The Bay Area was in for an electrifying evening as the Fashion Art Rock Band, Palaye Royale, made its last stop on its Death Or Glory tour in San Francisco. This show was sold out three months in advance, and the massive line ran down the side of San Francisco's beautiful venue, The Great American Music Hall. I was initially attracted to shooting this band just based on their appearance. If modern-day teenage heartthrobs are your drug of choice, these guys are them.
Palaye Royale is an American rock band from Las Vegas formed by three brothers and core members: Remington Leith, Sebastian Danzig, and Emerson Barrett. I was so intrigued to see this band of luxuriously dressed brothers, reminiscent of the 1970s-era rock stars like Jeff Beck, The Faces, and Tom Petty. Packed with fashion sense and lots of dirty glamour, they bring just the right amount of sleaze to their polished look. That, coupled with their musical ability, makes for an exciting evening ahead for the sold-out crowd tonight.
The lights dimmed, and the Backstreet Boys’ “I Want It That Way” came over the speakers; the venue erupted in a sing-along. It was a clever way to see and feel the vibe of what's to come. Palaye Royale is known for their deep appreciation for their fans, and they show it through passionate audience engagement. Whether it be holding hands and singing to the fans in the front row or climbing the venue balcony, frontman and lead singer Remington Leith always shows his commitment to their fans. The set began with the single “Death Or Glory.” The crowd was electrified by the energy emitting from vocalist Remington Leith. I must admit this is a super catchy song off their 2024 release of the same name. More catchy punk-pop tunes followed, like “Little Bastard,” “You'll Be Fine,” and “No Love In LA.” I was especially impressed with lefty guitarist Sebastian Danzig’s Chet Atkins Gretsch hollow body; it looked and sounded spectacular. Sebastian emotes some clean, big fat tones with a hint of distortion from this beast of a guitar. Sebastian and the gang's sound is hard to classify or slap a genre label on; I hear sounds of 80s pop, 70s glam rock, emo, twang, and good old-fashioned rock and roll. Palaye Royale has something for everyone. The band's Top 40 single, “Addicted To The Wicked and Twisted,” was up next; it was nothing short of electrifying. The haunting tones of Sebastian’s hollow body were perfectly matched for this song.
Giant plastic balls were tossed around the venue as the sounds of an amazing rock band rang through. The stage set was vibrant, and the neon letters “Death Or Glory” lit up the stage along with flashing white lights, giving the production a retro vibe. Next up was “Fever Dream,” a heartfelt song dedicated to the brothers' late mother, who died from cancer last year. It was a genuinely emotional song; I suspiciously noticed that one of the brothers and core member, Emerson Barrett, was missing behind the drum set. I wasn't sure who was filling in for Emerson, but whoever it was kept the time correct and made all the songs come to life with the beats and rhythm. Palaye Royale rolled on with a few more songs; the anthem “Dead To Me” is angst-filled and emotionally charged. Remington sure knows how to deliver a song to the fans. I am super impressed with his vocal ability after 140 shows in just 10 months. The band closed out the show with “Mr. Doctor Man.” This band gave everything and more and left it all on the stage for the fans. What a magical experience and a treat to find a band that doesn't sound like any band ever before. They call Palaye Royale “Fashion Rock.” I get that assessment from their slick, voguesque appearance. But that name seems kind of weak for them. “Luxury Punk”—now that sounds more fitting to me. This tour has garnered Palaye Royale widespread acclaim and Top 40 hits. They will continue to captivate and thrill fans across the globe. Beware the next tour; I am certain these guys will be playing bigger venues.
Look for Palaye Royale to blast through your town; don't miss it!
International Women’s Day is obviously a special occasion to celebrate strong, intelligent, beautiful, and independent women. It is also a good day to recognize the talents of the ladies of heavy metal. I have always been a strong supporter of women who want to be in rock and metal bands in any capacity. Whether it’s as a singer, guitarist, drummer, bassist, keyboardist, or even dancer, if they have the goods and skills to show the world what they are made of in this genre, then I say let the girls play. One subgenre of metal I always thought was perfect for the ladies is symphonic metal. With looks that kill and voices that would echo in the Halls of Valhalla, I really enjoy listening to symphonic metal. I could not think of a better way for Rabit and me to celebrate International Women’s Day than heading to the Whisky a Go-Go in Hollywood and seeing Delain, Xandria, and Edge of Paradise. All female-fronted, all powerful, and all that alluring.
Edge of Paradise kicked off this female-led holiday show. Hard to imagine that it has been 10 years since I started following them. They have certainly come a long way since then, artistically as well as commercially. Riding high with their latest release, Prophecy, Edge of Paradise went sci-fi with their symphonic licks. Frontwoman Margarita Monet is still mesmerizing to witness. She is the rare breed of singers that is both beauty and energy with her enchanting falsetto voice. Her longtime partner and lead guitarist Dave Bates brings the "wow" factor with his tapping and licks on his green neon weapon of music. This was the first time seeing new rhythm guitarist Doug Weiand, and he is a conqueror of those bombastic riffs. During “Falling Light,” he whipped out a sensational solo that would rival Amaranthe's Olof Mörck. Drummer Jamie Moreno is a beast on the kit, while bassist Kenny Woodward thunders away at the beats. From “Prophecy Undone” to “The Other Side of Fear,” “Hologram,” “Death Note,” “Give It to Me (Mind Assassin),” “Digital Paradise,” and “Falling Light,” the Whisky crowd had entered Paradise. The horizon continues to look beautiful for Edge of Paradise, and I'm heading there with them.
Now it was time for some German-flavored symphonic metal with Xandria. It has been years since they got my attention with 2017's Theater of Dimensions, and now they returned with a new lineup and their newest record, 2023's The Wonders Still Awaiting. Starting their set with “You Will Never Be Our God,” Xandria immediately pulled me in thanks to the operatic style voice of Ambre Vourvahis. This frontwoman is the total package, and she breathes new life into these symphonic warriors. Founder and rhythm player Marco Heubaum leads the charge with his heavenly playing technique. Lead guitarist Rob Klawonn is like lightning, agile and versatile with his solos that give the band's sound a big boost. Drummer Dimitrios Gatsios is a steady force that crushes the music with melodic purpose. Notably absent was bassist Tim Schwarz, but that did not stop Xandria from blowing the roof off the Whisky. Along with “Reborn,” “Universal,” “Two Worlds,” “Live the Tale,” and the classic “Nightfall,” we all felt their awesome power. The song that did it for me, though, was “200 Years” because it had this Irish jig vibe that resonated with me. Xandria was everything I thought they would be live and more. This will not be my last time seeing this German spectacle.
Now comes the main attraction of the evening, the Netherlands' own Delain. This Dutch symphonic machine brought an epic stage presence to the Whisky. Vocalist Diana Leah has a voice that soars into the clouds, slaying the lyrics with alluring grace. Since taking over for Charlotte Wessels in 2022, Leah is carving her own legacy in Delain. Founder and keyboardist Martijn Westerholt is a maestro, blending symphony and destruction together in a harmonious nature. Bassist Ludovico Cioffi mud-stomps the hell out of the bass riffs, showing absolutely no mercy. He also shows off his harsh voice that has a vicious bite. Guitarist Ronald Landa plays big with his riffs yet contains himself enough to allow his licks to be heard without too much soloing. Drummer Sander Zoer was laser-focused on his technique and dropped the hammer to give us pulse-pounding beats. Armed with smoke machines, Delain felt far grander that night. The tunes they gave the loyal LA metalheads were both sinister and delightful. From “The Cold” to “Suckerpunch,” “The Reaping,” “Burning Bridges,” “Creatures,” “Here Come the Vultures,” “Dance With the Devil,” “Stardust,” “The Tragedy of the Commons,” “Get the Devil Out of Me,” “Your Body is a Battleground,” “The Gathering,” “Don’t Let Go,” “Moth to a Flame,” “April Rain,” “Not Enough,” and “We Are the Others,” Delain owned the night. Not only that, but they also owned our hearts.
This was a great night to celebrate International Women’s Day. The Whisky ascended above the clouds to reach Heaven thanks to the fantastic singing by these incredible frontwomen. Like the mighty Valkyrie, Margarita, Ambre, and Diana came to Hollywood ready to fight, and not only that, but they also conquered the night. Until the next showcase at the Whisky, I leave feeling euphoric. To Delain, Xandria, and Edge of Paradise, I salute you. Horns up!!!
Photos by Matt 'Rabit' Martinez
A lot of music fans are probably not aware of this, but many metal artists have said they were inspired in their musical journey by classical music. Composers from the classical era such as Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Mozart, and Antonio Salieri helped shape the music that gave artists like Tony Iommi, Eddie Van Halen, and Yngwie Malmsteen the idea of hard rock and heavy metal. There is one group of musicians from Helsinki, Finland, who dare to merge heavy metal and classical music into one. I am, of course, talking about Apocalyptica. Three cello players who had a common love for Metallica, Slayer, Sepultura, Faith No More, etc., and they have this gift for performing metal tunes neoclassical style. They recently released their latest album, Plays Metallica, Vol. 2, and decided to hit the road with guitar legend Nita Strauss to give metalheads some culture. One of their stops was the famed Orpheum Theatre in Downtown LA. Rabit and I had not been there since the G4 show in 2019, so we were excited to be heading back to hear neoclassical metal at its finest.
This is the second time this year we are seeing Nita Strauss and her group. The first time was at the Observatory during NAMM weekend, so this time around was a homecoming show for the group since each member is from Los Angeles. Getting things off to a fast-paced start with “Momentum,” Nita was firing on all cylinders. This is honestly the best I have seen her as of now, probably because the show was in her hometown. She fed off the energy of the LA crowd and viciously slayed the riffs and solos. Her rhythm guitar partner, Johnny D. Young, is a mighty force on the main riffs, and he does not play around. He gets down and dirty with his performance, making him a perfect Yang to Nita’s Ying. Katt Scarlett is electrifying on the keyboards as always, but the standout in the group was drummer Josh Villalta. Nita’s husband shows off his brute strength and precision on the kit, especially during his solo. He even had me going with some intense air drumming from my seat, like a piper musically hypnotizing a cobra. I enjoy watching Villalta for he is pure potency.
For the first half of their set, they performed their instrumental tunes like “Our Most Desperate Hour,” “Summer Storm,” the classic “Mariana Trench,” “Scorched,” and “Quest.” When they went into “Victorious,” they brought out their secret weapon in vocalist Kasey Karlsen from The Deadlands. Beautiful to watch, but ferocious on the microphone. She can be harmonious and venomous, always a fun combo. She stayed the rest of the night performing “Digital Bullets,” “Dead Inside,” and “The Wolf You Feed.” A beautiful performance by the striking and brilliant guitar goddess.
Following a brief intermission, the intro to Ennio Morricone’s “Ecstasy of Gold” played over the PA. Apocalyptica then appeared onstage and started their night off with “Ride the Lightning.” Bandleader and rhythm celloist Eicca Toppinen laid out some tasty James Hetfield rhythmic licks on his Lupot cello, while lead celloist Perttu Kivilaakso channeled his inner Kirk Hammett, tapping away at the powerful solos neoclassical style. Bass celloist Paavo Lötjönen was having a ball performing the booming end of the music that Burton, Newstead, and Trujillo helped make the classic Metallica sound. Touring with the group on the drums this time around was Mikko Kaakkuriniemi. Armed with a Viking beard and powerful wallops on the kit, he was a burst of relentless energy that would make Lars Ulrich smile.
The whole evening was dedicated to Metallica and their best hits. It is hard to describe the energy because you would have to be there to witness it. When a new song was played, the fans would sing the words with Apocalyptica’s encouragement. From “Enter Sandman” to “Creeping Death,” “For Whom the Bell Tolls,” “Battery,” “The Call of Ktulu,” “St. Anger,” “The Four Horsemen,” “Blackened,” “Master of Puppets,” “Nothing Else Matters,” and “Seek and Destroy,” we were hanging on every note Apocalyptica played with their bows and strings. They ended the night with the always fan favorite, “One.”
The Orpheum Theatre was filled with metal excitement of classic and neoclassical proportions. Thanks to Apocalyptica, they gave us an evening of sophisticated cultural experience, while Nita Strauss provided good old-fashioned metal fun. For anybody who wants to experience metal in a unique form, then look no further than these guys. To Apocalyptica and Nita Strauss, I salute you. Horns up!!!
March 7, 2025, was a legendary night that shook The Roxy. The iconic Rare Americans headlined the show, with support from Shauna Dean Cokeland and Hotel Mira—both incredibly talented artists worth checking out. The venue was packed, and the crowd had some of the best energy I’ve ever seen. It was one of those shows where you just knew you were in for a great time.
Shauna Dean Cokeland kicked off the night with her charismatic, down-to-earth energy. Playing acoustic guitar, her lyrics felt both deeply relatable and immersive, pulling the audience into a story. She is undeniably an incredibly talented songwriter. If you like artists like Madilyn Mei, Mxmtoon, Brake, and Ricky Montgomery, you’ll love her music. She performed songs such as "Electric Blue" and "Last Best Pop Stars." "Electric Blue" is one of those songs that offers comfort to anyone who’s ever felt out of place or disconnected from the world. It was also refreshing to see her smile while singing "Last Best Pop Stars"—you could tell how much she loves music. Her appreciation for her fans was clear in the way she spoke to the audience, creating an intimate and welcoming atmosphere. I love the unique poetic introspection she brings to her singing. At the end of her set, she made a heart sign with her hands to the audience—a sweet and genuine moment.
Hotel Mira was up next, and if you’ve never seen them live before, let me tell you—they will surprise you. If I had to compare their energy to something, I’d say they have more energy than someone on a sugar rush. If you took your eyes off their lead singer for even a second, you’d miss something. The entire band radiated confidence, and their infectious energy was impossible to ignore. Their instrumentals were catchy, and their singer danced across the stage like nothing in the world could bring him down. He wasn’t afraid to interact with the audience either—at one point, during "Speaking Off The Record," he jumped into the crowd, singing while fans held his hand. You could feel everyone living in the moment. When the band spoke about the importance of community, it was a touching reminder of the power of music. Seeing bands like Hotel Mira speak up gives me hope for the future. Their setlist also included "King of the World," "Making Progress," "Fever Pitch," "America’s Favorite Pastime," "Jungle," "Vampire," "Dancing With The Moonlight," and "Southern Comforting." Genuinely, their music and stage presence were top-tier.
By the time Rare Americans were set to take the stage, the crowd was hyped. They opened with two band members pounding on drums before the lead singer burst onto the stage. They had the entire audience jumping along with them. From start to finish, the crowd was fully engaged—whether through movement or singing along. During their new song "Deadly Shade of Blue," they asked the audience to turn on their phone flashlights, creating a breathtaking scene that looked like a starry night sky. Their performance of "Mr. Please" perfectly captured the frustration of living in today’s world. A special highlight was when Shauna Dean Cokeland joined them onstage for a song—an exciting moment to witness.
Their sense of humor added to the experience, with witty moments like a Q&A session and a band member playing a random instrument. A fan favorite, "Hullabaloo," was met with overwhelming enthusiasm. One of the best moments of the night was when they brought audience members on stage to sing "Cats, Dogs & Rats." Everyone up there looked like they were having the time of their lives. The crowd chanted for an encore, and Rare Americans delivered, performing three songs that told the story of Brittle Bones Nicky. The audience knew every word, singing along and throwing their hands in the air in unison. The ending of the set left me eagerly anticipating the final song in the Brittle Bones Nicky arc—I know it will be worth the wait.
Every performer that night knew how to engage the crowd and leave them excited for what’s next. Even my friend, a longtime Rare Americans fan, enjoyed the show even more than he expected. It was a night that surpassed all expectations. The sheer talent on display was unbelievable, and I can’t wait to see how these artists continue to impact the world. And of course, the final chapter of Brittle Bones Nicky is something to look forward to.
Scottish punk rock legends The Exploited packed The Observatory in Santa Ana, CA, on Thursday night, February 27, along with SoCal natives and fellow punk rock veterans D.I. and Total Chaos for a night of old-school hardcore punk rock debauchery.
Celebrating their 35th anniversary as a band, Total Chaos brought exactly that to the stage—chaos. With their home base just 40 minutes inland in Pomona, The Observatory was packed, and fans wasted no time conjuring up circle pits and crowd surfing. Many tried to get onstage, and vocalist Rob Chaos did his best to encourage the crowd to get rowdy and unruly.
Casey Royer of D.I. is an Orange County punk rock legend, with roots in Adolescents and Social Distortion dating back to 1979. With D.I. being a huge inspiration for many OC bands, it’s always an event when they play in SoCal, and this night was no exception. Royer, along with Clinton Calton and Trevor Lucca on guitars, Eddie Tatar on bass, and Joey Tatar on drums, picked up right where Total Chaos left off, whipping the crowd into an even greater punk rock frenzy.
Joining D.I. onstage for the song "Hang Ten in East Berlin" was another punk rock legend, Ross Lomas from English street punk pioneers GBH. Two hours into the night, security guards were working non-stop catching crowd surfers and trying to keep fans off the stage—and the most extreme part of the night was just beginning.
Total Chaos and D.I. surely ignited The Observatory, but the speed and aggression of the music were about to reach a whole new level. Wattie Buchan, with his iconic red mohawk, took the stage with the rest of The Exploited: Irish Bob on bass, Steve Campbell on guitars, and none other than Garry “G-Man” Sullivan from The Cro-Mags on drums. From the first notes of "Let’s Start a War" to the final sound of "Was It Me"—and all 22 songs in between—The Exploited had Santa Ana in a blazing frenzy of hostility. Buchan has not lost a step over the years and remains the same angst-driven, politics-hating, anti-religious punk who carved a path of destruction and respect all the way back in 1979 to today.
Catch The Exploited on tour until March 15, ending at the Punk Invasion at The Belasco Theater in Los Angeles.
The 70s and 80s really saw the evolution of the guitarist stepping out in front and being the star of the band. Names like Eddie Van Halen, Yngwie Malmsteen, Randy Rhoads, and Joe Satriani were masters of putting their instrument at the forefront of their music, shining with some of the best solos ever written—sometimes even overshadowing the rest of the song. Another guitar legend of the time who had a different viewpoint about how the guitar should be used was Jerry Cantrell of Alice in Chains. Cantrell has carved out a place in musical history by writing guitar tracks that create emotion and depth. If he takes the time to solo, that solo will usually enhance the overall song rather than take away from the vibe of the music.
In between touring with Alice in Chains, Cantrell has found time to release five solo albums. He is currently hitting the road in support of his latest solo album, I Want Blood, and recently made a stop at The Belasco in Los Angeles, CA. Fans packed the venue to hear this grunge legend live.
Opening the night was industrial band Filter. Right off the bat, the band set out to create a mood in the venue, forgoing the use of most of the lights except for select spotlights shooting around the room. The audience was there to get lost in the music that Filter has been putting out for decades. Founding member and vocalist Richard Patrick isn’t exactly a traditional frontman on stage but instead a being of pure musical talent. Swaying and rocking on stage while giving his all in his vocal duties, Patrick performs as a creature lost in the minimal lighting of the venue. Backed by Jonathan Radtke on guitar, Bobby Miller on bass, and Rosh Peterson on drums, the band created a bombastic wall of sound that penetrated eardrums with songs like "You Walk Away," "The Drowning," "For the Beaten," "(Can’t You) Trip Like I Do," "Jurassitol," "Take a Picture," "Drug Boy," "Welcome to the Fold," and ending with "Hey Man Nice Shot." Filter got the crowd rocking for the entire set, creating an atmosphere that was perfectly primed for the headliner.
It was then time for the headliner to take the stage. As the rest of the band walked on, the tension and excitement built for the legendary Jerry Cantrell to greet his fans. Opening the set with "Psychotic Break," Cantrell harmonized and provided additional vocals alongside lead singer Greg Puciato. Together, they created a nasally droning vocal style packed with emotional depth and feeling. But it’s with the guitar in hand where Cantrell truly shines. He may not be the flashiest guitar player, but he doesn’t need to be when crafting groove-infused rhythms and choruses that pull listeners into the music. Occasionally stepping to the front of the stage for solos, Cantrell gave fans moments to soak in his presence.
Cantrell even mixed in some Alice in Chains classics, featuring "Them Bones," "Down in a Hole," "Man in a Box," "Hate to Feel," "Would?," and "Rooster." However, it was Cantrell’s band that truly brought his solo music to life. The lineup included Greg Puciato on vocals, Zach Throne on guitar, Eliot Lorango on bass, and Elias Mallin on drums. Together, they filled The Belasco with Cantrell’s solo tracks, including "Vilified," "Afterglow," "Atone," "Off the Rails," "Held Your Tongue," "Cut You In," "My Song," "I Want Blood," "Had to Know," "Angel Eyes," "Let It Lie," and "Rooster."
For this night at The Belasco, grunge was king again. Cantrell’s writing and playing remain unmatched, and the audience was fortunate to experience his artistry for a couple of hours. His musical talents helped shape and cement Alice in Chains as the historic group they are, and his solo work continues to showcase his creative greatness. After this tour, Jerry Cantrell will continue performing in support of Bush during the summer and make some festival appearances. If you’re a fan of Alice in Chains, grunge music, or want to relive the musical height of the 90s, be sure to catch Cantrell when he coming your way and catch his show!
As I walked into the Belasco, I saw many people wearing CHVRCHES merch from different eras. The energy was palpable, a shared excitement for seeing Lauren Mayberry live as a solo performer for the first time after more than a decade in a Scottish synth-pop trio. As the very last show of the US leg of her tour in support of her debut album Vicious Creature (EMI Records, 2024), Mayberry brought grandiosity and theatricality to songs that explore themes of darkness and feminism, the latter being a well-known cause for the soprano singer-songwriter.
She brought along Cult of Venus as the opener—undoubtedly a fellow feminist powerhouse! A New York native, Cult of Venus performed solo, alternating between electric guitar and synth while filling the room with a clear, impactful voice that soared in an almost angelic way. There was introspection and elegance in an electric performance that at times blended the ambient, soothing sounds of Vancouver Sleep Clinic with the wandering energy of Bon Iver. They retraced a seemingly lonely journey—an anonymous one—since nobody truly knows their identity or what they really look like. Their face is always obscured by long blonde hair, making them a mystery. Even as a photographer in the photo pit, I found it nearly impossible to capture more than an inch of their face—at first, it made me question my own skills.
After waking up to the smoke and fires in Los Angeles, Cult of Venus wrote "Mountains", a song about rebellion and desperation—a call for help, even as they sang, “There ain’t no savin’ me.” It wasn’t the first time their music transcended into themes of strength and resilience; they have previously performed across many all-female prisons and detention centers. They closed their set with their latest single, "Algorithm", a powerful electronic track that gave me "Nightcall" by Kavinsky vibes, setting the perfect energy for Lauren Mayberry’s entrance.
Mayberry opened with her latest single, "Crocodile Tears", announcing herself with an "ultra-catchy eighties inspired tune sprinkled with jittery synths". As a self-proclaimed villain, she found it thrilling to see men's tears. Throughout the show, she danced and invited the crowd to clap along to the heavy synth and beats, with fans singing and moving in sync. Mayberry was radiant, glowing under the blue lights in her fairy-like red dress, commanding the stage with the confidence of a veteran performer. Beyond delivering a five-star performance with her distinctive, emotional vocals and magnetic stage presence, she was also highly entertaining during intermissions.
She recounted the story of the red megaphone she brought on stage for "Something in the Air"—one she had ordered online, only to receive it with a photo of Donald Trump using it and a message thanking her for her purchase. In shock, she stepped back, thinking, “Don’t touch it!!” Her story triggered waves of laughter and boos from the audience before she quipped, “Okay, I gotta shut up before they deport me.” As it turns out, the megaphone also doubled as a powerful light, adding a striking annonciateur energy to the stage, alongside vintage white telephones she used as props.
A breathtaking surprise during her set was Mayberry’s cover of "Bittersweet Symphony" in her signature style—grandiose, expansive, focused, and magnetic. I had to stop and take it all in. But Mayberry didn’t stop there. She created quiet, deeply personal moments too, like with "Oh, Mother", a piano ballad and ode to her mom. Singing “Oh, mother, I couldn’t do it without you” and “What would I do without you?” brought a hush over the crowd. In a Reddit AMA, Mayberry admitted that this song made them all weepy and sad in the studio because it’s “a depressing song”—one that wouldn’t have fit within CHVRCHES’ emotionally and sonically different direction.
The show ended with "Sunday Best"—the perfect closer for her final US show, which happened to be on a Sunday. Mayberry had previously explained that the song’s bridge was the hardest to write on the album, but finally cracking it felt “extra-euphoric.” The crowd felt that way too—extra euphoric. Thank you for the music, Lauren Mayberry!
- Lio
During the pandemic, Deleon “Pele” Hamilton had an urge to create something new, something from his heart and soul. His creative juices were churning. With the help of guitarist Nicolas “Nico” Groskopf and singer Elton Earlington, the trio got to work on a new project, a new journey, a new album. The album and concept revolve around the themes of love, struggle, upliftment, and resilience.
“What started with simple voice-note recordings, pen and paper, and an acoustic guitar has now blossomed into the truest and purest reflection of how I was feeling and what I was going through, as well as what I wanted to share with the world. The songs on this album are very special to me, and I do hope that you’ll find the same solitude when you listen,” Pele recently said about the work. While this was created out of Pele’s thoughts and desires, with the help of Nico and Elton, this project also came together with other amazing musicians. Among them are Wayne “C-Sharp” Clark, Oral Brown, Aston Barrett Jr., Kirk Bennett, and Peter Samaru on drums; Llamar “Riff Raff” Brown, Andrew Marsh, Kevon Webster, and Koriq Clarke on keys; and Hector “Roots” Lewis, Robert Malcolm, and the late Denver Smith on percussion. This is a truly Jamaican roots reggae band and album.
“This project is my life’s testimony and the philosophy by which I live,” shared Pele. “Once there’s life, it’s more than enough reason to keep giving your best.”
The album opens in the most perfect way with help from Steel Pulse on “Freedom Fighter.” This is a fast-paced rhythm with such a great sound and a powerful message about systemic injustice and liberation. David Hinds is at his best on this groove that perfectly blends the styles of F.Y.A.H. and Steel Pulse. Pele was recently quoted saying about the album, “Four years ago, while at one of my lowest points, I had no choice but to surrender my all to music.” That is the perfect quote for the next track, “Never Give Up.” This is another fast, upbeat song, and Elton sounds fantastic.
“Oh Oh Oh” comes at us next, with a carefree reggae riddim that just puts a smile on your face. The band hits us with “Free Your Heart,” a song that dives deep into mental health and taking care of yourself, with Nico delivering some nice guitar work to guide us through.
Next, it’s time for a nice rocksteady groove and a chill love song, “Cool Down.” The harmonies on this track are so sweet, with some great horn play by Sheldon Palmer. Love this song. Hollie Cook joins them on “When I’m With You.” Another love song and a sweet duet between Hollie and Elton—they sound so incredible together, going back and forth, sharing harmonies and a beautiful message. Another song I love “Live My Life” is a plea to start all over again with the one you love after making a mistake:
"Baby forgive me please and forget that/
Please set that all aside/
Life without you is a set-back/
Please step back in my life/
I was a fool but now I realize/
How could I lose the best part of my life.”
We stay with the love songs with a really funky groove in “Love Got A Hold.” This is a really fun song—you just want to dance and have a good time! We get some self-reflection with “Where You Gonna Run.” Another great track with Elton once again sounding amazing, but this is also about the instrumentalists: Nico on guitar, Pele on bass, and the percussion and drums walking us through this voyage.
We have reggae and jazz great Glen Browne, the world-famous bassist and guitarist, joining F.Y.A.H. on “Hold Up I Head.” Glen has been making music since the ’60s and is an amazing addition to this song, with nyabinghi drums carrying us through. Glen brings us his warm, calming voice, passing on his wisdom with the inspiring lyrics. This is a sweet, soothing song for the heart.
Next brings us another collaboration, but not like we would expect. “I Believe” features Alborosie, but not joining Elton on the mic. The song was recorded at his Schengen Studio, and he adds his expertise on keyboard, percussion, and guitar, while also working on the production of the song.
The song that probably shows off Elton’s range and beautiful voice the most is the final track, “Brighter Day.” This is a multi-dimensional song that really steps away from the reggae sound and brings us a nice mix of styles and genres. Nico finishes it off with a sweet guitar solo, a perfect way to conclude this journey that Pele, Nico, Elton, and all their friends have taken us on.
One Love,
Todd Judd
Vybz Kartel’s firstborn, Jaheim Palmer, aka Likkle Vybz, released his first solo EP, Love Lane, on Valentine’s Day on his Uptown Gaza Records label. He said he wanted to release something dedicated to the ladies: "I just want the work to speak for itself, honestly. [It's] four songs for the ladies, because you know that you cannot leave the ladies out. I really want them to resonate well with anyone who takes the time out to listen to what I have to say," Likkle Vybz said.
This EP is a different vibe, a different style than we are used to hearing from Likkle Vybz. He has been doing music for a while now—when your father is one of the most popular Jamaican artists ever, that will happen—first as a duo known as PG13, starting in 2014 with his younger brother Likkle Addi, and then releasing tracks over the years such as “Fully Gaza,” “No Cap,” “Lemonade,” and “Rich Off.” There is real growth we hear from Likkle Vybz with this 4-track EP.
"I've been wanting to drop a solo EP for a while now, so I have been putting in the work to build myself musically,” he recently told The Star. “I was at home looking for some rhythms, and I found one by Kahtion Beatz, and instantly I was hooked and started the hook. I wrote that song (“Ready”) the same night. I eventually went back to it and fixed it, and then we perfected it in the studio, and the same for the other tracks where perfection is concerned; some songs took longer than some naturally,” the deejay told the Jamaica Observer.
“Ready” is the first track, and the first thing that hit me was how different this song was from his others. Not in a bad way at all, just not expecting to hear what I was hearing. It’s an appealing beat and groove, and I can understand why he got hooked. He has a great flow throughout; you can hear the maturity and growth in his voice and lyrics. Loving the flute at the end, just taking the rhythm to another level.
He follows up with “Miss Independent,” an infectious, silky beat. The blending of rhythmic patterns makes it a perfect song to get up on your feet and hit the dancefloor. Likkle Vybz brings charmingly catchy lyrics with an energetic melody.
Vybz Kartel joins his son on “Secret” with a nice, solid beat and rhythm. The guitar flows over the beat, flowing right along with Likkle Vybz’s vocals. While this song is a slow and chill groove, Vybz Kartel comes in HARD—no surprise—and it adds another level to the song. They really complement each other with their styles, cadence, and voices.
The EP is finished with what is probably my favorite track, “Best Friend.” I just really love Likkle Vybz’s sound and lyrics in this. His flow is great, taking us along this journey, flowing through the beat with melodious vocals and harmonious phrases. The rhythm just has me grooving and bobbing my head.
This is a really good EP, one that makes me want more and will have me waiting for more from Likkle Vybz. When your parent is such a huge name in music—not just in Jamaica but worldwide—it can be hard to find your own style and break away on your own. I think we are seeing the maturity of Jaheim, but also him finding his own way, his own style, while still keeping close to the “family business.” His father has been a huge influence on his life and career, of course: “He has had a great impact and, even during the creative process, I took some time out to appreciate the influence on my style, especially for this project. It’s a great feeling, honestly, it reassures me that I’m progressing and going in the right direction,” he recently told the Jamaica Observer.
This is for the ladies, but it is really for everyone—great rhythms, lyrics, and beats.
One Love,
Todd Judd
Hall of Fames are a touchy subject for me. When it comes to sports Hall of Fames, it feels almost liberating because members are voted in based on merit, talent, and impact. The Rock ‘N’ Roll Hall of Fame, however, is a completely different beast. Artists are voted in based on what the old elitists of music like and who they like, not on what the people want or appreciate. This is especially true for metal bands and artists, who often do not get the respect they deserve.
Luckily for them, there’s the Heavy Metal Hall of Fame, which takes place during NAMM week. It’s a ceremony where artists and contributors in the genre are recognized and respected. Rabit and I have covered the last three or four ceremonies, and we once again showed up for the 2025 inductions. This year, the following were honored as inductees: Pantera’s Dimebag Darrell, Arch Enemy’s Alissa White-Gluz, guitarist Doyle Wolfgang von Frankenstein, Megadeth guitarist Jeff Young, Poison drummer Rikki Rockett, former Fear Factory vocalist Burton C. Bell, Dangerous Toys, and radio station KNAC.
Normally, there’s a red or black carpet to welcome attendees, but that wasn’t the case this year. This event typically takes place in the ballroom of the Marriott Delta in Garden Grove, but for 2025, it was held at the Grand Theater in Anaheim. There was no carpet—just a simple entrance where journalists and photographers improvised, creating a make-shift carpet experience for the arriving artists. It was different but creative, as we wanted to grant the artists the respect they’ve earned. Many journalists, including myself, had to fight for interviews, but I was lucky enough to snag six or seven of them (check out the YouTube audios below).
During the ceremony, we were treated to stellar metal performances by the Jeff Young Band, Wicked, the Alibis, and an all-star jam. The inductees expressed heartfelt thanks to their fans and to the writers who promote them with intense passion.
I’d say this year’s Heavy Metal Hall of Fame was interesting in a unique way. While it lacked the traditional red carpet, we improvised, creating our own walkway—much like the Stitch Riot fashion show had done before. Through this, we actually gained more access to the ceremony itself and got to witness some incredible sets, including an unforgettable performance by Wicked, who we had the pleasure of seeing again the next night with Metal Allegiance.
As for the inductees, while most couldn’t attend, their presence was still felt throughout the night, and we cheered on those who could make it. It was a great celebration of the genre and an overall fantastic night for metal lovers. I’m already looking forward to next year’s event. To the class of 2025 inductees into the Heavy Metal Hall of Fame, I salute you. Horns up!
Photos by: Matt 'Rabit' Martinez