he has at his disposal, his fingers appear to waltz across the neck of the instrument. Drummer Sam Applebaum sounds like a machine gun firing off his double bass kick patterns with a furious blitz. Singer Lukas Magyar is a dynamic vocalist able to hit the clean high notes, and then drop into nasty harsh screams. Veil of Maya kept the energy high throughout their set with songs like “Tokyo Chainsaw,” “Artificial Dose,” “Godhead,” “Viscera,” “Outrun,” “Outsider,” “Red Fur,” and ending with “Mikasa.” Veil of Maya continues to be a stellar support act. However, Summer Slaughter 2024 was just announced with Veil of Maya as one of the headliners. This tour hasn’t been around for a few years, and to see Veil with a full headlining set shouldn’t be missed.
With the next band, I make it a mission to try and not miss any of their live shows when they come to town. Nothing More has become such a frequent band I listen to daily with their infectious melodies and Jonny’s piercing voice. No matter how good they sound on the album, it can’t hold a candle to their live show. Vocalist Jonny Hawkins is a fire that can’t be controlled on stage. Performing barefoot, shirtless, and dripping in paint he is a soldier going to war with his music. But a soldier is only as strong as his brethren, and Nothing More is more than just their frontman. Guitarist Mark Vollelunga was feeling his playing so much, he snapped a string at the beginning of the second song. Ever the professional, his playing couldn’t be halted by missing a string. Vollelunga even jumped into the crowd at one point, shredding right in the fans’ faces. Bassist Daniel Oliver was dressed as the coolest guy on stage with a puffy jacket and shades indoors. He has one of the most expressive faces, and it’s a pleasure to watch as he contorts his expressions through the show. Drummer Ben Anderson isn’t one to be lost in the back, playing with big movements and even bigger sounds to send the soldiers of Nothing More charging. Armed with songs like “If It Doesn’t Hurt,” “Let ‘Em Burn,” “Don’t Stop,” “Angels,” “Go to War,” “Tired of Winning,” “House on Sand,” “Jenny,” “Fadein/Fadeout,” and ending with “This is the Time (Ballast)” the crowd was happily recruited into this army. During the final moments of the show, Hawkins, Vollelunga, and Oliver all jumped into the front row of the crowd, Hawkins specifically armed with two drum heads, as the band went into a finally instrumental finish to the show. Nothing More plays with intense passion and energy that still connects on an emotional and human level.
Finally, it was time to see the band that I always knew could bring one of the craziest mosh pits. I was excited to see Wage War do it again at a bigger venue, and they did not disappoint. Opening their set with “Stitch,” as soon as the beat came in you could feel the auditorium physically moving with how much the crowd was jumping and ready to go crazy. As vocalist Briton Bond came in with his unclean vocals, the crowd surfers did not waste any time to start coming over the barricade. The thing I love about Wage War is how Bond’s unclean vocals layer with rhythm guitarist Cody Quistad’s clean vocals. Their dichotomy of melodic and harsh vocals is some of the best in the metalcore scene. The way the clean vocals are used to emphasize the harmonies to rock and headbang to vs the harsh vocals layered over the beat down style beats that let fans mosh and go crazy is just…chef’s kiss. Quistad’s rhythm section allows for lead guitarist Seth Blake to just go wild with the lead riffs. I also love watching bassist Chris Gaylord, as he’s not one to get forgotten at the back of the stage. He wants you to feel the grooves he’s laying down as he blasts his beats in the faces of the fans. Drummer Stephen Kluesener knows when he needs to let the beat build and raise the tension in the song, before going off on the kit and driving the song forward. Wage War played a solid set with songs like “Low,” “Gravity,” “High Horse,” “Godspeed,” “Magnetic,” “Prison,” “Teeth,” “The River,” “Alive,” “True Colors,” “Death Roll,” “Nail5,” “Circle the Drain,” and ending with “Manic.” The entire time the moshers and the crowd surfers could not be stopped.
One of the best feelings in the world is seeing a band you love grow from playing smaller venues to headlining their own tours at multiple thousand capacity venues. Wage War has been working hard to make their presence known, and it is great seeing them grow, and watching as the fans still rip the roof off any joint they play in. Nothing More continues to speak to me on a personal and emotional level that can imbue hope at almost any time of my life. Veil of Maya shouldn’t be missed on the upcoming Summer Slaughter Festival. But most of all, I can’t wait to see where Sleep Theory goes from here. I will be watching them grow and look forward to seeing them headline bigger venues just like Wage War is doing now.
Knox's headlining show at the Echoplex was one of those shows where you'd ask yourself: 'Wait, did this actually happen?' Not only did we have Knox for this mesmerizing show, but we also had Maryjo opening the night. The energy throughout the night was intense, and the crowd was ready for it.
Even before Maryjo’s set, she came onstage briefly and greeted the audience. Just from that experience, you could tell how down-to-earth she is. When she came on stage, Maryjo brought her eccentric personality with her. Her energy and charisma as she jumped around the stage was a sight to see. Her set list that night included: "Curious", "Drunk Tattoo", "Traffic", "Still Into You", "Cleveland", "Simple", "Should Be Us", "Don’t Call Me", and "I Woke Up". At a certain point during the set beach balls flew out from nowhere, but it still complimented the energy. Maryjo is that kind of artist who you can tell loves interacting with the crowd. She’s not afraid to make eye contact, and at some point, she even jumped into the crowd and got everyone dancing. She would also interact with her bandmates onstage, performing alongside her guitarist, making the performance much more exciting. You could tell everyone enjoyed being up on stage.
You can also tell that Maryjo is someone who doesn’t let anyone push her around. This is demonstrated in "Don’t Call Me", and it shows how much she knows her worth. I’d say she’s a good artist to look up to for that reason. The amount of emotion she put into her performance of "Should Be Us" was captivating, such as when she pointed toward her heart and the way she moved while being by the drums. It was also refreshing to see audience members cheer on the guitarist and his smile while playing. Having a band with you really does make a difference performance-wise."
Right before Knox’s set, the audience sang along to the music, creating a touching moment. We were all excited for Knox, and when he took the stage, he entered running. He kicked off with his song "Love Letter," prompting everyone to clap and sing along. Knox receives an immense reaction from his fans, surpassing even technically bigger artists. Alongside "Love Letter," Knox performed "Man Down," "Sneakers," "Hate My Guts," "Nevermind," "Porch Lights," "Dumpster Fire," "I Don’t Wanna Know," "Time Machine," "We’re Not In Love Anymore," "Change Your Mind," "Me, Myself and Your Eyes," "NYC," "I’m So Good At Being Alone," "Girl On The Internet," "Here’s To Us," and "Not The 1975." He also had a moment reminiscent of Ed Sheeran with the songs "Invisible" and "Whatever Else You’re Feeling Baby."
During "Man Down," the audience jumped with hands in the air. For "Nevermind," Knox engaged the audience in a competition to see who could be the loudest. While performing "Porch Lights," Knox’s movements matched the lyrics, adding an electrifying spin on stage. "Dumpster Fire" was visually captivating with quick movements and warm colored lights. "We’re Not In Love Anymore" evoked nostalgia, especially when Maryjo joined Knox on stage for a surprise performance.
Knox’s drummer and guitarist infused energy into the performance, with memorable moments on stage. The guitarist even made a heart sign to the audience. Knox’s tour, named after the song "I’m So Good At Being Alone," showcased his stage presence. "Girl on The Internet" highlighted social media addiction and the facade of happiness online. Knox concluded the night with "Not The 1975," adding a special touch with another guitarist joining on stage.
Knox and Maryjo’s stage presence is palpable, with Knox's fast movements drawing comparison to a roadrunner. Photographers seeking shutter drag practice would find Knox’s dynamic movements ideal. The audience knew every song by heart, singing along enthusiastically even during Knox’s acoustic performances. If you seek a blend of heartfelt melodies and high energy, don’t miss out on these talented artists.
Back in 2006, when high school Matt was just discovering the world of metal, Cartoon Network started airing advertisements for a new animated show on Adult Swim called Metalocalypse. This show centered around the fictional biggest metal band in the world known as Dethklok. The show was created by Brendon Small, who I had known from another adult swim cartoon, Home Movies. Being a big fan of that show, and starting to discover the world of metal, I was incredibly intrigued to see what Metalocalypse was going to be. The show aired, and it took the metal world by storm, and helped catapult me deeper into the metal world. Not only was the show hilarious, but it had genuinely amazing music. This fictional band put out a real world album called The Dethalbum and it was discovered that Brendon Small had personally wrote and recorded all of the music. He has since put out four albums in total under Dethklok and has been touring the music playing it live on stage himself with the help of a backing band. I finally had the chance to see them when the Mutilation on a Spring Night Tour 2024 came to Riverside, CA and brought DragonForce and Nekrogoblikon with them. It was a night for goblins, dragons, and animation!
Opening the night was the Los Angeles natives known as Nekrogolikon. I’ve heard a lot of about this band from friends and seen plenty of pictures of their hype man John Goblikon. So, I was very excited to finally see them live. Opening the night with “Powercore,” something I didn’t realize was that John Goblikon is the clean vocalist of the band as well. I always thought he was just the on-stage hype man getting the crowd pumped. But the goblin can fucking sing too! Carrying with him almost a power metal-esque vocal talent. Alongside co-vocalist Dickie Allen who handles the harsh vocals. Allen has some of the nastiest gutturals in the metal scene. The pairing of Goblikon and Allen creates a Dr Jekyll and Mr. Hyde aspect to the music. Guitarists Alex “Goldberg” Alereza and Joe “Diamond” Nelson rip blistering guitar licks that float between melodic interludes to speed metal. With drummer Eric W. Brown unleashing a blitzkrieg of double bass kicks to send the crowd into a frenzy. All the while keyboardist Aaron “Raptor” Minich is layering in a more whimsical sound to the chaos. With songs like “The Many Faces of Dr. Hubert Malbec,” “Darkness,” “Bones,” “Dressed as Goblins,” “No One Survives,” and “This Is It,” Nekrogolikon got the fury started in the venue that could only rage harder from here.
Up next was a band I was very familiar with, that being DragonForce. I’ve seen and covered them on multiple occasions, and they are one of the most consistently entertaining bands touring today. Guitarist Herman Li and Sam Totman have found a way to turn niche speed metal guitar playing into radio friendly music. Flavoring their insanely fast paced playing with easy to follow melodies, guitar sound effects, and stage antics, all while never missing a note. With vocalist Marc Hudson comes in with the power metal vocals that ascends you into the heavens of the fantasy realm DragonForce sings about. All the while bassist Alicia Vigil and drummer Gee Anzalone hold down the rhythm section that allow Li and Totman to go crazy on their axes. DragonForce likes to take speed metal and make it fun and accessible to everyone. One big way they have done this recently is their cover of Celine Dion’s “My Heart Will Go On.” You may think a guitar heavy version of the Titanic classic doesn’t work, but Marc channels the essence of Dion to provide this perfect metal sing along with the crowd. Even taking on Taylor Swift’s “Wildest Dreams” to which the moshers could not resist spinning the fastest pit to a T-Swift jam. Other songs played included “Fury of the Storm,” “Cry Thunder,” “Power of the Triforce,” “The Last Dragonborn,” “Doomsday Party,” and closing with the classic “Through the Fire and Flames.” This was my first time seeing DragonForce as not the headliner, and they brought an abridged version of their set that still pleased everyone.
It was finally time for the greatest animated metal band in all the world. As a quick trailer animation played to hype the crowd up, it transitioned into Rick Astley’s iconic “Never Gonna Give You Up” playing over the speakers instead. Yes, we were just Rickrolled by Dethklok. This created a moment of levity in the crowd and reminded us that the band barely takes themselves seriously, so why should we. And the entire crowd shared a collective laugh at being tricked so easily.
Shortly after this moment, the lights cut out and the crowd erupted for our headliners. It was time for Dethklok to truly take to the screen this time. With the live shows, Dethklok creator Brendon Small prefers the music and the videos to take center stage. So, though the music is played with a live band, the musicians all play shrouded in darkness to the point that you can only see their silhouettes against a jumbo sized LCD screen that plays the videos of the animated band behind them. Small is multi-talented, not only in creating an animated band that is beloved by millions. But seeing him play the music live really cements how talented he is. Handling both guitar duty and lead vocals, Small proves that he personally can stand toe to toe with the best musicians in the metal genre. Though Small writes and performs all the music in the studio, he does need to fill out the band to perform the music live. Bringing with him Nili Brosh on guitar, Bryan Bellar on bass, and long time fellow collaborator and friend Gene Hoglan to handle drumming duty. These four are the real stars that bring Nathan Explosion (voalist), Skwisgaar Skwigelf (lead guitarist), Toki Wartooth (rhythm guitarist), Pickles (drums), and William Murdrface (bass) to life.
Brendon Small really didn’t want to take away to much time from the music, instead rolling from one song into the next, to unleash a barrage of Dethklok classics like “Deththeme,” “Briefcase Full of Guts,” “Birthday Dethday,” “Mutilation on a Saturday Night,” “Bloodlines,” “Awaken,” “The Gears,” “Castratikron,” “Hatredcopter,” “Dethsupport,” “Duncan Hills Coffee Jingle,” “Aortic Desecration,” “I Ejaculate Fire,” “the Duel,” “Murmaider,” “Thunderhorse,” and ending with a three song encore of “Fansong,” “SOS,” “Go Into the Water.” Small did also grace us with a quick moment where they did turn on the lights so he could introduce the live musicians, and even gave us a quick impromptu Metalocalypse skit. As he voices most of the characters in the band, he had a conversation with the crowd from the perspective of the animated band members. It was a great way to give back to the fans.
I’ve always heard what a Dethklok live show would be like, and that the musicians would be cast in shadow, and you’re basically watching animated music videos the whole time. And though that may sound unfulfilling, when you take the time to actually go to their show and take it in, you realize how far from the truth that is. Even if the musicians are barely visible, you still feel the presence of the live instruments and the energy of the crowd. A show like this helps remind us why we go to live music events in the first place. Seeing our favorite musicians is a big part of it. But hearing the music live and feeling connected with fellow fans next to you is what makes the experience truly rewarding. Dethklok isn’t any less of a real live show than any other band, and I dare you to go to their next show and tell me I’m wrong.
In the heart of Dallas, Texas, the vibrant energy of The Factory reached its peak as Hot Mulligan took center stage, headlining a night of unparalleled musical euphoria. With Free Throw by their side as direct support and Just Friends and Charmer setting the stage ablaze as openers, the crowd was in for an unforgettable journey through a spectrum of sounds.
Kicking off the evening, Just Friends and Charmer wasted no time in captivating the audience with their infectious energy and soul-stirring melodies. Their dynamic performances set the perfect tone for what was to come, priming the audience for an unforgettable night.
As the anticipation reached its zenith, Free Throw seized the stage, delivering a performance that resonated deeply with the audience. Their raw emotion and raw energy reverberated through the venue, igniting a fire within every soul present. Each chord struck a chord, each lyric struck a nerve, as Free Throw poured their heart and soul into every note.
Then, the moment everyone had been eagerly awaiting arrived as Hot Mulligan exploded onto the stage, greeted by thunderous applause and fervent cheers. With a masterful blend of old favorites and new gems, they took the audience on a sonic journey that transcended time and space.
Amidst the electrifying atmosphere, Tades, the lead singer of Hot Mulligan, paused to reflect on the journey that led them to this momentous occasion. He shared a heartfelt anecdote about listening to Free Throw in his car on the way to high school, never imagining that one day they would be sharing the stage together on a nationwide tour. It was a testament to the power of music to bring people together and forge lasting connections.
With each song, Hot Mulligan showcased their unparalleled musicianship and infectious passion, leaving no doubt as to why they've become a beloved staple in the alternative music scene. From the anthemic choruses to the intricate guitar riffs, every moment was infused with a palpable sense of authenticity and sincerity.
As the final notes faded into the night, the audience was left buzzing with euphoria, their spirits lifted and their hearts full. Hot Mulligan, Free Throw, Just Friends, and Charmer had delivered a concert experience that transcended mere entertainment, leaving an indelible mark on the souls of all who were fortunate enough to bear witness. In the hallowed halls of The Studio at The Factory, music had once again proven its ability to unite, inspire, and elevate.
To say that YG Marley’s first single, “Praise Jah in the Moonlight,” is a hit does not do it justice. Since the song was released on December 27th it has been streamed over 1 billion times. On TikTok it has soundtracked well over 300,000 times. YG and his mother Lauryn Hill co-wrote this song that samples YG’s grandfather Bob Marley’s “Crisis.” This is a fantastic song, well produced with some excellent lyrics. There is a real Bob Marley feel to YG’s flow and vocalization, but you also get a hint of Lauryn Hill in his style, makes for a very nice flow. I especially love his improvising in the song with his lyrics compared to the background singers, he is changing his rhythm throughout. This hits deep with powerful emotion. “These roads of flames and catching on fire,” expresses a deep sense of passion and unrest. The poignant line, “show you I loved you, you called me a liar,” captures the complex underlying forces of love and betrayal.
The recently released video for this song, directed by Cole Bennett, starts off with Bob Marley’s “Crisis” and quickly transitions over to YG. He is walking with a bag of flowers, handing them out to as the sepia toned video changes to color. This happening over and over, a nice artistic flair. He is seen driving with a woman (his love interest) driving in his car and with him on the steps to his home. As he hits the chorus we see a group of family and friends behind him, we see his brother Nico and cousin Yohan, along with Kabaka Pyramid and Jesse Royal….really too many to name them all. We have YG dancing with his mother and YG sitting in a field surrounded by women singing the background vocals. This is a scene that is repeated throughout. And what is a Marley video without a few shots of playing soccer? We have a lot of dancing, this is such a fun song, a song you want to dance to, a song that puts a huge smile on your face. This is a great artistic production; I love how it all comes together. So much texture throughout this video, it makes it all flow together so nicely. Texture is really what this video and song is all about, the texture of the music, the texture of the lyrics, the texture of all the scenes in the video. We have yet another Marley that is going to hit it big.
One love - Todd
In this day and age there are so many ways to find new bands and music to listen to. You can wind up adding dozens of new artists to your playlists in a single day, and of course you want to see them live as soon as possible. If you’re an avid concert goer like myself, you can sometimes have a hard time keeping track of what tours are coming. New bands that you just discovered could have just played your local venue the other week, of maybe they are an opening act on a major tour that you didn’t realize. This has happened to me on many occasions, and I facepalm every time I realize I missed a new band I wanted to see. Well, I finally had to chance to check a few bands of my bucket list when the Deathless Tour was announced. Set it Off was coming to Riverside Municipal Auditorium and bringing Crown the Empire, DeathbyRomy, and Caskets with them. Three of these bands I have unfortunately missed every time they come to town, but not this time!
Opening the night was Caskets. This band was introduced to me by a friend when we were going for a drive. He turned to me and went “I know you’re gonna love this,” turned up the radio, and with the first song I was hooked. I eagerly awaited my chance to experience this band live. Opening with “Drowned in Emotion,” I was taken back when vocalist Matt Flood started singing. He sounded exactly like he does on record. His voice carries so much emotion with it that you can feel the heartache in the words he sings. Flanked by guitarists Craig Robinson and Benji Wilson who intertwine their melodies to harmonize with Flood’s vocal range, and then add punch and drive to take the song to a rocking level. Drummer James Lazenby is the perfect timekeeper for the band. He knows exactly when to push the tempo of the song when needed, and pulls back to play in the pocket to mix in with the rest of the band. For being the opening band on the tour, fans could be seen singing with each song played like “Believe,” “Hold Me Now,” “In the Silence,” “Guiding Light,” “Lost in Echoes,” and “Glass Heart.” The energy of the crowd was already at a high as Caskets finished their set, and we were all ready for more music still to come.
Up next was a band experience that I feel most of the crowd was not ready for but was won over by them almost instantly. DeathbyRomy hit the stage with an in your face attitude and dark gothic energy. DeathbyRomy is singer Romy Flores. Flores started the set out wearing a big oversized coat, almost acting as a barrier from truly connecting with the artist. None the less, she was all over the stage, and making sure each and every patron was paying attention to her. About a third of the way through the set, Flores disrobed out of the coat to reveal a bondage-esque body suit with fish nets. It was at this moment that Flores revealed her true energy on stage and opened herself up to be taken in by the crowd. Seeing her now performing in this new outfit, it felt like a metamorphosis of her persona. From being closed off and reserved, almost hiding your true nature and not wanting to be seen in the coat. To being in a revealing outfit, finally taking those steps out of the closet to be who you were always meant to be. This only amped up Flores’s stage presence as she became more seductive on stage. Even her guitarist Jayden Hammer and bassist Cheska Zaide went through an outfit metamorphosis opening themselves up to be seen by the screaming crowd. DeathbyRomy had fans captivated throughout the entire set with songs like “Vicious Bliss,” “City of Angels,” “I Feel Like a God,” “I Kill Everything,” “Hellhound,” “Crash,” “Saint,” “2, 4, 6, 8,” “No Mercy,” and ending with “Day I Die.” With the final song Flores jumped into the mosh pit to get even closer with her fans. Whether you were familiar with DeathbyRomy before the show or not, they certainly left a lasting impression on everyone.
The next band to hit the stage was the only one on this tour that I had seen before. Crown the Empire has always been a solid act, and I feel they continue to get better with every new show I see them at. Opening this set with the song “DOGMA,” vocalist Andy Leo was more than ready to be on stage singing and performing for Crown’s fans. Starting the song off almost crooning into the microphone, building anticipation for the high energy that Crown is known for. It was when the song hit its chorus that Andy went off hopping and dancing around the stage. Guitarist Brandon Hoover plays with a crunchy distortion sound to his guitar. Layered with bassist Hayden Tree, the two craft fast paced rhythms that adds texture to Leo’s vocals. Drummer Jeeves Avalos can be seen pounding away on his kit with such powerful energy he probably doesn’t need to have his kit mic’d. The double bass beats that he plays is the shot of adrenaline that the moshers need to open the circle pit to its biggest size of the night. Getting the second longest set of the night, Crown the Empire made it count with songs like “Black Sheep,” “Zero,” “What I Am,” “In Another Life,” “Superstar,” “The Fallout,” “Blurry (Out of Place),” and ending with “Makeshift Chemistry.” This was my fourth time seeing Crown the Empire, and each time I grow more and more of a fan of these guys. They bring a fun charismatic energy that connects with every fan in the crowd.
You’d think after three high energy bands the crowd’s energy might be starting to wane, but you could see the desire in their eyes as we awaited our headliners. A voice came over the speakers counting down the band about to hit the stage from 30 seconds, all the while illuminating the drum set as it looked like it sat in the mouth of a carnival built in hell. Once the count down reached zero, the crowd erupted as Set it Off kicked their set into high gear with “Parasite.” Vocalist Cody Carson was quick to get the audience involved with the show. Constantly pumping his arm up and down directing the crowd to follow suit, and like an orchestra following their conductor we all happily complied. Guitarist Zach DeWall plays with levity to his style that adds brightness to Set it Off’s sound. DeWall’s riffs are what help define the band as pop rock. Drummer Maxx Danzinger has his kit sitting right in the mouth of the devils carnival’s entrance. Not wanting to be lost in the back of the stage of this three piece band, Danzinger adds big movements to his playing to make sure he is entertaining the audience just as much as the rest of the band. For the song “Partners in Crime” Romy Flores of DeathbyRomy joined the band on stage for a feature. On the album this song is co-sung by Ash Costello, but Flores makes it her own live adding more personality to the tune.
During “Ancient History” an air mattress was tossed on top of the crowd. Before anyone could realize what was going on, Cody Carson jumped on the mattress. Completely standing up and riding the mattress like it was an oversized surfboard, fans ran down to the floor to add to the sea of people surfing him across the venue. Even drummer Maxx Danzinger had a moment to shine outside of the drum kit taking over vocal duty for “I’ll Sleep When I’m Dead.” Set it Off was nothing but fun and excitement with every song they played that night like “Wolf in Sheep’s Clothing,” “Fake Ass Friends,” “Lonely Dance,” “The Haunting,” “Evil people,” “Kill the Lights,” “Forever Stuck in Our Youth,” “Hypnotized,” “Win Win,” “Swan Song,” “Killer in the Mirror,” “Why Worry,” and ending with an encore of “Punching Bag.”
For a tour with three bands that I have had on my bucket list for a while, there can be some expectations that my mind sets for me that you never know if the bands will live up to. And I am happy to say each band crushed and exceeded those expectations. I could not ask for a more heartfelt connection with Caskets music. DeathbyRomy brought a dark perversion to the crowd and wound all of us around her finger. Crown the Empire continues to put on an outstanding live show filled with high energy whether they are headlining or a support act. While Set it Off sent us all home with a huge smile on our faces. Their music just incites fun, and you can’t help but jump and dance to it. There are only a few stops left on this tour. But you need to make it a mission to not miss the next time any of these four bands come to your town. You won’t regret it.
On the evening of April 9th at The Echo, Madds Buckley and Addison Grace led a vibrant lineup that also featured Isabel Pless. It was an empowering evening for anyone who has felt marginalized for being different. Isabel Pless captivated the audience with her emotionally charged performances, Addison Grace electrified the crowd with his dynamic energy, and Madds Buckley showcased her musical prowess alongside a refreshing sense of humor.
Isabel Pless opened the show, demonstrating her songwriting talents with carefully chosen lyrics. Though she remained mostly stationary on stage, her passion was palpable, especially when performing "Little Life." Her expressions and vocal delivery filled the room, conveying frustration yet whimsy with lines like “when you realize you're just some guy and this is such a little life.” She shared personal stories, including how therapy improved her life, adding depth to her performance. Another standout moment was her rendition of "Bechdel Test," a relatable anthem for navigating life's complexities, highlighted by vivid lyrics such as “But there's a game of Operation in my skull.” In addition to her musical talents, Pless also showcased her hat-making skills, selling unique creations post-performance. Her future in music seems promising.
Addison Grace made a memorable entrance, reminiscent of a cinematic scene. Having been intrigued by his song "White Lies," I was eager to see him perform live. His execution of "White Lies" during the set was impeccable, with perfectly timed movements and expressive gestures enhancing the lyrics. A touching moment occurred when he dedicated a song to a couple in the audience, spreading joy and connection. His performance of "Slime!" was particularly electrifying, with the audience actively participating. Grace's ability to convey a range of emotions through his expressions and movements added layers to his performance, especially when his smiles radiated genuine warmth. His fearless engagement with the audience, including humorous anecdotes about a song inspired by his roommate titled "Makes Me Sick," showcased his charisma and stage presence.
Addison's set was more than just a musical event; it was a celebration of individuality, resilience, and shared human experiences. The artists, through their distinct styles and messages, created a space where everyone felt valued. Their courage and authenticity resonated with the audience, offering support to the LGBTQ+ community and highlighting universal themes like the appreciation of anime. With each act bringing something unique to the stage, the lineup was cohesive yet diverse, ensuring a memorable experience for all who attended.
To conclude the night, Madds Buckley took the stage, her name illuminating the backdrop and setting the tone for her segment. Her setlist was a compelling mix that included "Love After You," "Ambrosia Wine," "Dogbird," "I Wanna Be in Love Again," "Driver's Seat," "Reach," "Little Big Boy," "Brother," "Wine and Wheat," "The Red Means I Love You," and the crowd-chosen "Hating Halloween." Madds shared how her passion for anime, notably My Hero Academia, has significantly influenced her music. Fans of the anime could likely deduce the character inspiration behind "The Red Means I Love You" just from the lyrics alone. Her onstage movements during this song, reminiscent of the character's gestures, added a playful layer to her performance. "Driver's Seat" stood out as an emotionally charged piece, with Madds's powerful delivery and on-stage dynamism painting a vivid picture of longing and unfinished stories, leaving the audience to imagine their conclusions.
"I Wanna Be in Love Again" resonated deeply, encapsulated by Madds's emotive smile as she sang about second chances and the bitterness of past experiences. It's a relatable anthem, especially potent for young listeners navigating love and loss. Madds's lively sense of humor and striped outfit echoed the vibrancy of her performance, ensuring the night was not only about music but about creating memorable moments. Her song "Dogbird" was particularly haunting, lingering in the minds of the audience long after the performance ended.
Missing this concert meant missing an extraordinary collective experience. It was a night that affirmed everyone's worth and shared the universal experiences of love, loss, and belonging. The artists, through their music, offered empowerment to the LGBTQ+ community and celebrated the universal appeal of anime, showcasing their bravery and authenticity. The diverse yet cohesive lineup ensured that while there were common threads, each performance stood out, making it an unforgettable evening for all who were there.
As the Sunset Strip continues its relentless march toward modernity, bulldozing history with each towering high-rise and trendy apartment complex, there remains a stalwart bastion of rock 'n' roll defiance: the iconic Rainbow Bar & Grill. For over half a century, this legendary haunt has stood as a beacon of hope for those who refuse to let the spirit of rock die amidst the gentrification and commercialization of Hollywood's once gritty heart.
Sunday evening, as the rain threatened to dampen spirits, the Rainbow celebrated its 52nd anniversary in grand style, offering up a feast of free music to the faithful who braved the elements to pay homage to the enduring legacy of this hallowed venue.
The festivities kicked off with Shark Island, a band steeped in the vintage metal vibes that have long been the lifeblood of the Sunset Strip. Their forthcoming album, "Memento Mori - Live on the Sunset Strip," recorded at the venerable Whisky A-Go-Go, promises to be a testament to their enduring presence in the Hollywood rock scene.
Following suit was Powerman 5000, delivering their signature blend of infectious industrial metal to a now-capacity crowd. Frontman Spider's quip about being the "youngest" lead singer in attendance only added to the electric atmosphere, as the band proved that age has done little to dim their metallic fire.
But it was Faster Pussycat who truly stole the show, their sleaze rock anthems reverberating through the night air as the sun dipped below the horizon. With a lineup of fresh-faced guitarists channeling the swagger of their '80s predecessors, the band proved that classics like "Bathroom Wall" and "House of Pain" are as potent today as ever.
And then came the moment everyone had been waiting for: the return of Sebastian Bach. With a voice that defies the ravages of time, Bach commanded the stage with the authority of a true rock 'n' roll icon, belting out classics like "What Do I Got to Lose" and "Big Guns" with the vigor of a man half his age.
While Bach rightfully basked in the spotlight, it was a missed opportunity for his talented bandmates, who remained largely in the shadows throughout the performance. Nevertheless, the evening concluded on a high note with the timeless anthem "Youth Gone Wild," leaving the crowd buzzing with adrenaline and anticipation for the aftershow festivities.
As the night wore on and memories were made over shots and beers, it became abundantly clear why the Rainbow Bar & Grill remains a mecca for music lovers the world over. So if you've yet to make the pilgrimage to this immortal palace of rock, do yourself a favor and experience the decades of history baked into its hallowed walls firsthand.
I love going to the Renaissance Faire. It’s a reason to dress up in garb, buy beer or mead, and get drunk with your friends. There is mutual camaraderie with everyone around, and you’re all there to lose all inhibitions and just enjoy yourself. Wait… Sorry. I meant to say, I love going to an Alestorm concert. It’s a reason to dress up in garb, buy beer or mead, get drunk with your friends, and lose all inhibitions with fellow drunk fans in the crowd. At an Alestorm concert it is Pirate Party Time, and your only job is to have fun. Coming to the Observatory in Santa Ana on their Tour of The Dead Marauder and bringing with them Elvinking and Glyph. It felt like I stepped into a Renaissance Faire when I entered the venue seeing everyone dressed up for this show. Beer was flowing and the crew was singing jaunty tunes waiting for the show to start. I knew it was gonna be a good time.
Opening the show was an intergalactic power metal band known as Glyph. These alien rockers from outer space crash landed on Earth only three weeks ago. Luckily, these hitch hiking alien musicians were picked up by Alestorm for a tour. Vocalist R.A. Voltaire embodies the essence of Ronnie James Dio in both vocal power and height. Guitarist Rob Steinway meshed his playing with powerful chugs and driving weedly weedly guitar lines. Keyboardist Jeff Black armed with a keytar added the mythical flavor to Glyph’s overall sound. While bassist Darin Wall looked like he was ready to go to battle with the Vikings armed with his axe. Glyph played songs like “Honor. Power. Glory.,” “A Storm of Crimson Fire,” “March of the Northern Clan,” “When the World was Young,” “Defy the Night,” and “Volarad.” Voltaire kept making it a point that on his planet “You only sing if you know the words. Otherwise, it’s your job to enjoy yourself.” This was the perfect sentiment to start the night, as it helped kick start the party aspect of the entire show. Beer was flowing, and fans were moshing even harder to the music, which helped elevate Glyph’s stage presence.
Up next was a more fantasy driven band with Elvinking. Vocalist Damna presented himself to the crowd donning an antler crown. His silhouette casting a haunting glow like the deer demon from the movie Antlers. It was when he sang that the warmth from his voice helped to cast a glistening glow into the venue. Flanked by guitarist Headmatt and Aydan who mix angelic riffing with heavy rhythms. Bassist Jakob and drummer Symohn are the backbone of the band with a powerful low end that helps to drive the songs and the moshers to keep the pit spinning. Elvinking’s secret weapon lies in violinist Lethien, who is blended into the songs well enough. But it’s the moments the band lets the violin stand front and center that adds so much whimsy to the music. Lethien was the key to being transported to the fantasy world Elvinking creates with their music and stage persona’s. With songs like “Rapture,” “The Hanging Tree,” “Draugen’s Maelstrom,” “Pagan Revolution,” “Silverseal,” “Moonbeam Stone Circle,” “Pagan Purity,” “Bride of the Night,” “The One We Shall Follow,” “The Wanderer,” “The Divided Heart,” and ending with “Elvenlegions,” I know the music I am bringing to my next D&D campaign to help cast us into a different world.
As we eagerly awaited our headliners, the bar was attacked with patrons demanding more beer! As a giant 10 foot duck was inflated at the back of the stage, the crowd cheers’d for the duck, and pounded one back. This alone got me excited for the shenanigans that were going to be an Alestorm concert. Opening their set with “Keelhauled,” vocalist and keytarist Christopher Bowes launched into an accordion sounding intro to the song and the fans drank it up. Launching into the lyrics, Bowes sings with a tropey pirate inflection to his vocals that just helps elevate how much fun the band is having. Guitarist Máté Bodor and bassist Gareth Murdock infuse heavy, folk, and power metal rhythms with a pirate twang that lets you imagine you were sailing with Blackbeard on the seven seas. Drummer Peter Alcorn rips on the double bass creating a galloping rhythm that you can’t help but run into the mosh pit to. While keyboardist Elliot Vernon’s synth just adds more enthusiasm to the music. Even bringing out guest vocalist Barbara Blackthorne for the songs “Voyage of the Dead Marauder” and “Zombies Ate My Pirate Ship.” Her vocals were so powerful that she sounded like a siren captivating the crowd and drawing them into their death.
For being a band that describes themselves as pirate metal, they honestly look like a bunch of frat guys who lucked out and got a record deal. Wearing dolphin shorts, snakeskin pants, kilts, tank tops, backwards hats, and sweatbands. I feel I walked into a 90s teen comedy version of a college party. Regardless, this only added to the party nature of the show. With fans tossing around a child’s duck pool floaty that would constantly make its way onto the stage and be worn by the band members before being thrown back to the crowd. Even the crowd surfer’s felt more like they were swimming through the sea of the crowd before toppling over the barricade. The crowd stayed rambunctious throughout the set and security didn’t even both to stop the fun, with songs like “No Grave but the Sea,” “The Sunk’n Norwegian,” “Alestorm,” “Under Blackened Banners,” “Hangover,” “Uzbekistan,” “Mexico,” “Big Ship Little Ship,” “Nancy the Tavern Wench,” “Rumplekombo,” “P.A.R.T.Y.,” “1741 (The Battle of Cartagena),” “Shit Boat (No Fans),” “Drink,” and ending it with “Fucked with an Anchor.” With the final song, Bowes even jumped into the crowd, surfing into the sunset of the show.
As the lights came on, and people tried to compose themselves, you could see the drunken glaze over many people’s eyes. Alestorm sings many songs about getting drunk, and the fans love to let themselves live those lyrics during the shows. Normally security is quick to push everyone out of the venue, but even they could tell people needed a few extra minutes to recompose. Nonetheless, there was not a single drunken face of disappointment to be found. We got to meet intergalactic beings known as Glyph. Travel through the forests of the world where Elvinking lives. Sailed the seven seas with the most fun pirate metal band in all the lands and survived to tell the tales. This night was not a night to be a normal human with limits. This was a night to be the fantasy being you always dreamed of. The one who can take on any challenge, travel across any world, out drink anyone under the table. This night we raged! And the next day we dealt with the hangover.