I’ve been fortunate to see many metalcore legends live in concert, but one that has always eluded me was Asking Alexandria. They have come through Southern California countless number of times, but something has always come up and I missed them. The last opportunity I had was their co-headlining tour with Nothing More. Which, sadly Asking Alexandria had to drop out of due to Danny Worsnop dealing with a throat infection. Thankfully he was able to recover, and Asking Alexandria announced their next tour. The All My Friends North American Tour with support from Memphis May Fire, The Word Alive, and NERV. This incredible lineup came to the House of Blues in Anaheim, CA and I stepped into the venue ready to see a band that will no longer elude me.
Opening the night was a metalcore band known as NERV. I had heard of this band in passing, so I was excited to see what they had to offer. Starting the night off with their song “Bad Nature,” vocalist Dillon Jones gets the show started by screaming the lyrics “You and me are just bad nature!,” before guitarist Scott Buchanan and Jordan Grokett launch into a fiery riff. NERV were here to get the crowd pumped for the show. Drummer Tyler Clark was a groove master behind the kit, letting his playing flow with melody. One of the sweetest moments was when Dillon Jones young daughter could be seen rocking out on the side of the stage. Jones spotted her and picked her up to help sing the outro of “Blue.” You could see the joy in his eyes from getting to share his passion with her. Other songs NERV played included “Not the One,” “Demons,” “Fake,” “Low,” and ending with “Bad Habits.” The House of Blues was already packed before NERV went on, and the crowd fed them their energy to help heighten the performance.
Up next was band known as The Word Alive. I had the pleasure of seeing them once before back in 2018 in this same venue. But this was before I knew who they were. At the time, I thought they were good, but I wasn’t captivated yet. Over the last few years, I have been getting more and more into the band, and have regretted not properly appreciating the band the first time I saw them. So, when they were announced on this tour, I was happy to finally see the band live and appreciate them properly. Vocalist Telle Smith is very beloved in the metal community, and the fans made sure to show him their love, as they hung on every word he sang, and accompanying him by singing along with every song. Guitarist Jose DelRio was just as charismatic on stage, whipping his hair around and shredding right into the faces of the front row. While fellow guitarist Zach Hansen is a bit more subdued on stage, instead letting his instrument do the talking, while still backing Telle with powerful screams. Drummer Daniel Nelson slams on the kit with powerful double kick blasts that let the crowd rage. The Word Alive kept the energy up with songs like “2012,” “Nocturnal Future,” “Play the Victim,” “Hate Me,” “Slow Burn,” “New Reality,” “Life Cycles,” and ending with “One of Us.” For the final song Telle wanted to see anyone who had not crowd surf, get up in the air and get crowd surf to the front. This sent a barrage of bodies hurdling over the barricade for security to catch, and everyone was having the time of their life.
The next band up was Memphis May Fire. These Texas boys always bring a standout show to their loyal fans. However, something must have been in the air this night as Memphis seemed to be giving the crowd even more energy than I have seen in the past. Vocalist Matty Mullins couldn’t get rid of the smile on his face, as he just gleamed with excited from performing this night. The smile he radiated just elevated his performance and drew the fans in deeper into the songs. Guitarist Kellen McGregor drives the songs with his punchy riffs. While bassist Cory Elder and drummer Jake Garland handle the low end that sends the mosh into a frenzy. With songs like “Make Believe,” “Left for Dead,” “Bleed Me Dry,” “The Old Me,” “Somebody,” “The Sinner,” “Vices,” “Chaotic,” “Miles Away,” “No Ordinary Love,” “Misery,” and ending with “Blood & Water.” Memphis May Fire was giving us everything they had and could have been headlining this show from how much noise the fans were making for them.
Excitement grew throughout the crowd as the stage was cleared, and a new lighting rig was placed in position on the stage. Asking Alexandria started off the night with their song “Closure” and right out of the gate guitarist Cameron Liddell unleashed a fury of nasty chugs to build up the energy in the crowd. While bassist Sam Bettley was right there with him in melody, making the song sound even heavier. By the time vocalist Danny Worsnop came in with his screams, fans were already surfing over the barricade. All the while, drummer James Cassells layers his playing with quick and tight double kick patterns. Yet still throwing melody and groove in with his hands across the top of the kit. I’ve always heard that Asking Alexandria is a fun show to watch, but I was still taken back by just how much fun it was. Liddell and Bettley nearly steal the spotlight from Worsnop at every moment of the show. The two play with such massive energy that you can’t help but watch them. They also continually play at the foot of the stage as close as they can to the fans, giving them the very best that they have. We even got a special duet when Telle Smith came back out to help sing the fan favorites “Into the Fire” and “The Violence.” Seeing Smith and Worsnop exchange vocal lines was a power move for both men, as their voices complement each other. We were bestowed a glorious set that spanned Asking’s entire discography, with songs like “Alone Again,” “Bad Blood,” “Down to Hell,” “Where Did It Go?,” “Dark Void,” “Someone, Somewhere,” “Moving On,” “Let Go,” ‘To The Stage,” “A Prophecy,” “The Finale Episode (Let’s Change the Channel),” and ending with an encore performance of “Alone in a Room.”
The fans packed the House of Blues early before any band went on, and by the time the show was over we were on such a high that no one wanted to leave yet. The lights were on, the security was asking people to leave, and we were stuck in a state of ecstasy from what these four bands brought to the show. NERV are proving they are a band that needs more eyes on them with solid songs, and a powerful live show. The Word Alive hold my unending appreciation now that I finally know more about the band, and the love everyone has for them. Memphis May Fire continues to be one of the most consistent bands performing out there. And Asking Alexandria has finally been experienced live. It was a show worth waiting for and blew any expectations out of the water.
Roseville and the Sacramento area were treated to a special night of Classic Rock and Roll when Mr. Big rolled through town on their The Big Finish world tour. This special end-of-the-road tour began in 2023 with the band making stops around the globe including South East Asia, Japan, and Europe, and now, The United States. This Evening the band played to a sold-out crowd with a line that continued around the block. This was a special show as the capacity of the venue was only 600; Mr. Big usually has played to audiences three times the size on this tour. Fans were In for a treat this night in this intimate setting.
The Big Finish tour marks their farewell of over 35 years as a band together, spawning many studio and live albums, #1 hits, and countless tours all over the world. Beginning in January in Houston and sprawling across the US during April and May, this is a significant event for all Mr. Big fans as they will be playing their hugely successful 1991 album Lean Into It in its entirety as well as a loaded set list that encompassed their 35 years as a band and recording partners as well as sequences their musical storytelling.
After a stunning performance of their song “Addicted To That Rush” and a few other hits, the band got right into the full album of 11 songs, Lean Into It, which spawned their biggest US charting hit, “To Be With You” and “Just Take My Heart”. Mr. Big is fronted by Eric Martin, whom I have been a fan of since I was a teenager. Some of my very first concerts and records were of his Bay Area bands 415 and The Eric Martin Band; his place as a frontman in Mr. Big is well-earned as his charm and boyishness never seem to fade. His ability to connect with devoted fans is always genuine and flawlessly executed. His vocals are always on point, and tonight was no different. His endearing vocals and infectious stage presence were in full effect for the crowd. The setlist continued with hits like “Wild World”, a Cat Stevens cover. Next up; the almost expected guitar solo of every rock band, but tonight fans got a bass solo as well.
The Guitar duties were fulfilled by the guitar legend, Paul Gilbert; his extraordinary playing style and engaging stage presence were in full effect tonight. He is well known for being a Rock “shredder” yet lends some blues, soul, and pop vibes to his playing. The following Bass solo was handled by one of rock’s “main squeezes” of bass Legends, Billy Sheehan. He is known for his innovative bass techniques in Mr. Big and other bands such as The Winery Dogs. He and Gilbert are a huge part of Mr. Big's global success; their musicianship and complexity are second to none. Both are seasoned veterans of Rock, Prog, and soul influences. The solos and songs were met with great applause and enthusiastic audience participation.
The drums were masterfully held down by the new addition Nick D’Virgilio, who is carrying the torch for the dearly departed original member Pat Torpey, who lost his battle with Parkinson's Disease in 2018. D'Virgilio's musical capability matches the spirit of the dearly departed, Torpey. The harmonies and stellar drumming are the perfect fit for Mr. Big. His progressive groove keeps the sound intact, praised for his performances and ability to step in for the late Torpey adds to this amazing ensemble.
The thirst for nostalgia was quenched tonight as the band finished out their set with a few covers by Talas, Humble Pie, and The Who. Mr. Big proves to be an amazing live band celebrated for their nostalgic value and amazing hits, proving great music is timeless and holds no age limit. This set and performance by all members were amazing and posed a fitting farewell for the end of the road for such a timeless band. Mr. Big is set to finish their final goodbyes across the world and release a new album late summer of 2024. Be on the lookout for the new release, and maybe a “reunion tour” will commence sometime soon! Until then, we can listen to Mr. Big’s many recordings and hope for that reunion.
If you've been yearning for the swagger and raw power of 80's metal, Them Damn Kings have answered your call with their latest single, "Shown With A Fist." From the very first riff, it's like being catapulted back to a time when leather was plentiful, hair was big, and rock 'n' roll reigned supreme.
The overall sound quality of "Shown With A Fist" is impeccable. It's like Lemmy himself rose from the grave, kicked some amps, and declared this track worthy of any headbanger's playlist. The production is tight, allowing each instrument to shine in its full glory without losing an ounce of grit.
Guitarist, multi-instrumentalist, and vocalist Jef Rhodes channels his inner rock god with incendiary solos that would make even the most stoic air-guitarist break a sweat. His riffs are a masterclass in 80’s metal bravado, slicing through the mix with precision and fire. As if that wasn’t enough, Rhodes's vocal delivery is a potent cocktail of grit and melody, paying homage to the titans of metal while carving out his own niche.
Let's not forget Ryan Blake Folden, the drum wizard behind the kit. His thunderous beats and intricate patterns propel the song forward with relentless energy, evoking the spirit of iconic drummers like Phil "Philthy Animal" Taylor. Folden's performance is a high-octane blend of skill and ferocity, ensuring that every beat hits like a freight train.
"Shown With A Fist" isn't just a song; it's a battle cry for metal purists and modern rockers alike. For those new to Them Damn Kings, this track is your gateway drug. Dive headfirst into their discography with bangers like their Self-Titled EP Them Damn Kings and Rise Up where you'll find tracks like "Devils Dime" smashing through your speakers with the same intensity.
At the end of binder of Jack and Coke and multiple packs of Marlborough’s, Them Damn Kings have delivered a single that's as hard-hitting as a Motörhead gig in '85. With stellar musicianship, killer production, and an undeniable sense of fun, "Shown With A Fist" is a must-listen for anyone who likes their music loud, proud, and unapologetically metal. So, crank up the volume, throw on your best leather jacket, and let Them Damn Kings take you on a wild ride.
"This sponsored review is brought to you by TAG Publicity."
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.
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.
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.
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.
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.
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
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.