I just had my senses rocked by the immersive audio/visual assault that was Bear McCreary’s Singularity one-off show at the Fonda Theater in Hollywood. I am reeling, trying to explain what I just saw, heard, and felt. Completely blown away is a good way to start, but let’s begin with the basics. Metal-heads might not know the name Bear McCreary, so here’s a brief introduction. Bear McCreary, a two-time GRAMMY® Award-nominated, Emmy and BAFTA Award-winning composer, is renowned for his innovative and influential scores. Initially mentored by legendary composer Elmer Bernstein, McCreary gained prominence with the 2004 series Battlestar Galactica. His accolades include an Emmy for the Da Vinci’s Demons theme and multiple awards from the International Film Music Critics Association. McCreary's notable works span across TV, film, and video games, featuring scores for The Lord of the Rings: The Rings of Power, Outlander, The Walking Dead, and God of War. Collaborating with diverse artists such as Hozier and Fiona Apple, he has also composed for prestigious orchestras and ensembles, with performances conducted by Maestro Gustavo Dudamel at the Hollywood Bowl. So yes, a symphonic composer has penned the most visceral album of the year.
Adding to the challenge of creating his first symphonic, thrashing, operatic metal album, McCreary paired it with its own graphic novel made with Mat Groom of Marvel fame. This audio-visual sensation takes world-building to a whole new level. You might think that for a first outing, McCreary would ease into it. Well, he didn’t. Singularity is a double disk with 25 tracks that vary from thrashing metal to hip hop, spoken word, and operatic symphony. It shouldn’t work, having that mixture flow one into another, but it is so deftly crafted that after ten listens, I am still delving deeper. McCreary has been around the music world for years and clearly made some great connections, pulling every favor in the book to get the lineup of guest performers featured here. The lead track hits hard out of the gate. “The Incinerator” features Serj Tankian (System of a Down) wailing with his signature vocal tone, with thundering rhythm from Dethklok’s Gene Hoglan on drums and Bryan Beller on bass. Hoglan joined McCreary for the live performance as well. The visuals and tone of the live show had a vibe similar to Dethklok and their Metalocalypse. Esjay Jones takes the vocals on “Event at the Horizon,” growling and raging, taking the energy level up to maximum. Bear McCreary’s brother takes over on vocals for my favorite track of the album, “Redshift,” which has a driving riff by Omer Ben-Zvi and a great spiraling chorus that elevates the pace in a more progressive metal vibe. Much of the album feels like an edgy version of Avantasia, a band with a massive fan base around the world. “Type III” features Canadian-American singer Rufus Wainwright, who brings a more operatic tone to the piece, slowing the pace but adding a soaring quality.
Right as I’m reaching for the graphic novel, actor Lee Pace launches into his spoken word “Blue Eyes,” talking about pain and death, and I really want to read the book and figure out what all of this means. “Antikythera Mechanism” features Raya Yarbrough, whose soulful voice is well-known to fans of the TV series Outlander, where she sings the theme song. The tone is again more operatic, making you feel like you’ve left the metal world behind, but rest assured, that is not the case. “The Automaton’s Heart” comes crushing in with McCreary back on vocals in a more electric grunge feeling track. Each track is unique but flows seamlessly. Asdru Sierra from the multi-Grammy award-winning, multi-cultural, multi-genre band Ozomatli takes over on vocals, and yes, Mongolian throat singing for “Industrial Revolution.” Asdru was one of the guest vocalists who joined McCreary on stage for a mind-blowing performance of this track. “Tatarigami” features guitar work by Scott Ian (Anthrax, Mr. Bungle), and his presence is instantly felt. Brendan McCreary really hits his stride with this raging track. “Exiles” kicks off with Scottish Gaelic vocalist Griogair rapping in English and Gaelic, playing the bagpipes with a powerful anthem vibe. Yes, we have moved into Gaelic rapping and bagpipes, and I promise you, it works. Bear McCreary has pulled every brush out of his quiver and wields them so deftly as an artist that it defies words. You just have to listen to it. Oh, wait, but there is more. “Midnight Sun” does the impossible. It’s a solid riff-driven anthem featuring a chorus backed with a hurdy-gurdy and an accordion. Yes, he went there. And it completely works. One of the catchiest tunes on the album, it has you chanting along after the first listen.
Disk 2 kicks off with another spoken word piece, “Red Eyes,” featuring Ryan Hurst, which sounds like a trailer intro to the movie you really want to see and makes me want to read the graphic novel even more. “Last Stop” features Brendan McCreary on vocals again, taking the screeching to a vicious level, and again we are in thrash land. Omar Ben-Zvi’s guitar solo is a standout, and given the company of guitarists on the album, that’s impressive. Meshuggah’s Jens Kidman takes over the harsh guttural screaming on “Roko’s Basilisk,” which has more of a driving Swedish Metal sound, with exceptional rhythm work by Hoglan and Beller. It’s one of the heavier and more solid songs on the album. The mosh pits will love it. “First Day Out” drives back into the rap world with Mega Ran providing the vocals in a track that feels like a metal version of an Atmosphere tune. McCreary works in some solid programming, blended with Soundgarden’s Kim Thayil’s great guitar work. “Rage Child” hits hard with a phenomenal bass riff by John Avila from Oingo Boingo and a raging guitar solo by Nili Brosh, with Brendan continuing his solid work on rich guttural vocals. “Syzygy” features John Avila paired with fellow Oingo Boingo bandmate guitarist Warren Fitzgerald. Avila showcases amazing bass work on this track, and Brendan tones down the rage, delivering a great performance with driving melodies.
If the massive lineup thus far wasn’t impressive enough, Bear McCreary digs deep for the last half of the album. “Escape from the Machines” is an instrumental masterclass in guitar work from some of the best in the industry. Slash, Joe Satriani, John Avila, and Bryan Beller all duel for supremacy in an epic four-minute battle of the axes. Simply epic. “Rallying Cry,” featuring sublime vocals by Eivør in Faroese, takes the tone in a whole other direction, and yes, it still works. We went from Celtic rapping to Slash to Faroese, and the thread is still tightly wound around the synergy of all these elements. It’s tight; it’s so tight that it’s time to head to Iceland with Sigurjón Kjartansson providing the vocals for the operatic “Last of the Old Gods.” This screams to be on a film soundtrack with its powerful vocals and the unique use of Erik Rydvall’s nyckelharpa. Did I say McCreary used EVERY tool in his quiver? Yes, a nyckelharpa on a metal album. If you’re starting to want more metal, no worries. Slipknot’s Corey Taylor thrashes onto the scene in “Leviathan” with the help of Dethklok’s creator/guitarist Brendon Small to quench your metal thirst. A great driving track that is classic thrashing metal. “Yellow Eyes” features the wonderful spoken word by Zimbabwean-American actress Danai Gurira, best known as Michonne on The Walking Dead. Blue Eyes, Red Eyes, Yellow Eyes… and I still need to read the damn graphic novel, and now I really want to. The penultimate track, “The End of Tomorrow,” brings Slash back into the mix and is one of the catchier tunes on the disk, with a solid driving mid-2000s metal sound, great melodic vocals, and easily the best guitar riff on the album. Slash is on fire, and so is his guitar. “Tears for the Dead Life” wraps up the album with the dark forboding tone of Morgan Sorne, who mixes his soulful range with a deep bass vocal that rocks your soul. With one arrow left in his quiver, Bear McCreary pulls out a great one with Blue Öyster Cult’s Buck Dharma providing the guitar solo for the final track. McCreary famously did a new version of BÖC’s “Godzilla” for the soundtrack of the film Godzilla: King of the Monsters.
If all of this has you confused, I get it. It doesn’t make sense, and then you click play on your handy-dandy audio device, and it will. Trust me, it’s the album of the year. The live performance was nothing short of awe-inspiring. The range of talent on stage mixed with the visual and auditory assault was just mind-blowing. Hopefully, it will be released as a video or something, as it was magical. The crowd was in awe walking out, and there seemed to be a buzz that there may be another performance in the future. If there is, I, for one, will be there in the front row.
Falling in Reverse has always been known for pushing boundaries and delivering intense, hard-hitting music. Their latest, "Ronald," is no exception. Featuring the legendary Tech N9ne and the Slaughter To Prevail’s Alex Terrible, the song is an adrenaline-fueled anthem that showcases the band's evolution while at the same time highlighting the chaos that seemingly follows Ronnie Radke around every corner. For most, it’s a love/hate relationship with Ronnie with little wiggle room in between for debate. That said, I’m not reviewing Ronnie Radke today. Instead, I’m focusing in on Falling in Reverse's latest single and their accompanying video from a purely editorial point of view.
From the moment "Ronald" begins, the intensity of the track pegs at a '10'. The song kicks off with a fierce energy that sets the tone for what is undoubtedly one of Falling in Reverse's hardest-hitting tracks to date. Ronnie Radke's vocals are as powerful as ever, seamlessly blending with Tech N9ne's rapid-fire delivery and Alex Terrible's guttural growls. The collaboration between these three musicians' creates a dynamic and electrifying performance that captivates listeners from start to finish. And let’s not forget the other musicians in Falling in Reverse that brought “Ronald” to life in the studio. Max Georgiev and Christian Thompson on Guitar along with Tyler Burgess on Bass and Luke Holland on Drums were straight fire from start to finish and each gave 110% to to the track in uniquely innovative ways.
Lyrically, "Ronald" seems to be a call to arms. The song's message revolves around fighting for oneself and standing up against adversities. Understanding the unrelenting challenges that many face today, the song draws an inspiring theme that resonates deeply, especially in today's climate where self-empowerment and resilience are more important than ever. The lyrics are both raw and unadulterated, encouraging listeners to face their challenges head-on and emerge victorious. I can see this message resonating with many in a world that is ever-more polarized and isolating than ever before.
The music video for "Ronald" is a true visual spectacle. Directed by Jensen Noen (Motionless in White, Black Veil Brides, Bring Me The Horizon), it incorporates stunning special effects and CGI imagery that rivals most high-end science fiction movies of our generation. The video features dramatic lighting, explosive action sequences, and a dystopian setting that perfectly complements the song's aggressive tone. Ronnie Radke, Tech N9ne, and Alex Terrible (as the Devil) each bring their unique presence to the screen, making for a compelling and out-of-this world viewing experience. The special effects are particularly noteworthy, adding a layer of sophistication and excitement that keeps viewers fully engaged throughout.
While I’ve never been a huge Falling in Reverse OR Slaughter To Prevail fan, the collaboration with rap legend Tech N9ne on this track takes this song to a whole new level. The entire flow of “Ronald” changes when Tech emerges in his angelic presence and makes what I felt was a good song great in literal milliseconds.
“Yes, the hell is in front of you, side and behind, I can feel every sign of a human decline, I'm believing the time is upon us when all of our people are blind…”
And for those that feel Tech N9ne sold out here, think again. His metal collaborations with Corey Taylor (Slipknot), Serj Tankian (System of a Down), and others have been commonplace over the past few decades and highlight why Tech’s diversity and freedom from boundaries make him one of the best to ever pick up a mic. He’s a true artist and an even better person, and his presence on “Ronald” really helps to set this track ablaze sonically.
"Ronald" by Falling in Reverse is a testament to the band's ability to continually evolve and push the limits of their music. Featuring powerhouse performances from Tech N9ne and Alex Terrible, the song is a hard-hitting anthem of self-empowerment while the video is a visual tour de force that perfectly matches the song's unbridled intensity. With its mesmerizing special effects and dynamic performances, "Ronald" is not just a song but an experience—one that solidifies it’s place at the forefront of modern rock and metal videos. And with over 7M views on YouTube in just 14 days, that premise is confirmed in spades. If you haven't yet, do yourself a favor and watch this incredible video; it's a wild ride you won't soon forget.
In my formative years, when I was first started discovering metal, I was more into 80s glam metal. The big hair, the anthemic choruses, and the larger than life personalities drew me in. A few of my friends also enjoyed this, but the style of music they were drawn to more was power metal. Bands like Nightwish, Sonata Arctica, and Stratovarius. The even longer hair whipping back and forth, the fantasy inspired lyrics, and otherworldly powerful vocals made them feel like kings. There was something special to this kind of music, and the more they played their favorites for me the more I was drawn into these bands. Because of my high school friends, a lot of these bands I have been fortunate enough to see live. One additional band that stood out to me was Kamelot, who I never seemed to catch when they were touring. But I finally saw their advertisement for their upcoming Awaken the World tour with HammerFall and Ad Infinitum, and that it was coming to the City National Grove of Anaheim. Most of my friends have moved away over time, but I knew I had to be at this show for them.
Opening the night was Swiss symphonic metal band Ad Infinitum. This was their first time touring the United States, and the crowd made sure to show up early to show their support for this band. Fronted by vocalist Melissa Bonney, who’s voice probably had the most range of the entire night. Belting powerful vocals that truly didn’t need the amplification of the microphone, to softly holding back the power to enchant the crowd with the essence of a mother singing a lullaby to their child, and then unleashing the fury with harsh screamed vocals. While Bonny was dazzling the crowd with her vocals, guitarist Adrian Theßenvitz and bassist Korbinian Benedict were just as entertaining on stage. The two of them oozed charisma, not only being flawless on their instruments, but being complete characters on stage. Playing it up to the crowd, switching sides, and dancing with their axes. Honestly, I feel they stole a lot of attention from Bonny. But it was drummer Niklas Müller who provided a consistently solid beat throughout the set that allowed the other members to go as crazy as they did. With songs like “Unstoppable,” “Eternal Rains,” “Outer Space,” “See You in Hell,” “Upside Down,” “Animals,” and ending with “Into the Night.” Ad Infinitum’s first outing into the United States will not be their last, as the crowd ate up every moment we got with the band and we can’t wait to have more.
Up next was Swedish power metalers known as HammerFall. The last time I saw these guys was in 2018 when they actually headlined at this very same venue. So I was excited to see them again after all these years. Opening their set with “Brotherhood,” you could tell HammerFall were happy to be back. Fronted by Joacim Cans, who’s sings with a style similar to Ronnie James Dio. One thing HammerFall does different than the rest of the bands, it massive church-esque harmonies. When the rest of the band backs Cans, it sounds like we are in a cathedral listening to a choir. Along with providing those righteous harmonies, guitarist Oscar Dronjak and Pontus Norgren, along with bassist Fredrik Larsson were the Three Musketeers of the band. Galivanting across the stage and getting into a classic rock line up standing next to each other to head bang in tandem. Founding member Dronjak also brought out a Viking hammer style guitar to shred on. The man is in his 50s, but still performs with the energy and flexibility of a 20 year old throwing in a huge back bend while ripping on the guitar. Drummer David Wallin adds more Viking flair to the bands demeanor but is hidden behind the massive drum kit that he blasts away on. HammerFall kept the fans in the palms of their hands for songs like “Any Means Necessary,” “Heeding the Call,” “Hammer of Dawn,” “Renegade,” “Hammer High,” “Last Man Standing,” “Let the Hammer Fall,” “Hail to the King,” “(We Make) Sweden Rock,” and ended with the crowd pleasing “Hearts on Fire.” This was a set that could have been headlining a tour and I hope to see them back soon.
Finally, it was time for our headliners, Kamelot. I’ve personally not looked up any live videos before this show, as I wanted to have an experience that was not encumbered by any expectation. And I am so glad I did! There was two rode cases setup in the pit connected to the stage, and within seconds of the show starting guitarist Thomas Youngblood and bassist Sean Tibbits were standing on those cases, getting just inches away from the fans faces. Locking eyes with the fans, and gesturing at everyone in the crowd, these guys were here to give a crowd-pleasing show. Vocalist Tommy Kaverik was even playing it up for the photographers, nearly grabbing my camera out of my hands at one moment. All this interpersonal play with the crowd just made the show even more of a delightful experience. Drummer Alex Landenburg and keyboardist Oliver Palotai were making the most of the positions at the back of the stage. With Landenburg having a crash cymbal set high above his kit, requiring him to extend to hit it. Which added more flair and personality to his playing. While Palotai would head bang and gesture in between his fingers waltzing across the keys.
Kamelot understands the assignment of a live show, wanting to bring in more spectacle to their shows. One big assistance to this was having Ad Infinitum’s vocalist Melissa Bonny guest vocal on multiple songs. Bonny had a Medusa feel to her, as she danced with snake like movements along the back of the stage but adorn a metal mask that forbid her from casting you to stone. There were times when druids walked out on stage. Hooded figures bringing an eerie presence over the song. Kaverick even went through a slight costume change, donning his own fantasy inspired metal mask. This all occurred while the stage was blasted with smoke canon’s frequently and a colorful light show that bathed the stage with a blue glow. Kamelot kept this energy up for their entire set that featured songs like “Veil of Elysium,” “Rule the World,” “Opus of the Night,” “Insomnia,” “When the Lights Are Down,” “Vespertine (My Crimson Bride),” “New Babylon,” ‘Karma,” “Sacrimony (Angel of Afterlife),” “Willow,” “Nightsky,” “March of Mephisto,” “Forever,” and coming back for a two song encore with “One More Flag in the Ground” and “Liar Liar (Wasteland Monarchy).”
The more I embrace power metal and see these bands live, the more I understand why my high school friends were so devotedly passionate about them. The songs and music take you on an adventure unlike other genres can. Even when the lyrical content can be emotional or depressive, there is always a power and strength to the songs. The brightness that these bands play with resonates with the dreams of every person in attendance. It shows us who we want to be, not who we are in that moment. And just for those few hours, our world is awoken.
In the heart of Dallas, Texas, the pulsating beats of hardcore resonated through The Factory in Deep Ellum as Knocked Loose took the stage for a momentous night celebrating their forthcoming album, 'You Won't Go Before You're Supposed To.' The air was tense with anticipation as fans gathered to witness what would be a historic performance for the band.
With special guests Loathe, Show Me The Body, and Speed warming up the crowd, the atmosphere crackled with energy. Each act brought their own unique flair to the stage, setting the tone for an unforgettable evening of raw intensity and unbridled passion.
Speed took the stage and quickly sprung into some of the highest energy I’ve had the pleasure of witnessing getting the show off on the right foot. This being their first ever US tour, it was a wild ride as they got the crowd moving. From jumps to two-stepping they encapsulated what hardcore was all about.
Loathe was soon to take the stage and them being a band that was a highly recommended one by many of my peers. Jumping straight into it, they did not disappoint. Their vocalist Kadeem France was not shy with his vocal range and talent. From clean to screams in the matter of seconds was an experience. Excited to hear more from them.
Direct support, Show Me The Body, was set to go on next. One of the more interesting performances with 3 members, an electric banjo, and keys made for a unique sound. But with that said, it was a very fun set to witness. The facets of hardcore music span so wide that you never know what you are going to get.
And finally, as Knocked Loose made their grand entrance, the venue erupted into cheers and applause. It was evident from the outset that this would be a show unlike any other. The band wasted no time diving headfirst into their set, unleashing a relentless onslaught of blistering riffs and guttural vocals.
One couldn't help but be swept up in the sheer ferocity of their performance. The energy was infectious, spreading like wildfire throughout the crowd. Bodies surged forward, pressed against the barricades in a desperate attempt to get closer to the stage. And as the music reached its peak, some even took matters into their own hands, leaping over the barricade and onto the stage to join in the chaos. And amidst the sea of bodies, one daring individual even managed to pull off a front flip off the stage, much to the awe of onlookers.
For Knocked Loose, this was more than just another show. It was a milestone in their journey, a testament to their unwavering dedication and the unyielding support of their fans. And as they stood before the largest headline crowd they had ever played to, it was clear that their passion had touched the hearts of many.
In the end, Knocked Loose's show in Dallas, Texas, was more than just a concert – it was a testament to the enduring spirit of hardcore punk and the unbreakable bonds forged through a shared love of music. And as we filed out into the night, hearts still pounding with the rhythm of the music, we carried with us memories that would last a lifetime.
Unless you’ve been living under a rock in the past week or two, you’ve probably heard something about the “beef” between rappers Drake and Kendrick Lamar. As a hip hop fan myself, I’ve really been enjoying watching the slow build of tension amongst the large cast of characters that this started with turn into a rapid escalation between the last two men standing, Drake and Kendrick Lamar. The “battle” dynamic that exists within rap music is truly unique and is one of the elements that makes hip hop stand out amongst the other music genres. In this video pick, I’ll attempt to briefly recap the highlights of the beef and provide a little backstory for the video “Family Matters” by Drake.
In efforts to keep this history lesson as concise, I’m only going to hit the major points in the escalation between Drake and Kendrick Lamar. There are many spinoffs and side stories but those are for another day. In the beginning, both guys were cool. They were cordial and even co-collaborators. Kendrick Lamar was featured on Drake’s sophomore album Take Care (2011) and Drake was featured on Kendrick Lamars sophomore album good kid, m.A.A.d City” (2012). In 2013, the seeds of this beef were planted. Big Sean dropped a record called Control which featured Kendrick Lamar. Kendrick stole the show on the track with a blistering verse that overtly called out all his fellow rappers at the time. From J Cole, Big KRIT, Wale, Pusha T, A$AP Rocky, to Drake, everyone was a target in the spirit of competition. After being asked about it in interviews, Drake replied that he didn’t take a liking to Kendrick’s words. Kendrick then responded with direct shots at the “sensitive rapper” in his verse on the BET Cypher of 2014. Since then, over the past 10 years, there have been subliminal shots or “sneak disses” aimed from both rappers at each other in a variety of capacities.
Fast forward to 2024, former Drake collaborators Future & Metro Boomin both dropped a collaboration project titled “We Don’t Trust You”. For reasons I don’t have the bandwidth to jump into right now, this entire record was filled with Drake sneak disses from various rappers/musicians including Rick Ross, Future, Metro Boomin, and The Weeknd. One of them stuck out because it wasn’t so subtle. It was another Control moment; Kendrick’s Lamar rapped, “motherfuck the big three, it’s just big me” on the record “Like That”. For some quick background context: Kendrick Lamar, J Cole, and Drake have recently been considered the “big 3” in hop hop, but Kendrick made it known on this track that he’s in a league of his own. J Cole immediately fired back with a track called “7 Minute Drill” aimed straight at Kendrick on April 5th. However, after a couple of days of reflection, J Cole apologized for the track and removed himself from the drama and removed the song from the internet. Drake stayed in the fight. On April 13th, the Drake track “Push Ups” aimed at Kendrick Lamar leaked with stray bullets hitting Rick Ross, Metro Boomin, and The Weekend. Taunting Kendrick for a response, Drake dropped another dedicated diss just for Kendrick called “Taylor Made Freestyle” on April 19th. Still, Kendrick was silent. The internet and streets kept asking “Where’s Dot?” because this was the fight that Kendrick’s been waiting for. On April 30th, the Compton rapper finally re-surfaced and dropped “Euphoria” dissing Drake. On May 3rd, Kendrick Lamar went Back-To-Back (a term ironically coined when Drake dropped two songs back-to-back [with one of them named “Back To Back” (against another rapper Meek Mill in a separate 2015 battle) by dropping “6:16 In LA”. This is when things went haywire.
In response, Drake dropped “Family Matters” with an accompanying video (which I’ve included below) the same day, only to be met by ANOTHER scathing diss track by Kendrick Lamar called “Meet The Grahams” within an hour later. Both tracks were great, but due to recency bias and the scathing accusations made by Kendrick, Drake’s one song that day was buried by Kendrick's two drops. In addition, Kendrick’s arguably been the better lyricist, but one thing Drake has on him is his uncanny ability to make hits. The next day on May 4th, Kendrick Lamar dropped yet another song titled “Not Like Us” over a DJ Mustard beat. This was an absolute club banger and Kendrick showed he was far more versatile than people believed. This was three scathing tracks in 36 hours. On May 5th, Drake dropped one last song “The Heart Part 6” which appears (at this time) to signal the end of his attacks. He signaled that he’s ready to turn the page on the battle. Due to some heinous allegations on both sides and where this battle was headed, I think this is for the best. I don’t even want to repeat those allegations, but you’ll hear all about them when you jump into some of these songs. The internet has since regarded “The Heart Part 6” as the white flag and there have been no more diss tracks to date. There’s a consensus online that Kendrick Lamar is walking away with the W, but the fans really got a spectacle out of this one. Viewership and pop culture wise, this was probably the biggest hip hop battle since 50 Cent vs. Ja Rule (2002-2003) or even since Tupac Shakur vs. Notorious BIG (1994-1996).
Check out Drake’s video for “Family Matters”. It’s the only video that was dropped in the back and forth between both rappers. It’s filled with little Easter eggs and subliminal (and not so subliminal) disses. I’ll give you the first one. You recognize that purple van that gets crushed during the first verse? It’s the same van on the cover of Kendrick Lamar’s album good kid, m.A.A.d city. I’ll leave you to find the other Easter eggs on your own…
- Kris
Last week, Prateek Kuhad made his way into Dallas, Texas, an evening filled with heartfelt melodies and genuine emotion. The singer-songwriter who opened for Ed Sheeran just a month or so ago, known for his soulful voice and introspective lyrics, delivered a captivating performance that left the audience enchanted. From the moment Kuhad took the stage, there was a sense of anticipation in the air. The room began to fill and there was this unspoken excitement that filled the room. Kuhad walked on stage and everyone cheered him on as he began to play. As he strummed his guitar and began to sing, it was as if time stood still, and all that mattered was the music filling the room.
Kuhad's songs, with their simple yet profound lyrics, resonated deeply with the audience. Whether he was singing about love, loss, or the complexities of life, Kuhad's words seemed to speak directly to the soul, evoking a range of emotions from nostalgia to hope. A favorite moment of the night was when he played "Tine Kaha" and the crowd all sang in unison. Accompanied by only his guitar and fans, Kuhad's music came to life in the intimate setting of the Granada Theater. Each note was played with precision and passion, creating a beautiful tapestry of sound that enveloped the audience in warmth and comfort.
But perhaps the most memorable aspect of the evening was Kuhad's connection with the audience. Between songs, he shared anecdotes and stories, inviting the audience into his world and creating a sense of camaraderie that was truly special. As the concert drew to a close, it was clear that Kuhad had left a lasting impression on everyone in attendance. His music, with its honesty and vulnerability, had touched the hearts of all who were fortunate enough to be there, leaving them with a sense of peace and contentment. I didn’t know what to expect going in to the night but I left with some new songs to continue listening to. Can’t wait to see him again.
Spotify has been a revolutionary service within the music industry. For better or worse, it has helped countless musical artists be discovered every day. It has helped me discover some of my now favorite bands to listen to daily. One artist that has come across my Spotify radio recently has been Taylor Acorn. She floats between multiple genres with her music but orbits the pop punk style the most. She’s embarked on her first headlining tour called the Good Enough Australia & US Tour. Playing her first ever headlining gig in Los Angeles at the Echo and bringing with her was World’s First Cinema. The line to get in was wrapped around the block with eager fans ready to show their support for their Taylor.
Opening the night was World’s First Cinema. With a name like that, I wasn’t exactly sure what to expect, but the band brought a blend of sounds to create a unique experience. Vocalist John Sinclair has a powerful voice behind him that bleeds emotion. Pulling double duty by handling the violin at times as well, this added a more enchanting tone to the songs. Guitarist Fil Thorpe turns his axe into more than a standard instrument in the band. Sending the sound through pedals and modulators he’s able to add more texture to the songs. With a mission statement of creating a moviegoing experience in a live concert event, World’s First Cinema weaved a setlist of songs that could not be tied down to one genre. From EDM inspired bangers where you could imagine a montage of dance scenes. To dreamy folksy songs where I picture a heartfelt woman longing for her husband to return. To more traditional rock songs, letting you see into the mind of our lead actor going through turmoil. And even throwing in crowd sing along songs. That, if you’ve never heard the band before, the music was easy enough to pick up and start singing along to by the second chorus. For an opening band, World’s First Cinema took the audience on an emotional journey that no one could have expected.
Cramming 350 people tightly into the Echo to sell it out, the fans screamed as the lights cut out as we eagerly awaited Taylor Acorn to take the stage. Starting out with her song “Gray,” the song has a soft opening build that entices the crowd to draw them in closer to her, before taking off with the opening chorus erupting the crowd into a jumping frenzy. Taylor has such a charismatic voice with a brightness to it that you can’t help but smile seeing her perform. But even with that brightness, she can bring such raw emotion to her songs about break ups and depression. Taylor even shared a touching moment with the crowd, about how she was on the verge of giving up on music a few years ago before her mom gave her the push she needed to keep going. And how she is eternally grateful, because if it wasn’t for that push, she wouldn’t be on her first headlining tour playing to us fans who came out to specifically support her and the music she puts out into the world. It was a true emotional rollercoaster of feelings as we rode through her songs like “Wishing You Hell,” “I Think I’m in Love,” “Sticking Around,” “Coma,” “Basement,” “True Crime,” “Good Enough,” “Greener,” “Certified Depressant,” “Everything Sucks,” “In My Head,” “Psycho,” and ending with “Shapeshifting.” With the final song ringing out, the fans chanted for more music from Taylor. The house lights came on, and the fans continued their chants for more. Letting Taylor hear just how appreciated she is.
When I first discovered Taylor Acorn on Spotify, I thought I found another fun pop punk artist. Yes, she has her songs about heart break and tragedy, but there was still so much fun energy behind the music. But seeing her live, I finally connected with the lyrics and what Taylor was saying. I drove into Los Angeles that night thinking I was gonna have a fun Friday night to start my weekend. However, both World’s First Cinema and Taylor Acorn had me digging deep into my emotions and feeling more of myself than I could have ever imagined. It’s moments like these why I love to experience music live and always push my friends to see their favorite artists live. It doesn’t matter if you love their entire discography, or there’s just a handful of songs that you enjoy. The experience you could have connecting with live music should never be missed.
A fun music history fact that I love to think about, is that if it wasn’t for Pink Floyd concerts would not be the spectacle that they are today. Before Pink Floyd, bands were mostly just people performing with instruments on a stage. They were the band that took the idea of concert lighting and making it an aspect of the show. Bringing in stage dressing, themes, productions and truly making it a show. What they started all those years ago, other bands have latched onto that idea and implemented it to create their own unique stage shows. One band that is doing this better than most is Starset. Starset is a high concept band that isn’t just writing music but creating a story, lore, and a universe around the band. Because of this, they want to elevate their live shows to a full on production that takes fans out of a concert setting and brings them on a journey to the alternate world inhabited by Starset. Selling out the House of Blues in Anaheim, CA on the Immersion: The Final Chapter tour with no opener.
Starset likes to call their live shows Demonstrations, as they are revealing the truths behind their world. Stepping into the venue fans were greeted by a welcome screen sitting in the lobby of the House of Blues. This welcome screen projected a woman welcoming you to the facility on behalf of the New East. The New East being one of the mega corporations in Starset's world that is working to control the public. Before the band even went on stage, we were indoctrinated into a new world outside of our own.
Stepping into the actual concert space a white curtain draped across the stage. It was as if the revolutionaries were hiding their agenda before they finally had a moment to preach to the crowd. When the curtain finally dropped, we were faced with a double tier LCD wall screen. This screen was used to play short movie interludes between songs. These short movies helped to tell the story of the world. Talking about a biometric device implanted into the minds of the citizens called BMI. How tampering with the BMI or saying anything against the regime of the New East can land you in jail. And going on to show the first people that find a way to disable their BMI that leads to the potential freedom to come.
One of the most surreal aspects of this show was a giant LCD Fan apparatus setup right at the front of the stage. This apparatus held eight LCD fans, that when spinning at the appropriate RPM speed they will be able to display images just like a normal LCD screen across all eight fans. These fans also allowed for images to have more depth and a 3D aspect to them in a 2D plane. These fans were specifically displaying information from the resistance fighting against the New East. These were our James Bond/M5 moments of how we can help take down the establishment. With all of this stage dressing and production, this show could fill the stage of an arena, and Starset manages to pack it into a House of Blues stage. The only real downside to these fans was that the band was performing behind them. Though this is purposeful, as the band wants to become second to the overall show they are presenting. But if you are a person like me, who enjoys seeing the performers playing their instruments as well, it was difficult to see the band members.
Even though they can be hard to see at times, the band members are dressed in costumes. Almost as if the post-apocalyptic stylings of Mad Max had taken place in space. Cloaking the band members in armor and hiding their faces so they could not be tracked by the New East. Starset does encores differently as well, instead going into an Intermission. During this time, the LCD Fans were finally removed from the stage, and when the band came back to finish the show, they went through a costume change now looking more like a civilian. Blending into public to try and help us escape.
Walking into a Starset show is beyond anything you will experience at almost any other live event. The band carries lore behind them and story. They don’t exist to record an album, tour it, write new music, record a new album, rinse/repeat. They are trying to say something about society with their entire catalogue of music, and their stage show is the visual guide to what the meaning behind the music is. If we’re not careful, we can lose our autonomy as people and give too much of ourselves to technology. The human race has an innate freedom, and we should not give that up for anything. Take the time to enjoy life and be who you want to be. Though this tour is called Immersion: The Final Chapter, Starset is not done with their live Demonstrations, and they plan on going back into the studio soon. Will you help take up the charge against the New East next time they come to your town?
The Hip-Hop Reggae fused band from the Netherlands known as Postmen recently released a 7-track album, Royals. I came across them reading the review on World A Reggae, so I had to check them out. They formed back in 1993 by Anonymous Mis and G-Boah and were influenced by Kool G Rap, Eric B & Rakim, Burning Spear and Bob Marley. They adapted their name from Burning Spear’s song “African Postmen.” Their debut single “Cocktail” entered the Dutch Top 20 charts and they have been popular there and throughout Europe ever since. Both Jamaican music and rap had established itself as dominate in youth culture in the Netherlands in the early and mid-90’s. As Anonymous Mis explained in an interview; “What I like about reggae is the positive vibe. It’s more peaceful and far less fashion-conscious than Hip-Hop. So our raps should radiate a sense of peace and unity. At the end of the day, we like to provide entertainment and education.”
I popped in Royals on and I have to say, I really like their groove and flow. Some good stuff, I am a little surprised I have never heard anything from them before since they have been around for such a long time. The album starts off with the title track, “Royals.” This song grabbed me right away, good beat and a good chorus. Made me want to keep listening, the style in this makes me think of another artist, but I just can’t put my finger on it. Next is “Headscratcher” another solid tune, with a nice rap flow and beat. My head starting to bob up and down. “This Is It” is next and has a little different flow than the first two, but another solid tune. A little more Hip-Hop/R&B flow to this one. We get a reggae vibe next with “Leaving,” with a sweet reggae beat and flow but a real nice rap. I keep thinking, who do they remind me of, I just can’t figure it out. Next is “Rob N Steal,” a more Hip-Hop rhythm and lyrical flow. I like how they mix this up, getting a sweet reggae feel and a little harder Hip-Hop vibration. They bring us to “Denied King,” a little more of an R&B feel with a skilled rap throughout, but with a slight reggae vibe going on in the background. They finish this off with “Without A Plan,” a song that takes me back to the 90’s with the flow of the lyrics and the hard beat. It then hit me, I get a Spearhead vibe from them, the 1997 Spearhead album Chocolate Supa Highway, the beats, the lyrics, the flow of the rap and the reggae vibe. I can also get their influences of Rakim, Burning Spear, Bob Marley and Kool G Rap, you can see where that all came together, but to me I really get that 90’s Spearhead vibe. This is an album worth a listen to if you are a Hip-Hop and reggae fan, especially those 90’s grooves. A nice production, sweet rhythms and beats and a nice mix between the rapping and singing.
One Love - Todd
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.