Godfather of Shock Rock, Alice Cooper made a stop at The Orange County Fair at The Pacific Amphitheater in Costa Mesa on Friday night August 16 with no opening act and delivered a 2-hour nostalgic yet modern Rock n Roll show to a capacity crowd. Many fans in attendance had the iconic Alice Cooper black eye makeup on with fans ranging in all ages and ready to rock.

The show started promptly at 8:15pm with Cooper busting through a large newspaper ad with the band playing the intro to “Lock Me Up” then the awesome track “Welcome to the Show” from 2023’s album Road to kick off this epic event. Now the stage may look a bit more crowded than most bands and that is due to the THREE guitar attack of Ryan Roxie, Tommy Henriksen and Nita Strauss. These three are all top-notch guitar players in their own right, but you can’t help not taking your eye off Strauss as she is such a flashy player with a bit of a Steve Vai vibe but collectively this guitar trio puts on quite a show.

Cooper in his top hat and sword just looks and sounds fabulous . . . at seventy-six years young he sounds better than ever and looks healthy and hearty. He prowls back and forth across the stage always twirling something – a sword, a cane, a crutch, Cooper is without a doubt the original master showman. The rhythm section has long time band members Chuck Garric on bass and Glen Sobel on drums, both totally in sync and providing the boom throughout.

Alice Cooper delivers the ultimate Rock n Roll show in every respect with his huge back catalogue of hits as well as recent music well worthy of playing live. You get the drum solo, the guitar solos – all the classic elements of a 70’s live extravaganza. But as great of musicians as there are in this band, the live spectacle revolves around the theatrics, you get the snake around Cooper’s neck during “Snakebite”, the Giant Frankenstein stalking the band during “Feed My Frankenstein”, the life-size doll during “Cold Ethyl”, Cooper’s daughter Calico dancing during “Go to Hell” and then the ultimate spectacle where Cooper gets beheaded via the Guillotine and then his head carried around the stage. The band is obviously having fun and there is a lot of smiles and member interactions onstage – a total thrill to witness.

The night ended with band introductions and a one-two punch of “Elected” that had Alice high on a balcony and the stage was sprayed with red-white and blue confetti and then the iconic anthem and Cooper’s most identified song “School’s Out” that included a couple verses from Pink Floyd’s “Another Brick in the Wall”, then a band bow in unison to end the night . . . and what a night it was . . . old school Rock n Roll with a twist of horror.

Over 50 years into his career Alice Cooper remains a fan favorite for both his ageless rock n roll as well as his astonishing stage show. A touring machine, Alice Cooper joins Rob Zombie for the 2024 “Freaks on Parade” tour on August 24 for a month-long journey with Zombie, Ministry and Filter.

Alice Cooper Setlist

Lock Me Up (First verse and Chorus only) | Welcome to the Show | No More Mr. Nice Guy | I'm Eighteen | Under My Wheels | Bed of Nails | Billion Dollar Babies | Snakebite | Be My Lover | Lost in America | Hey Stoopid | Drum Solo | Welcome to My Nightmare (Half) | Cold Ethyl | Go to Hell | Poison | Feed My Frankenstein | Guitar Solo (Ryan Roxie, Nita Strauss, and Tommy Henriksen) | Black Widow Jam | Ballad of Dwight Fry | Killer (Band Only) | I Love the Dead (Band Only) | Elected | School's Out

As I walked into the venue, I could feel a strange mixture of curiosity and excitement. I had heard plenty of buzz about King Gizzard and the Lizard Wizard—Australia's prolific, genre-defying band—but this was my first time seeing them live. Little did I know, I was about to be transported into a world as eclectic and unpredictable as the band’s name itself.

The atmosphere in the room was electric, buzzing with the anticipation of die-hard fans, many sported wide grins that hinted at the musical adventure ahead. It didn’t take long to understand why the band has such a devoted following; as soon as the first notes of "Field of Vision" which was a live debut for the band, reverberated through the speakers, the crowd erupted in a collective roar of approval, and the journey began.

King Gizzard and the Lizard Wizard have a reputation for pushing musical boundaries, and they lived up to that hype from the get-go. Their sound is a kaleidoscopic mix of genres—psychedelic rock, heavy metal, surf rock, blues, and even jazz, all seamlessly blended into something wholly unique. It was as if the band was throwing the entire history of rock into a blender and serving up a potent, intoxicating cocktail.

Watching them perform live, I was struck by their sheer versatility. With six members on stage, the band shifted effortlessly from one musical style to another, sometimes within the same song. One moment they were diving into the heavy, riff-driven "Organ Farmer," and the next, they were slowing things down with the dreamy, folk-infused "Nuclear Fusion" It was a rollercoaster of sound, and I was all in for the ride.

The band’s fans, many of whom appeared to be seasoned concert-goers, added another layer to the experience. They knew every word, every riff, and every twist in the band’s sprawling setlist. The energy they brought was contagious; it felt like being part of a community where everyone was connected by a shared love for the bizarre and the beautiful. As a first-timer, I found myself swept up in their enthusiasm, my initial curiosity quickly turning into full-blown admiration. I didn’t walk into this show thinking I was going to see crowd surfing either.

But it wasn’t just the music that captivated me. The visual aspect of the show was equally impressive. The stage was a riot of colors, with swirling lights and trippy projections that perfectly complemented the band’s otherworldly sound. It was a feast for the senses, blurring the lines between sight and sound in a way that felt almost hallucinogenic.

By the time King Gizz launched into their final track, the balmy “K.G.L.W.” the crowd was in a state of ecstatic euphoria, and I found myself chanting along with them, completely lost in the moment. As the band took their final bow and the lights came up, I realized that I had just experienced something extraordinary.

King Gizzard and the Lizard Wizard are not just a band—they’re an event, an explosion of creativity that defies categorization. And for someone seeing them for the first time, it was nothing short of exhilarating.

If you were among the crowd lucky enough to catch Sophie Powers last Friday at the Moroccan Lounge, then you know exactly why it sold out. Headlining the first stop of her Glitch Tour here in LA  supported by Ava Morse and Zoe Ko, Sophie electrified the crowd with her typically jaw-dropping style and spellbinding vocals, with many already asking for an encore from minute one. It’s the kind of night that no article can do justice.

Accompanied by an anticipatory drum roll, Ava Morse stepped onto the stage to thunderous applause and kicked the night off with such songs as “Favorite Sin,” “Pure Violence,” “Toothache,” “I Should’ve Known…”, “Fake ID,” and “Godspeed.” Sporting a stellar fit with a particularly eye-catching leopard print top, Ava did a masterful job engaging with the crowd, her charismatic confidence coming through with each smile, each point of her finger, and each flip of her hair. This is no surprise considering her acting background.

Her songs have a fun and sensual energy to them that makes them easy to dance to and beautiful to listen to, with the standouts of the night being “Toothache” and “Pure Violence.” While “Toothache” expectedly got the audience’s blood pumping, “Pure Violence” shined through Ava’s ability to infuse such heavy lyrics with a toe-tapping rhythm and a sense of relatability. Like her entrance, Ava left the stage accompanied by thunderous applause as she thanked the fans, while her guitarist signed a Polaroid and flung multiple guitar picks towards the audience, and her drummer flung one of his drum sticks into the crowd as well.

Following Ava was Zoe Ko, who stepped out onto the stage sporting her signature fit featuring her iconic spiked bra and white cut out crop top, similar to her fit from her show with Between You and Me. In addition, she wore a New York style animal print jacket which makes me wonder if she and Ava coordinated this as a little treat for the fans. With a set list that included “Dirt,” “Touch Therapy,” “Eat,” “Lovesick in Public,” “Baby Teeth,” “Hollaback Girl” and some brand new songs, Zoe oozed confidence with each track. It’s the kind of sassy “don’t play with me” confidence only a true New York girl can summon, accentuated perfectly at certain moments by how the light would hit her.  Standout tracks included “Dirt, “Touch Therapy,” “Lovesick In Public,” her cover of “Hollaback Girl” and her newest track believed to be titled “Drop the Man.” “Hollaback Girl” and “Drop the Man” in particular complemented each other beautifully, with both tracks being the kind of songs any woman with a shitty partner needs to hear.  Considering “Hollaback Girl” inspired “Drop the Man,” it makes complete sense.

Zoe’s fearlessness to engage in riskier material   was on full display with “Touch Therapy,” a frank and witty ode to more intimate forms of therapy that plenty of people in their 20s will understand. She also tapped into more relatable territory with “Lovesick In Public,” but “Dirt” was by far Zoe’s most rousing song, and she knew it just from the way she moved around the stage like nothing on this Earth could bring her down. There’s no doubt her songs and her onstage persona have inspired more girls to believe in themselves, and her upcoming collaboration/remix with Sophie Powers will surely be one to look out for.

Speaking of Sophie, it’d be an understatement to say the audience was excited for her to come out after Ava and Zoe nearly brought the house down themselves. First, an offstage announcer simply said “Pick your character.” Then each member of the band was introduced as a playable character, with Sophie coming out last, dressed in a cropped, brightly colored short sleeve schoolgirl uniform inspired heavily by anime. Known for designing her own clothes and intriguing audiences with thoughts of what her next fit will be, Sophie certainly delivered in this department. Launching into a performance of “Clearview,” technical difficulties plagued Sophie as her microphone refused to work, but she pressed on like a champ, supported by her guitarist absolutely killing it and the crowd vibing along and singing to the lyrics. The rest of her set included (drumroll please)…

“Nosebleed,” “Bathroom Floor,” “U Love It,” “Obsessed,” “Wildest Dreams,” “Just a Boy,” “Overflow,” “Woah,” “Goals,” “Lonely Army,” “Heart Shaped Box,” “Breakup On The Weekend,” “Life Goes On,” “Head Empty, No Thoughts;” “Awesome,” “Better on Mute,” and for the encore “Blueprint” and “Greed.”

Wielding an indomitable stage presence and a deft ability to rile up an audience the same way a metal band can, it’d be an understatement to say Sophie Powers delivered on this performance. She brought beach balls out, jumped into the crowd and ordered them to create a circle pit, mesmerized them with her and her dancers’ choreography, and entertained them with her own brand of humor, including making fun of her microphone and pulling up an audience member to the stage after covering a Taylor Swift song who didn’t like Taylor Swift but enjoyed being on stage.

Oh and of course the songs themselves were amazing, with particular standouts being “Break Up on the Weekend,” “Lonely Army,” and an unreleased song called “Goals.” “Break Up” moved the audience to take their phone lights out and wave them in the air, “Lonely Army” delivered a potent reminder to check on the people you care about, and “Goals” will be an absolute hit when it comes out based on the crowd’s reactions. Just to drive home the point of how perfect this set was, a fan asked only a couple songs in for an encore, which prompted much supportive laughter. If that doesn’t convince you how big of a success this was, and if it doesn’t convince you to check out Sophie Powers at least once in person if you love live concerts, then nothing will.

Afterwards, Sophie took the time to meet with each and every one of her fans in front of her car, myself included. She didn’t have to do it, but the fact she did speaks volumes. This show was all about celebrating confident women and embracing who you are, so I can’t wait to catch these artists again soon.

Against The Sun’s headlining show at House Of Blues with HVNTED, Alibis, Fused by Defiance, and Carry The Day was a night for the moshers. If you wanted to go to a show where things get wild, this would be the lineup you’d want to see. Every lead singer that night got into the crowd’s faces, and the audience moshed like there was no tomorrow. The lineup was also filled with bands that are good friends with each other, with multiple being from the LA Rock Collective.

HVNTED started the night. I’ve seen HVNTED multiple times, and they get better every time. Their setlist that night included “Fiend,” “Shapeshifter,” “Flush,” “Katelyn Dilaine,” "Playing Fiction," "Sinning on Sunday," and “Toro.” They did a mixture of their own songs and covers but still put all their energy into each song. One of my favorite moments was when their lead singer Will pointed his mic at the crowd. You could tell the audience was having a good time, moving along to each song. I also appreciate how clear Will’s vocals always sound whenever he performs. You can tell Abe is the extrovert in the group from how he poses when he sees a camera while on stage. “Katelyn Dilaine” is one of those songs with lyrics that will stick in your head, especially the line “I'm sick of pretending.” The lyrics themselves are relatable, but the way Will sings them adds power to the song. The way the band members interact on stage is always fun to watch. They all work really well together, and their bond with each other is refreshing to see. The instrumentals and vocals have a good balance; neither overpowers the other but works together instead. HVNTED used to always wrap up their sets with “What’s New Scooby Doo,” and I have my fingers crossed they bring it back. The band easily looks like they could be cast in Scooby Doo as well.

Following HVNTED was Alibis. Their lead singer, Rainy Terrell, came out in an eye-catching outfit. She wore a red dress with a red veil, somewhat similar to an outfit Lydia from Beetlejuice wore. Alibis' setlist that night consisted of songs such as “Sellout,” “Mother,” “Unworthy,” "Damn Love,” "You Outta Know," and “Darkside.” One of the things that impressed me about Alibis was how well they handled things when sound issues occurred. Rainy kept the audience entertained while the sound issues were being fixed. Her vocals are haunting but in a beautiful way—they'd send a shiver down anyone's spine. The instrumental parts went hard as well. Rainy's movements reminded me of actresses performing in Broadway musicals. At times, the guitarists would do cool poses as well. At one point, Rainy went up to the barricade and sang right in front of the crowd. Overall, I loved that they added an elegant, theatrical feel to their performance.

Fused By Defiance brought a heavier sound to the night and also multiple circle pits. Their setlist consisted of songs such as “Insanity,” “Hollywood,” “Scene Kids,” “Cancel Culture,” and a surprise cover of “Let The Bodies Hit The Floor.” They had multiple surprise guests come up on stage and perform with them, as well as plenty of head-banging moments. Lead singer Taji even jumped into the audience and helped bring more chaos to the moshing. She had the whole audience singing along and moshing—definitely an artist who knows how to take charge of a room. One of the highest energy bands I’ve seen. If you have any tiredness in you, catching them live will knock it all out of you. There are plenty of hair-flipping moments as well, so they’re the perfect band to photograph. The moment that really sold me was when they decided to do “Let The Bodies Hit The Floor” and had a singer from another band come up. I’m still not sure if it was somewhat planned or a complete spur-of-the-moment choice, but either way, it was epic. Joining her on stage was the lead singer of Where It Lies. She was also rocking one of the iconic Against The Sun flannel shirts with the red and black pattern.

The last band before Against The Sun was Carry The Day. I’ve photographed Carry The Day in the past, but they have definitely improved a lot since then. The band felt more confident. They started the set by having their backs toward the crowd before turning around. When they performed “Picture Perfect,” I really resonated with it. It’s a song that essentially expresses how picture-perfect people are really just uninteresting and not actually genuine. I feel like everyone has either felt like they had to be that person or were around people like that at some point in their lives. The lyrics from it, "Sometimes the ones that you're around will be the ones that put you down," hit hard. They also had the whole room get down on the ground and then jump up. People in the front were headbanging, and around that time, the lead singer ran out into the audience. Some of the best band moments were when the lead singer interacted with the drummer and when two of the guitarists were playing each other’s guitars. At one point, Jack from HVNTED stopped the lead singer of Carry The Day from falling while he was singing by the barricade.

Now, finally, it was time for the band everyone had been waiting for to step up to the plate. A good number of people were even rocking Against The Sun shirts that night. Against The Sun hit the ground running by opening up their set with their new song “BMM,” a heavy song that I’m sure many fans of metal would appreciate. Other songs included on their setlist that night were “The Enemy,” “Back To Ruin,” "Empty Space," “Resentment,” “Video Games,” “JAD,” "Undone,” “Falling Apart,” and “Ashes.” One of the things Against The Sun often says is that they’re either the heaviest band on the bill or the complete opposite. One of the things I love about Against The Sun is that they can go from really heavy, high-energy songs to softer songs like "Undone" that may or may not make you cry. Brad’s clear vocals and Alex’s screams especially fit well together during their live performances. The energy was off the charts during “The Enemy,” which is honestly one of my favorite Against The Sun songs. Alex was shredding guitar hard enough that I’m surprised his fingers didn’t fall off. You also have to appreciate Brad for how fast he can move around the stage while playing guitar. Every time I see this band, I swear they have more energy, and their fanbase just keeps growing. They’ve come a long way since Brad sang a cover of “Since You’ve Been Gone” in junior high. There were also wholesome moments during the set, such as Connor smiling while playing drums and the Brad and Brad moments (yes, there are two Brads in this band).

 Both Alex and lead singer Brad at different moments got right in front of the crowd, and the audience loved it. The lyrics from “Ashes” felt ten times harder when Brad sang them right at the audience. I also really appreciate how all of their original songs have some kind of message attached to them and paint a vivid picture, such as “Jad” on the tragedies of gun violence and “The Enemy” on, well... listen to the lyrics if you want to find out. During their cover of Lana Del Rey’s song “Video Games,” the whole audience was waving their hands in the air. It takes talent to make a Lana Del Rey song heavy, and they pulled it off. In fact, I like their cover more than the original song, but that’s just my opinion. At the end of their set, Brad jumped into the air, and Connor jumped out of his seat. Connor also has one Against The Sun song he sings called “Happy,” and I think it would be pretty cool if Connor did another song because “Happy” is one of those songs that will emotionally get you.

If you missed this show, you missed a night of history, and I’m sorry for your loss, but don’t worry—there will be more. This show was just the beginning of something bigger, and I’m excited to see how the future of these bands shakes out. It also is one of those communities where even bands that weren’t performing that night came out to show their support.

In honor of Jimmy Cliff’s 80th birthday and in the wake of the Jamaican Independence Day, Walshy Fire of Major Lazer has remixed a selection of songs from The Harder They Come soundtrack. James Chambers, better know as Jimmy Cliff, was born in St. James, Jamaica and at the age of 14 moved with his father to Kingston where within a few years caught the eye of Leslie Kong and had his first hit, “Hurricane Hattie.” And he never stopped from there. He became a reggae legend and was inducted into the Rock and Roll Hall of Fame in 2009. In 1972 Cliff starred in and created the soundtrack for the classic reggae film, The Harder They Come. The soundtrack and movie were a huge success, bringing reggae to an international audience for the first time.  When the album was released, it charted on the Billboard 200 in North America. The Library of Congress, in 2021, selected it for preservation in the National Registry and deemed it “culturally, historically, or aesthetically significant.”

Walshy Fire does a really nice job remixing these classics, not doing too much to change them, but just enough to give it a little more modern feel to them. We start off with “You Can Get It If You Really Want It (Remix)” with a little more upbeat feel to it, while the original version is an upbeat song, the flow and beat are brought up a notch.  I always loved this song, and this remix is just as good! Next up is “Many Rivers To Cross (Remix),” a song I never really got into.  It is, no doubt, a great song and has been remade by so many other artists, I just wasn’t into this ballad.  The remix starts off as the original did, but then Walshy brings in an upbeat groove that works so well.  I think this is the best remix on the album, I’m really grooving to this song now, it has been playing through my head since the first time hearing it. “The Harder They Come (Remix)” is up next. This has always been a song on so many reggae play lists for many years and I think the remix can ride right along with it!  Once again, not a huge change up with this remix, but just enough bringing up the beat and energy, just a nice fresh take on this classic. We finish off with “Sitting In Limbo” a song that I always felt could have been huge in the US, it has that American late 60’s early 70’s vibe that other artists were putting out at the time.  This is another really great remix, with that upbeat groove and beat, gives it a more modern and fresher vibe. 

My first thought after listening to this, why only four songs? I think Walshy Fire did a really fantastic job remixing these classics, that is not always an easy task because you don’t want to change them up too much, change them so it looses what made it a hit and a classic.  You want to make it fresher and a little newer sounding, and Walshy hit on this. Like I said, why only four songs, after going through it a few times I was wanting even more.  It made me pull out my original The Harder They Come vinyl and just sat back and enjoyed.

One Love – Todd Judd

It has been ages since Rabit and I have been to the YouTube Theater in Inglewood. As many of you readers know by now, the YouTube Theater is an attached performance center at SoFi Stadium, created for more intimate concerts and performances. First time we were there, it was after they lifted the pandemic shutdown rules, and we went & saw Slash with Myles Kennedy. The design of this place was state of the art and the acoustics they built into the venue made the sound much crisper. That was a couple of years ago, and we were ready for a new show to blow on by. Then, we had gotten word to cover thrash metal gods Megadeth on their Destroy All Enemies tour, and they would not be destroying their enemies alone. Alternative/nu metal gurus Mudvayne and modern metal bashers All That Remains tagged along with Megadeth to bring to us their own symphonies of destruction. Just like rats in the streets, Rabit and I were about to follow to the tune of the metal pied pipers.

All That Remains revved up the metal engines and brought the metalheads of the YouTube Theater to their feet. It has been so damn long since I have seen the Springfield, Mass kick some metal ass, and they did not disappoint. Frontman Philip Labonte is still a skull-crushing, brutal SOB who commands a powerful scream that raises all the hair on both my arms. He gets in your face when he screams, but he always brings a melodic harmony to his style. Lead guitarist Jason Richardson is a master at blending the traditional All That Remains riffs with his djent/progressive licks. He has been a fine addition to the group ever since the passing of founding guitarist Oli Herbert. Along with rhythm guitarist Mike Martin, drumming newcomer Anthony Barone, and returning bassist Matt Deis, the L.A. crowd was treated to a delightful assortment of crispy, hard-edge metal tunes like “Now Let Them Tremble,” “Chiron,” “Six,” “This Calling,” “Two Weeks,” and these two tunes that sets up their next album, “Divine” and “Let You Go.” It was a stellar performance, and I believe Oli was playing right beside his brothers. That is but a taste of the metal strength All That Remains plans on putting out to the world in near future.

It was time to embrace the sinister side of heavy metal with Mudvayne. Donning their traditional horror film-style clown makeup, we stepped into their demonized circus and enjoyed the show, starting with their classic “Dig.” Frontman Chad Gray is a clown’s worst nightmare with his complexion and vicious voice. This motherfucker pulled no punches when he delivered the lyrics, and he looked so buff, probably the best shape he has ever been in. What I love about Gray is his humility to fans and his love for the genre that he says saved his life (and it saved mine). Hell of a man. Guitarist Greg Tribbett was razor sharp as he supplied the sonic, complex riffs that made Mudvayne a household name in the metal community. It is like he was possessed by the guitar demon that bestowed him his talent. Bassist Ryan Martinie is a sight to see with his multifarious plucking that gives the songs a funky/alternative melody that gives headbanging a new sense of belonging. Drummer Matthew McDonough tortured his Pearl drum set with his beastly pounds and rhythmic slashes. Mudvayne was absolute dominate with their tunes like “Under My Skin,” “Not Falling,” “Death Blooms,” “Internal Primates Forever,” “Fall Into Sleep,” “Dull Boy,” “A New Game,” “Nothing to Gein,” “World So Cold,” and “Happy?.” No word yet if a new album is on the horizon, but until that day is announced, Mudvayne is taking us on a nostalgic ride on their metal roller coaster, and we will be getting back in line for another ride.

After a 30-minute set change, the venue lit up as Megadeth graced us with their presence, kicking things off with “The Sick, the Dying…and the Dead!” Frontman/guitarist Dave Mustaine was a glorious spectacle to witness. The way the master of thrash was shredding and singing, you would not think he just beat throat cancer. His signature voice is very guttural-like that it gives the lyrics a fiercer sound, and the way he “spider chord” the riffs on his signature Flying Vs make them powerful. This is the first time seeing their newest guitar partner in Teemu Mäntysaari. Known for his time Wintersun, this Finnish shred master is a perfect partner-in-chords for Mustaine since the unexpected departure of Kiko Loureiro. His blend of power metal and thrash gives new life to Megadeth. Bassist James LoMenzo strummed the perfect bass riffs that have always been in Megadeth, destructive and defined. Drummer Dirk Verbeuren continues to slice through the beats like a hot knife in butter. He has been one of their best drummers since Nick Menza and Shawn Drover.

Megadeth’s entire set was chaotic and electrifying, causing many metalheads to try and bum rush to the pits, where the tornado of death was at its finest. The main point of this tour was to promote their best feat yet, The Sick, the Dying…the Dead! That record was 6 years in making that kept getting pushed back due to the pandemic, the lockdown, and Mustaine’s cancer scare. However, that which does not kill the band made them stronger and almightier than before. Only two songs from that album were played, the self-titled track and “We’ll Be Back,” which were perfect that night. Megadeth performed a great selection of their classic ditties, most of which came from Countdown to Extinction. From “Dread and the Fugitive Mind” to “Wake Up Dead,” “In My Darkest Hour,” “Hangar 18,” “Sweating Bullets,” “Liar” (first time performed live in 18 years), “Skin o’ My Teeth,” “Angry Again,” “She-Wolf,” “Countdown to Extinction,” “The Conjuring,” “Trust,” “Tornado of Souls,” “Symphony of Destruction,” “Mechanix,” and “Peace Sells,” we metalheads of SoCal were in metal heaven. The whole performance, Rabit and I air-guitared the shit out of each song. Of course, Megadeth’s performance would not be complete without an encore of “Holy Wars…The Punishment Due.” The way Mustaine carried himself all night, he was a messenger of God!

Holy shit! The energy that was put out in the YouTube Theater was unreal. Honestly, this was probably the best performances that we have seen from all three groups. They were all dominant, accurate, and chaotic to a positive note. Megadeth and Mudvayne have never looked so good before. Both Mustaine and Gray looked in great shape and were like roaring lions ruling over their respective kingdoms. For All That Remains, they continue to be a driving force and influence for other modern metal bands today, and Labonte is leading his pack of wolves looking for their prey. Most important of all, Mustaine promised the crowd that Megadeth will be back. Rabit and I had the best time of all the metal shows we have been to since the pandemic ended, and we are just getting started. To Megadeth, Mudvayne, and All That Remains, I salute you. Horns up!!!

P.S. Megadeth is right, peace sells but whose buying!?

PHOTOS BY:  MATT 'RABIT' MARTINEZ

There’s something about Whisky A Go-Go that exudes rock 'n' roll history. Since its doors first swung open in 1964, this West Hollywood landmark has seen it all—from The Doors as the house band to the infamous acts of Van Halen and Mötley Crüe. It’s a place where music legends are born and where Hollywood's elite have come to either bask in the limelight or fade into the obscurity of the crowd. The Whisky has a storied history of actors trading the screen for the stage, but few have taken to it with the same earnest passion as Russell Crowe. Almost three hours of non-stop music and storytelling left the audience in awe.

Crowe, the Academy Award-winning actor renowned for his roles in Gladiator, A Beautiful Mind, and The Insider, has been an enigma of Hollywood for decades. A star who, despite the glitz and glamor of the silver screen, has always harbored a deep love for music—a love that predates his acting fame and has seen him busking on the streets of Sydney to fronting his bands Thirty Odd Foot of Grunts and The Ordinary Fear of God. Now, in 2024, he’s returned with his latest musical venture, The Indoor Garden Party, bringing it to none other than the hallowed stage of the Whisky A Go-Go.

The evening kicked off with a mesmerizing set by Clara Helms, whose beautiful operatic voice was simply breathtaking. Her vocals set the tone for the evening—if hope has a theme song, it should be sung by her. We only had Clara for a few songs before Lorraine O'Reilly, a London-based Irish songstress, took over. Her soulful voice and heartfelt lyrics captivated the crowd from the moment she stepped on stage. O'Reilly's performance was a masterclass in understated power; her blend of folk and country influences, paired with a raw emotional delivery, set the perfect tone for the night. She would join Crowe as part of his band later. Accompanied by a minimalist setup of acoustic guitar and piano, she brought her songs to life with a sincerity that resonated deeply with the audience. Her voice, rich and textured, effortlessly filled the room, leaving a lasting impression and proving that she is a talent to watch. Finally, Lennie Loftin brought the introduction to a close with a short set of acoustic folk music. Crowe would later lament how they had to drag Lennie out of retirement for this gig to make it perfect, and he added just the right seasoning to the mix.

As the lights dimmed for the main act and the murmur of the crowd settled into an anticipatory hush, there was an electric energy in the air—a feeling that something special was about to unfold. I have shot dozens of shows at this storied venue over the years, and I have never seen it this electric. It wasn’t just a concert; it was a happening, an event that felt both intimate and grandiose, much like the venue itself. As I jostled for position to get a good shot, I was bumping into one A-list actor or musician after another.

Crowe and his band, The Gentlemen Barbers, have been honing their craft for years, and it shows. The band, comprising long-time friends and collaborators who share a bond forged over three decades, brought a seasoned yet spirited performance that belied the cynicism often reserved for actors-turned-musicians.  There was such a positive tone to the whole evening. There’s no denying that Crowe’s deep, gravelly voice—so often a source of critique—is at home in this setting. I knew from Les Misérables that he had serious pipes, but I was not prepared for him doing it live. Whether delivering his own compositions or reinterpreting classics, he commands the stage with the same intensity he brings to his most iconic film roles. But it was his sincerity that struck me. After the first three songs, he launched into a story about good days and bad days, and Hollywood has seen a lot of the latter recently. His storytelling style reminded me of the days of Jim Croce, where the stories brought meaning to the songs. Here we were getting a reading from a master—it was something special.

The setlist was a rich tapestry of originals and covers, each song accompanied by a story—because if there’s one thing Russell Crowe knows how to do, it’s tell a tale. From the bluesy grit of "Time and Kindness" to the haunting romance of Dire Straits’ "Romeo and Juliet," Crowe and his band navigated genres with a fluidity that kept the audience enthralled. The entire band was nearly flawless. I loved seeing James Haselwood on the full-sized stand-up bass, combining rhythm with Stu Hunter on drums. Stewart Kirwan’s trumpet and Stuart Hunter’s keyboards were on fire all night long. Lorraine O'Reilly returned to the stage to join Crowe in several songs, her powerful vocals blending seamlessly with his, adding layers of depth to the performance. Their chemistry was undeniable, and together they created moments of musical magic that felt both spontaneous and profoundly emotional. Stellar guitar work by Chris Kamzelas and drums by Dave Kelly added to the night's energy. Adding to the nuance of the vocals was the stellar trio of backup singers - Britney Theriot, Susie Ahern & Stacey Fletcher.

The atmosphere was as much about the stories as it was about the music. Crowe shared anecdotes from his life and career, adding a personal touch to the performance that made the evening feel like a gathering of old friends rather than a show from a global icon. He spoke of taking his mother to Rome and getting a special tour of the Sistine Chapel with her after the passing of his father, and how the city connected her with her husband.  The beauty of that moment shared brought us to “Michaelangelo's God”, which made it that much more poignant.  These moments, equal parts introspective and irreverent, gave the audience a glimpse into the man behind the Hollywood persona. It elevated the entire evening to something beyond expectation.

Midway through the set, we were in for another surprise as Crowe’s “Mystery Alaska” teammate Scott Grimes (TED, The Orville, Justified) took to the stage by himself. Again, I was not prepared. I would later learn that Grimes started on Broadway at a young age, but DAMN! His vocal range was spectacular. He combined vocals and keyboards on a pair of songs that Crowe penned himself. The two have collaborated over the years, and to see this live was such a great experience. Who knew Sergeant Malarkey from “Band of Brothers” had the voice of an angel?

From there, the rest of the band took back to the stage for another highlight of the night— the band’s rendition of "Folsom Prison Blues." Crowe’s take on the Johnny Cash classic was less a cover and more a reinvention, with reworked chords and a fresh interpretation that paid homage to the original while making it distinctly his own. Performing on the guitar for the first time in the evening. He talked about how Cash had seen one of his films and sent him a letter praising his work. The letter hung in his home and inspired him to write as if Cash was in the room, taunting him to do better and dig deeper. It was a powerful reminder that Crowe is not just an actor dabbling in music, but a musician with a deep respect for the craft.

The LA studio crowd, which thought Crowe was going to dip in for a few songs and head to the after-party, was in for a shock as the midnight hour chimed and he was still going. One encore and then another. The crowd was fully embracing this happening.

As the night drew to a close and the final notes of "Into My Arms" faded into the ether, there was a palpable sense that the audience had witnessed something truly unique. Russell Crowe may always be known first and foremost as an actor, but on this night at Whisky A Go-Go, he proved that his passion for music is anything but a vanity project. It’s a genuine expression of the man behind the roles—a man who, despite all his accolades, is still just a guy who loves to play music.

The lights came up, and the crowd slowly began to file out into the Hollywood night, carrying with them the memory of an evening where Hollywood’s Gladiator traded his sword for a guitar and gave us all a reason to believe in the power of music once again. After nearly three hours, the actor and legendary performer was dripping with sweat and glowing with the joy of bringing the music to the fans. As the lights faded, all I could think of was the voice of Maximus saying, “Are you not entertained?”—hell yeah, we were!

RUSSELL CROWE SETLIST

1.      Stand

2.      Baby, Don't Be So Unkind

3.      One Good Year

4.      Everything I Touch

5.      Stronger Than Stone

6.      Time and Kindness

7.      Killing Song

8.      You're On My Mind

9.      Take This Waltz (Leonard Cohen cover)

10.    You Should Have Got To Know Me (Sung by Lorraine O'Reilly)

11.    One Small Stone (Sung by Lorraine O'Reilly)

12.    Midnight (Sung by Scott Grimes)

13.    From Here Clear to the Ocean  (Sung by Scott Grimes)

14.    Michaelangelo's God

15.    Let Your Light Shine

16.    Psycho (Amy Shark cover)

17.    A Hazy Shade of Winter (Simon & Garfunkel cover)

18.    Testify

Encore:

19.    Romeo and Juliet (Dire Straits cover)

20.    Save Me

21.    Only You (Yazoo cover)

22.    Folsom Prison Blues (Johnny Cash cover)

Encore 2:

23.    My Hand, My Heart

24.    Blackjack County Chain (Red Lane cover)

25.    The Night that Davy hit the Train

26.    Into My Arms

Spotify and the internet have benefitted so many bands by introducing them to new fans who may never have discovered them. When I discover a new band, one of the first things I do is check to see if they are touring. I can’t count the number of times that I check a newly discovered bands tour schedule, and they just played my city less than a month ago. It’s infuriating to know I just missed them. However, once in a blue moon a new band is discovered, and they are about to play my city. This happened when Spotify radio introduced me to The Hives. The band is currently on tour opening for the Foo Fighters, but instead of taking a day off to rest, The Hives decided to put on a headlining show at the Observatory in Santa Ana, CA. This show took place only three weeks after I discovered the band, and I knew I had to be at this headlining show to truly experience the Hives proper.

People were already packing in the house when the opening band, Spiritual Cramp kicked off this one off show. The band attacked the crowd with a controlled chaos of energy. During the opening song “Blowback” vocalist Michael Bingham jokingly stopped the band because guitarist Jacob Freeze “missed” his guitar solo. Instead, this helped amp the crowd up for the shredding Freeze was about to unleash upon us. The fans ate up the solo, and though it was so packed that a mosh pit couldn’t find the room to open, people none the less were bouncing on top of each other rocking out. Spiritual Cramps mixed the sounds of The Ramones with the Clash but had the stage presence of Black Flag. Their songs were ladened with catchy hooks, and fast paced guitar riffs, but then the band members themselves appeared to be on the verge of jumping into the audience to sing right in the faces of the crowd. They kept this energy up through their set which included songs “Earth to Mike,” “Talking on the Internet,” “Herberts on Holiday,” “Catch a Hot One,” “Dog in a Cage,” “Slick Rick,” “City on Fire,” “Tenderloin,” and ending with “Better Off This Way.” Spiritual Cramps was the best way to pump up the crowd with energy, and we were not ready to let it die down.

The Observatory was packed in tighter than I have probably ever seen it. Five giant LED letters that spelled out HIVES was loaded onto the backline of the stage as the crowd screamed with anticipation. Kicking things right into high gear with “Bogus Operandi,” the barricade could barely hold back the crowd as everyone was rocking out. Vocalist Howlin’ Pelle Almqvist was at the foot of the stage the entire night, singing right into the faces of the crowd. The Observatory’s stage setup has two elevated platforms on the sides of the stage, that’s basically in the crowd. Almqvist and lead guitarist Nicholaus Arson often found themselves standing on these platforms with fans worshipping the band members at their feet. Rhythm guitarist Vigilante Carlstroem and bassist The Johan and Only found themselves being a bit more planted in their positions on stage. Instead channeled their energy into their instrument and facial expressions as they played. Drummer Chris Dangerous, trapped behind his kit, still played up and gestured to the crowd as much as he could.

Something that heightened the Hives performance was that you could see how much the band loves and appreciates their fans, as Almqvist specifically was often on those elevated platforms, or just jumping onto the barricade to be closer to fans. Though the mosh pit had a hard time opening up, it didn’t stop fans from crowd surfing over the barricade, with the band acknowledging each person crashing over the barricade. The Hives kept this energy up through their entire set, never letting it dip for even a moment with songs like “Main Offender,” “Rigor Mortis Radio,” “Walk Idiot Walk,” “Good Samaritan,” “Go Right Ahead,” “Stick Up,” “Try it Again,” “Hate to Say I Told You So,” “I’m Alive,” “Bigger Hole to Fill,” and “Countdown to Shutdown.” Before the band could begin their encore, drummer Chris Dangerous strutted on stage smoking a cigarette and just taking in the cheers from the crowd, acting like the coolest cat in the place. Finishing off the night with “Come On!,” “Smoke & Mirrors,” and truly ending with “Tick Tick Boom.” With the final song, Almqvist couldn’t hold back anymore and jumped into the crowd, surfing over the tops of fans while still performing the song.

This was one of those rare moments where everything fell into place. I found a new band, they happened to have a live show coming up that I was able to attend, and then they blew any expectations I might have had through the roof. The Hives have earned the title of the Greatest Live Band from many sources, and Hunnypot may have to bestow them with that title as well. The band have been going strong for three decades, and from talking with fans, this is what you can expect from every show they put on. The Hives are touring with the Foo Fighters currently, before heading off to Europe for a headlining tour. Don’t do yourself a disservice by sitting on this band and make your way out to a Hives show the next chance you get! 

There are many attributes that can identify an artist as a true star. One of biggest things, is when an artist is identifiable by only one name, and you know exactly who that person is. Some of the first people like this to come to mind are Cher, Madonna, Prince, Slash, Sting, and there are countless others. With the ever growing talent coming into the music industry, we have stars yet to be trying to establish themselves as iconic as their predecessors. One TikToker turned pop punk star known as Jxdn has set off on a tour supporting his sophomore album When the Music Stops. His last stop was at the Belasco Theatre in Los Angeles, CA. Bringing with him LØLØ and Gunnar. The line was around three blocks, as fans eagerly awaited to see these soon to be icons.

Before the first artist could even hit the stage, the Belasco was already jam packed with fans. It’s always great to see people showing up this early, as you know it helps pick up the energy of each artist. Right off the bat, Gunnar was performing at the foot of the stage reaching out to the fans in the front row ready to charm every last one of us. Whether it was singing right into the hearts of the crowd creating new fans, or strapped with his guitar, Gunnar was a performer through and through. He made every song count as he introduced us to his music like “Are You Gonna Be My Girl,” “They Didn’t Tell Me,” “Bitter,” “Again & Again,” “Bad Idea,” “Upside Down,” and ending with his latest single “Dirty Blonde.” By the end of the set Gunnar had the whole crowd wrapped around his finger, and we were disappointed to see his set had to end.

Up next was an artist that many people, along with myself, mainly discovered from TikTok. LØLØ had grown a fanbase posting videos and covers on the social media platform that helped her ultimately release her first full length album Falling For Robots and Wishing I Was One. We were all excited to see her live in front of us this night. LØLØ hit the stage with a gleaming smile and perky attitude that was infectious to watch. Fans couldn’t help but bounce and sing along with every song. During “debbie downer” LØLØ threw cheerleader pompom’s out into the crowd so that we could all get more into the chorus cheering with her on stage. Most of the set was more upbeat cheerful songs, but LØLØ knows how to slow the beat down to really let us travel through the sorrow she went through when she wrote some of her more intimate songs. Whether we were cheering or tearing up, we ate up every moment we got with songs like “junkie,” “kill the girl,” “wish I was a robot,” “2 of us,” “u turn me on (but u give me depression),” “faceplant,” “omg,” “I Love It,” and ending with “hot girls in hell.” LØLØ and her music left an impression on every person in the crowd. Both excitement from the performance, and maybe a bit of self contemplation. Regardless developed a new admiration for this artist.

For our headliner, Jxdn wanted to create a mood right off the bat. With the stage almost completely pitch black, he walked on stage illuminated solely by a lit cigarette. Jxdn softly wailed into the mic, creating a haunting atmosphere but drawing the crowd into the mystery of what is going on on stage before kicking the energy into high gear with the song “CANDLES.” He unleashed his emotions through his music, and with his stage presence he was almost stumbling across the stage. Never truly falling or losing control of himself, but instead letting the flow of the music control his bodies movements as he focused on the lyrics. This passionate of a performance fueled the energy of the crowd who hung on every word that left his mouth.

Jxdn even took a moment of the show to slow things down and play a short acoustic set for the songs “DRUGS,” “BACCARAT,” and “WHEN THE MUSIC STOPS.” During this softer moment, Jxdn gave a heartfelt speech about how rough coming into the music industry has been on him, and that this latest album was his way of coping with everything he went through. It helped remind us that these social media influencers who show us every aspect of their lives, still have a side that is hidden from the public, that hides the pain and suffering they still deal with. Though this moment did bring a bit of harsh realism to our night, Jxdn was ready to bring the energy back up and get people rocking out. The man flew through his set list which included songs like “STRAY,” “IT MUST SUCK TO KNOW YOU,” “DEAD OR ALIVE,” “SO WHAT!,” “WANNA BE,” “LIPS,” “HOW FAR,” “WET DREAMS (IT’S YOU),” “Miss You,” “Sad October,” “Just Let Go,” and ending with “ANGELS & DEMONS.”

This night at the Belasco was for the next generation of music stars to be. Gunnar, LØLØ, and Jxdn are paving a way for themselves, and the younger generation of music fans. If this show was any indication, all three of these artists have an even bigger career ahead of them. The fans showed up early and stayed until the very end. We gave these artists all the love we had, and they gave us a show that showed who they really are. These artists continue to show that pop punk and the newer generation of music is not dead. It’s still very alive, passionate, and there is a huge fan base that is yearning for more.

Nathan “Aurora” Feinstein, the former frontman for Iya Terra, along with Iya Terra drummer Tanner Arebalo, guitarist Mike Mocerino and bassist Ray Worrick, released their first self-titled album August 2^nd via Ineffable Records. Nathan wanted something different in his music, something groundbreaking, with genre-defying soundscapes. A desire to push the limits of his own creativity and plunge into new musical spaces. I always said that Iya Terra was a reggae band that performed like a metal band on stage. Just loved photographing them.  Aurorawave is a reggae-metal band that blends reggae, metal, rock, and alternative styles, effortlessly. I was able to catch them a few months back while they were touring with K. Bong and Johnny Cosmic and The Movement, and WOW did they impress me with their high energy, amazing stage presence and showmanship.  Nathan has an amazing voice, such an amazing sound he belts out, that does work with different styles and genres of music, something you do not often see and hear. And the band, they are really awesome, such great talents. And together they put in the work for this new project, and it really works.

We start off Aurowave with “Meant to Be,” a nice reggae vibe and a perfect song to start off this new journey. Great lyrics to this song, explaining where his mindset and life is at; “I'm constantly growing and never knowing/The beauty is in the balance and I have been beholding/The truth is more potent when you can really own it/The wheels are in motion, are you staying or going now?” I am totally vibing to this song, I can’t wait to hear the rest of this album. The next song is the previously released “Inferno” featuring Atreyu. We get hit with an amazing, strong guitar to start this off, a heavy rock sound and beat, that keeps that energy with a reggae groove flowin’ through.  The chorus is awesome! Brandon Saller comes in with a nice metal flow, that works well with Nathan’s voice. Mike hits us with a great guitar solo! We move to one of my favorites, “Stratosphere,” a really sweet reggae song, Nathan’s voice really stands out to me in this one, sounds so good. I put this one on repeat a few times and just kept bobbin’ my head. They stick with the reggae flow with “Rise & Shine” featuring Layton Meacham, another one of my favorites. Great flow to this and once again Nathan hits us with great lyrics and vocals and when Layton comes in it keeps that vibe going, great vocals that hits so well in this song.

Another previously released song, “Boiling Point” is next up and features The Ghost Inside. This album is about his transition and growth and so much more, and each song has so much meaning. “Hear it nonstop and you can’t really block it out/Whatever goes up comes down/The words from their mouths slither out and they’re talking loud/I wanna burn it all to the ground right now/Everybody’s got something to say/You wanna talk shit, come say it to my face/Something’s gotta give before this breaks.” This is an alternative rock song with that bit of reggae flowing in the background, but then Jonathan Vigil comes in like a brick through a window and takes this song up a notch, no a lot of notches! The energy is crazy. I was surprised at the concert a few months back, the amount of people that knew the words to this and were singing along. “See You Around” is next up and he brings us back to a more reggae flow, but a different vibe than the others. It’s a song that so many people can relate to, “I don’t wanna live forever/I just wanna live right now/Time doesn’t wait for no one/So nothing’s gonna bring me down/I don’t wanna wait for too long/To see how it all plays out/If you’re not coming with me/I’ll see you around.” Another one of my favorites is up next featuring Carter from Surfer Girl, “Life.” As you can tell, I gravitate to the reggae songs, but that is not to say I don’t like the others, I love the way Nathan mixes it together. But this song has a great reggae vibe, more great lyrics and vocals from Nathan and Carter comes in so strong, his flow is awesome and takes this groove to another level, especially with his rap flow. We get an additional track, “(after)Life” a quick verse with Nathan singing over a little piano. And then, BAM, we are hit with “Kindness” which starts off with a strong metal guitar and moves to a reggae vibe, but then we get hit with that metal-reggae jamming.  Such strong guitar and bass hitting us. This is another one of my favorites, the way the metal, rock and reggae intertwine is amazing. You get a little bit of everything, so many emotions flowing around. First time listening to this album I was working out, a really hard, uphill bike ride with a lot of resistance, I admit I was hurting, thinking about giving up, and “Kindness” comes on in the headphones and wow, it got me pumped and kept me pushing! This song features Attila, and while I don’t love the screaming vocals, it does work well in this song.

We head back to a more reggae vibe with “Background Noise” featuring Satsang.  I really like this one as well, and Satsang has such a great flow that works great with Nathan’s vocals. Another song, that goes with the whole theme, that is so meaningful. “Careful what you wish for or me you will see/Believe me when I say that you don’t want it with me/The words that you say, reflection of your heart/Don’t be surprised if my light hits your dark/Fuck around and find out, I’ll stand and wait/Haters gonna hate while creators create.” “No Love Lost” is next up, much more of that rock feel, drum hitting hard, but then the chorus comes in with that reggae vibe. I just love the way he brings these gernes together, it just works! And again, the lyrics are just so powerful and meaningful. They tell a story for Nathan but songs that everyone can relate to. We move onto “Trust & Believe” with that reggae flow, we get some horns in this one, and love how they complete this song, and the sax solo is fantastic. As we move through this album, I swear we see growth in Auroawave as a group. The album is finished off with a nice slower groove, “Expectations.” This is such a perfect song to finish this journey off with. It sums it all up and is another great song to chill to. The lyrics are so powerful! “I’ll tell you a little something that I know, People change and people grow/The past of me’s unraveling, I’m happy to let it go/Half of me is here to stay/Half of me is going away/But all of me feels all these things/I’m constantly amazed, I wanna know/Do I fit the mold that you’ve made up in your head?/Am I living up to expectations?/And do the words I say align with your narrative?/I cannot live up to your expectations.”

How would I explain Auroawave to someone that hasn’t heard them before, I would say they are high octane reggae or reggae on steroids. But I’d have to mention that the octane comes from the rock and metal added in and mixed throughout each song. I was very curious how I would like this album, Iya Terra has been one of my favorite American reggae groups, and I knew this would have that rock/metal style added in (and I am not a metal fan, I am a reggae, hip hop and R&B fan). Well, I can say this album works so well, I love this album, this journey Nathan has taken us on is fantastic. The way the genres compliment each other and intertwine is amazing, I think they pulled off a great thing here. Reggae fans will love this, rock fans will love this and even metal fans will groove to this. I love how this all came together and can’t wait to see where Nathan and Auroawave take us next.

One Love – Todd Judd