Music enthusiasts and punk rock devotees were treated to an electrifying night of nostalgia and high-octane performances as The Offspring headlined a stellar lineup at the Dos Equis Pavilion in Dallas, TX. Supported by Simple Plan and Sum 41, the concert on August 19th was a true testament to the enduring appeal of punk rock.

Opening the night was Canadian rock outfit Sum 41, who wasted no time in setting the tone for the evening. Bursting onto the stage with an explosion of energy, Sum 41 whipped the crowd into a frenzy with their signature blend of melodic punk and edgy attitude. Hits like "In Too Deep" and "Fat Lip" transported the audience back to the early 2000s, when pop-punk was at its peak. Their tight musicianship and charismatic stage presence proved that they are still a force to be reckoned with.

As the sun began to set, Simple Plan took the stage to an eruption of cheers from the crowd. The band's infectious enthusiasm and catchy hooks had the audience singing along to every word. Hits like "Welcome to My Life" and "Perfect" evoked a sense of nostalgia, reminding everyone of the soundtrack to their teenage years. The band's ability to connect with the audience on a personal level was evident, as they shared stories and anecdotes between songs, making the large venue feel like an intimate gathering of friends.

Finally, the moment everyone had been waiting for arrived as The Offspring graced the stage with their iconic presence. From the first chord, it was clear that the band's energy was undiminished by the years. Frontman Dexter Holland's distinctive vocals were as powerful as ever, while guitarist Noodles shredded through riffs with precision. The setlist was a rollercoaster of hits spanning their illustrious career, including "Come Out and Play," "The Kids Aren't Alright," and "Self Esteem." The audience responded with unabashed enthusiasm, mosh pits forming and bodies surfing the crowd.

In a world where music trends come and go, the fact that The Offspring, Simple Plan, and Sum 41 can still draw thousands of fans and deliver such a powerful performance speaks volumes about the timelessness of punk rock. The Dos Equis Pavilion was transformed into a haven for punk enthusiasts, a place where age was just a number and the music was a reminder of the joy and rebellion that defines the genre.

Over the past couple of years I’ve been able to see some great old school hip-hop and R&B concerts. They seem to get better and better each show.  This concert happened to be on what is known as the birthday of Hip-Hop, the 50th anniversary.  So what better way to celebrate than hitting up a concert with my wife and some great friends.  LL Cool J is calling this the F.O.R.C.E. (Frequencies of Real Creative Energy) Live tour. LL will headline those shows himself, and he’ll perform with The Roots, as well as Philadelphia legend DJ Jazzy Jeff and LL’s own collaborator, the onetime mash-up specialist Z-Trip. But rather than having LL give a proper headlining performance, the show will be set up more as a continuous set, with the Roots backing up all the guests.  I love the idea of mixing up the special guests, so no one show will be the same.  We were lucky enough to get the GOD MC himself, Rakim, Queen Latifah and De La Soul. There is a common theme for me and my friends (more on this later), and that was The Roots performance.  WOW is all I can say.  They may be one of the best live bands I have ever heard, and the fact they played straight for the 3-and-a-half-hour show was remarkable.  So live, so energetic, so perfect!  Questlove….holy crap!!!  The Roots came out first to get the crowd moving, and gave us a taste of what was to come.  They played a few of their own songs, sounding perfect.  "Black Thought" on the mic was awesome….all night long!  LL was on a local radio station earlier in the day and said, this is not a concert, it is a party.  And he was totally right.  The Roots stopped for a second and we hear Jazzy Jeff bringing in a beat and Rakim steps to the stage.  Crowd went nuts, not a single person sitting.  He goes into Move The Crowd and yes, the crowd was moving.  They flow onto "Microphone Fiend", the crowd rapping right along with Rakim…..

The invincible, microphone fiend, Rakim,
Spread the word 'cause I'm in
E-F-F-E-C-T
A smooth operator operating correctly, But back to the problem, I got a habit, You can’t solve it, silly rabbit.

When he went into "Eric B. for President", or should I say Jazzy Jeff for President, the crowd rapped right along and it was so loud right from the first lines….I came in the door, I said it before, I never let the mic magnetize me no more. So good, so hyped, so crazy.  "I Ain’t No Joke" was up next, he was playing everything this crowd wanted.  The Roots and Jazzy Jeff sounding so perfect.  Every song Rakim got more hyped, The Roots got more hyped, the crowd got my hyped.  It was time to pump up the volume with "I Know You Got Soul".  Rakim stepped aside for Jazzy Jeff to entertain us on the wheels of steel with some amazing cutting and scratching……I think he may be the best DJ ever.  That, of course, took us to "Don’t Sweat The Technique". My wife (a DJ herself and influenced by Jeff) leaned over and said, they are going to go into "Know the Ledge", perfect song to mix into and flows so perfectly.  She was right and the crowd loved it. Rakim stopped The Roots and Jazzy Jeff (one of the few little “breaks” The Roots had all night) for a nice acapella free style.  Nice and slow and smooth, leading us into "Follow The Leader".  A little earlier the guy in front of me said, what do you think will be his last song….without hesitation I said "Paid In Full"…….Well, once we all heard the bassline, crowd went absolutely crazy.  There was not one person not rapping along.  It gave me goosebumps listening to close to 14,000 rapping along with Rakim.  I have seen Rakim a few times live and this had to be the best performance!  I was a little surprised Rakim was the first up, but a perfect way to get the party started.  The Roots played a couple of songs and we were expecting either Queen Latifah or De La Soul to come out next. 

And then were heard, Calling all cars, calling all cars, be on the lookout for a tall light-skinned brother with dimples……..CROWD WENT NUTS…….LL Cool J comes running out to "I’m Bad"!  I think it took us all a few seconds for it to sink in the LL was on stage.  He sounded so good.  He truly is BAD!  He flowed into "Doin’ It" and the crowd was doin’ it with him.  Next up Black Thought and LL rapping back and forth together, sounded so great.  He then gave us some "Boomin’ System" and "Big Ole Butt", the crowd rapping right along to every lyric. Tina got a big ole butt. I have never been the hugest LL fan, always liked his music, but not one of my top hip-hop artists.  I totally was into this performance and didn’t realized how many of his lyrics I knew.  He was having so much fun up there.  I was so surprised at how The Roots were so hyped.  Questlove drumming constantly, Tuba Gooding Jr. dancing all over stage with his tuba and Captain Kirk Douglas all over the stage as well!  Their sound was perfect all night.  When he went into "Luv U Better", everyone was on their feet swaying to the sweet groove. We knew he was going to flow into "Around Away Girl", crowd bobbin’ up and down to LL’s groove. I do not think there was one person in their seat since Rakim came on. So much energy on stage from LL and The Roots.  Then an amazing part of the whole show, he goes into "Headsprung" and the energy hit the roof, so did LL, Tuba Gooding Jr and Black Thought!  They were jumping up and down for almost the whole song…..tired just thinking about it.  He then went into EPMD song "Rampage" with Black Thought, he sounded so hard!  He was killing the mic!  We got some "Jingling Baby" and then he took us back to Cali….Going Back to Cali, Cali, Cali, I’m going back to Cali, hmmmm, I don’t think so.  LL sounded great but this song was also about The Roots….perfect live song for them, especially the sax!  LL walks off the stage and we are all just so hyped. 

The Roots played a couple more songs, mixing in some old school hip-hop songs we all grew up with and then De La Soul (Posdnuos and Maseo) comes to the stage.  Of course they were missing Plug 2 (Dave), passing away earlier this year (RIP).  Another group I was never a huge fan of back in the day, but wow did Posdnuos and Maseo put on one hell of a show.  They sounded so good, going through some songs I was not familiar with and others I remembered (again like with LL, knowing more lyrics than I would have thought). They did "Potholes In My Lawn", "Goes With The Word", "The Grind Date" (getting the crowd to move their arms up and down the whole song).  They really sounded so good and The Roots were a perfect background group for them.  Maseo was behind the turntables up to this point but came down with Posdnuos for Oooh, they had the crowd dancing and jumping up and down and rapping right along. 

God bless the God,

lay these Streets wall to wall,

It go, ooh, ooh, ooh, ooh,

Yo, you got popped like a flick by that rivalry clique,

It went, ooh, ooh, ooh, ooh. 

They flowed with "Much More and Stakes Is High", and took a second to talk about their album De La Soul Is Dead, and their transformation from the daisy and just growing up.  Paying homage to Plug 2 and having the crowd yell, thank you Dave, thank you Dave.  "Pass The Plugs" was next up and they finished off with "Rock Co. Kane Flow".  Great song to finish off the night and what a performance. Once again The Roots plays some songs and mixes in some hip-hop tracks, did I mention how amazing they sounded?  Then the Queen comes to the stage to "Had It Up 2 Here" and right from the start she sounded so good. She moves onto "Wrath Of My Madness" and "Just Another Day", her lyrics on point and her singing sounding so nice.  She really showed off her singing voice with "It’s Alright", the crowd dancing and swaying along with the Queen. She goes into "Verse Of The Day" with that smooth beat keeping the crowd grooving to the beat.  She then hits us with a little bit of her TV show theme song, "Living Single" and then it got crazy.  Monie Love came out on stage with her for "Ladies First!"  Monie was so freakin’ awesome! She sounded amazing and so sweet hearing the two on stage together for this absolute classic.  Of course Monie couldn’t be done……"Monie In The Middle!"  Her flow is so amazing, totally impressed. 

Monie in the middle (Where she at?) In the middle
Yep, Monie's in the middle (Where that at?) In the middle
Monie in the middle (Where she at?) In the middle
(Go Mon, Mon, what is she?) Monie in the middle

It was time for a little house music so Latifah hit us with "Come Into My House". The Roots totally killing this joint. It was time for Queen and Monie to finish up so they hit us with "U.N.I.T.Y".  Wow did this hit us!  Great sound, great performance.  I loved Queen Latifah and Monie Love, so sweet, so strong, so amazing.  We got a bit of a surprise in this concert….I mean Party!  As Queen leaves the stage De La Soul comes back out for "Me, Myself and I".  The crowd LOVED IT!  Every single person on their feet singing right along! 

The Roots went on and played for five to ten minutes playing so many classic hip-hop songs, the crowd not tired yet, dancing and rapping along to all of it. Kool Moe Dee, Biggie, Rakim, Jay Z, Biz, DMX, ODB, and on and on.

It was time to hear LL Cool J…again.  He started with a nice slow jam, "I Need Love".  Everyone rapping right along with LL.  He had the crowd put their lighters (phones) up in the air, 12,000 plus lights in the arena. He kept the mood slow with Hey Lover, the crowd flowing right along with Cool J and then changed up the music to "Between The Sheets" and then onto a little Biggie flow! I see some ladies tonight that should be having my baby…baby!  Nice work LL.  Keeping the slower flow going, he flows into "All I Have", asking the ladies to sing J Lo’s part. It was time to bring up the tempo a bit with "I Shot Ya", really nice flow from LL on this one. Then he took us way back to I "Can’t Live Without My Radio".

Suckers on my jock when I walk down the block
I really don't care if you're jealous or not
'Cause I make the songs, you sing along
And your radio's def when my record's on

"Jack The Ripper", Jack, Jack The Ripper flowed right in. What a smooth transition!  Keeping with his boomin’ beats he goes into "Kanday", the girl with big juicy lips and nice round hips. "Eat Um Up L Chill" and "Ill Bomb" up next, the beats are still bumpin’, The Roots still killing it and the crowd dancing! Time for "Paradise and Phenomenon", LL with so much energy and love for the crowd. We all deserved a visit from "Mr. Goodbar", so LL delivered. As he flows into "Loungin’ (Who Do You Love)" the sound and party are getting more hyped. Next was the one most were waiting for, one that we all needed to hear live, "Mama Said Knock You Out!" This. Was. So. Hyped!  It was a long show (party) we were all there for a long time, but you couldn’t have seen that!  Every single person on their feet rapping right along and throwing air punches! 

Just like Muhammad Ali, they called him Cassius
Watch me bash this beat like a skull
Don'tcha know I had beef wit'
Why do you riff with me, a maniac psycho
And when I pull out my jammy, get ready 'cause it might go
Blauh! How ya like me now?

The crowd kinda thought this was the final song, and easily could have been.  People were ready to head to the exits.  Then we hear Jazzy Jeff on the wheels of steel doing his thing…….could there be more?   LL had to finish this off with "Rock The Bells".  This may have been the song with the most energy and passion.  Wow what a way to finish off the party LL told us about.  This show was fantastic, everyone sounded great and brought amazing energy.  The next day, whether we were at breakfast, or lunch, or having some beers at the Pratt Street Ale House, or at the hotel bar telling the bartenders about the show, or dinner at the Rusty Scupper, all we kept talking about was The Roots.  How amazing they sounded but even more amazed at how they played basically straight through for three plus hours, never losing their energy, in fact getting more energized as the night went on.  Questlove, holy crap, how do you drum for that long with so much love and energy!  This is a show to be seen, if you get the chance you got to check it out. 

-One Love, Todd

I first heard of Yung Pinch back in 2016. It was the height of the Soundcloud Rap era and I had stumbled across the “Rock With Us” video on the ELEVATOR YouTube channel. In a scene that was littered with face tattoos, guns, and promethazine fueled raps, Yung Pinch offered an alternative vibe. Staying true to his roots, the 19-year-old’s “714Ever” mixtape boasted a laidback, lighthearted, melodic chill beachboy vibe that contrasted heavily with most of the scene. Combined with his ability to seamlessly blend hip-hop, R&B, and pop elements, Pinch’s signature sound catapulted him into a lane of his own. As a Southern California local, his music and vibe really resonated with me. I immediately became a fan and consumed his catalog and eagerly awaited each following release. Fast forward to 2023: the stars aligned and I got the opportunity to photograph Yung Pinch. Let’s hop into it.

Opening first for the night was an artist I hadn’t heard of until this show, Moon Lander. Born Dillon Houston Church, Moon Lander was tasked with setting the tone for the night, and he surely didn’t disappoint. With singles such as “BrightSide” and “Swish”, Moon Lander proved he was not only a logical choice, but a great choice to open for this tour. Backed by his DJ and a flutist, he sang and rapped his way through his set. Leaning heavily into interludes, Moon Lander also cracked jokes and bantered with the crowd. He laid it up well for the next act, Riley.

Riley kicked the production up a notch with massive, illuminated visuals behind him as he criss-crossed the stage with a mic in one hand and a smoke in the other. He rapped songs such as “It Feels Like I’m Dying” and “Pink Linen”. Riley’s been around the block with Pinch as they’ve toured together previously, and it showed in the crowd reactions as they latched onto his hooks. His melodic approach to rap was the best way to get everyone ready for the main act.

Last but certainly not least was the headliner, Yung Pinch. Wasting no time and no breaths, he hit the stage to one of his Lil Skies collaborations, “I Know You”. The crowd erupted with excitement as smoke cannons went off and the lighting production simultaneously kicked into high gear. One thing he did that I really like was he split his set up into smaller segments; he played collections of songs from each project and progressed chronologically. It felt like he was taking you through his journey as an artist. He snuck anecdotes and short stories in between each song and really connected with the crowd. One moment that stuck out to me was when he talked about ironically going into a difficult time in his life after releasing “Washed Ashore”. Another was when he talked about his struggles with alcoholism and addiction, but then announced that he was 61 days sober right before playing the song called, you guessed it, “Sober”.

Overall, Yung Pinch’s homecoming to Orange County was a hit. He started his career right here in OC when he was just a kid and he’s still only 26 today. He’s got a long road ahead of him and I’m only excited to see where he goes from here. When the beachboy from Bluntington Beach swings by your local venue, check him out. His show is absolutely a vibe.

There's a line that connects horror films and metal music, and on August 11, 2023, that line was drawn in blood at Toronto's Rebel. The much-hyped Ice Nine Kills North American tour hit town, and let me tell you, this wasn't your run-of-the-mill metalcore spectacle. This was a visual and auditory shockwave that left the audience spellbound. It was a great 4 band lineup that kicked off just after 6pm on Friday.

Mike’s Dead is an industrial freakshow of a band that opened the show with some great licks and a heavy beat. The three piece band had some solid riffs and a great command of the stage, hope to see them again.

Veil of Maya, once a technical deathcore powerhouse, has transformed over the years, embracing a more accessible metalcore sound. Lukas Magyar's inclusion as the vocalist brought clean vocals into the mix, altering the band's dynamic. But, witnessing their live performance transformed my skepticism into appreciation. Their setlist was a carnival of anthems, expertly engaging the crowd. Yes, the sound mix could have been better, the vocals overshadowing the instruments, but the band's development since my last encounter with them in 2012 was undeniable.

August Burns Red took the stage with their trademark energy. I have seen them several times before and they consistently deliver. Their setlist spanned their career, the crowd’s enthusiasm skyrocketing. The symbiotic flow of their complex riffs made for a jaw-dropping experience. Light shows and pitch-perfect sound mixes don’t do justice to the sensation of an August Burns Red live show; they mind-blow, plain and simple. Jake Luhrs did me a huge favor this time around as his trademark baseball cap was turned around and I could finally capture his fantastic expressions. "JB" Brubaker on guitar is always a highlight. For a mop head guy in flip flops the guy can shred. The encore set was first rate.

But the real carnival of chaos awaited us with Ice Nine Kills. Metalcore shows typically follow a certain pattern, but not this one. This was a living, breathing horror movie – a sonic Alice Cooper-esque extravaganza. Clad as Patrick Bateman from American Psycho, Ice Nine Kills drenched the stage in horror theatrics. Choreographed reenactments of iconic scenes from horror films took the center stage, none more chilling than their recreation of Bateman’s infamous murder.

This wasn't just a concert; it was a theatrical immersion. Spencer Charnas, the frontman, was the star, his vocals as haunting as his stage presence. The band's intricate blend of pop vocals and metalcore instrumentation, coupled with Spencer's commanding performance, was like a vortex, drawing the audience into their dark realm.

Their setlist was a rollercoaster through their three recent albums. A fusion of pop hooks and visceral metalcore, it was hard not to get swept away. The show was a horror fan's paradise, with references to Psycho, Evil Dead, and more. Their creativity didn't stop at music; it seeped into the visuals, with dramatic lighting that transported the audience into different horror dimensions.

Ice Nine Kills didn't just perform; they created. They owned the stage, transforming it into their dark playground, where horror and music embraced. This tour, this evening, was a sonic celebration of horror and metal. It was a testament that metalcore could be more, a storm of creativity and innovation. Ice

Ice Nine Kills might just be the band that injects life back into the concept of a metalcore show, reminding us that a concert can be more than just music – it can be a visceral experience. If you missed this, you missed an inferno of horror and metal intertwining in electrifying harmony.

This concert wasn't just a lineup; it was a legacy. It was a blazing inferno of horror, metal, and theatrics. A tour de force that blasted through genres and expectations. If you're a fan of metal, or if horror films send shivers down your spine, an Ice Nine Kills concert is a must-see. It wasn't just a performance; it was a full-throttle plunge into the dark, adrenaline-pumping world where metal and horror collide.

DISCO     SPOTIFY

THE DARTS formed in 2016 with the goal of making great all-girl garage-rock noise, see the world, and have a fab slumber party every night. We threw on some vintage black slips, threw off our shoes, and set out on the adventure.

In the first six months, we put out two self-produced EPs and signed with Dirty Water Records (UK). In the first year, the label put out our first full-length vinyl release, Me. Ow. (2017 Dirty Water Records). We headed to Eu- rope a bunch of times and never wanted to come home. But when we did, Dirty Water re-released the first two EPs as a second full-length vinyl, The Darts (2017 Dirty Water Records) and we toured all over the U.S. a bunch of times, with great bands like Australia’s The Living End and Billie Joe Armstrong’s The Longshot – and, once again, never wanted to come home. Our idols started noticing, including author Stephen King, actors Drew Carey and Fred Armisen, and punk legends Jello Biafra and Blag Dahlia, sometimes even coming to shows and getting on stage with us. Two years into the project, we were on bigger European stages like Sjockfest, Cosmic Trip, and Roots n Roses, with acts like Turbonegro, The Flaming Lips, and The Dead Kennedys.

In 2018, Jello Biafra signed the band to his label, Alternative Tentacles, and released the third full-length record, I Like You But Not Like That (2018 Alternative Tentacles Records), at a packed Punk Rock Bowling appearance in Las Vegas. We then embarked on an unforgettable coast-to-coast US tour with our heroes The Damned. We found ourselves performing with bands like Rancid and L7, had songs placed on top tv shows like Peaky Blinders, got thrilling reviews in Rolling Stone, made a stop at Mexico City’s superb Hipnosis Fest, and then…the pandemic hit.

But even then, things didn’t stop. Vox hosted an Instagram Live show garnering over fifty thousand views, we played Punk Rock Bowling 2022, made our debut at Seattle’s uber-hip Freakout Fest, and recorded a new 7-inch for Adrenalin Fix Music in Europe. By summer of 2022, we toured all over the US again, performed on the legendary KEXP Sessions, and finished recording a new full-length record (funded entirely by fans) co-produced by Jello Biafra himself. Snake Oil was released on Alternative Tentacles in early 2023 to rave reviews. European tours are lined up well into next year and work is already beginning on the next record. See you out there. 

Hunnypot is proud to be THE DARTS official sync representative, ask us about LICENSING!

PRESS

“Gets even the most apathetic nerds moshing. Crank it!” – Rolling Stone (FR)

“The Darts ‘Take What I Need.’ Very cool.” – Stephen King, author

“Fabulous…I’m hooked.” – Ken Foote, CBS (Dallas)

“One of my new favorite bands.” – Dave Vanian, The Damned

“The Darts smolder and shine like a serpent at the end of a rainbow.” – Blag Dahlia, The Dwarves

“The Coolest Song In The World” – The Underground Garage (SiriusXM Radio)

“Cramps’ spooky punk and Stooges/ raw chaos, by a quartet of garage goddesses.” – RockNYC

“Everyone here is a fan, from Jello [Biafra] to the newest intern.” – Alternative Tentacles Records

“A majestic album of aggressive, wild garage rock. Explosive.” – Rockerilla (Italy)

“The talent in this band is off the charts.” – 50thirdand3rd (FL)

“Like getting hit by a freight train full of inflatable dolls.” – Rumore (Italy)

“One of the most exciting bands on or off the stage” – Turn Up The Volume (Belgium)

“One of the greatest revelations of dirty American rock-n-roll” – Musica Inclasificable (Mexico City)

“The Darts f*ing rock…Best local band of 2017.” – Phoenix New Times

“Best new band I have seen.” – John Carlucci, The Underground Garage

“A knock-out punch.” – Rich’s Rants n Raves (Las Vegas)

“The best girl band in the universe.” – Blog Da Buzzo (Brazil)

“Exciting, sweltering..consumes all of your garage rock desires.” – Java Magazine

“Move over Vincent Vega, I’m going with The Darts. Bloody Ace.” Mass Movement (UK)

“Oh yeah, Nicole Laurenne does it again!” – Genya Ravan, Chicks and Broads

#493 An unforgettable evening with the incredible Joel C. High, the renowned Music Supervisor, and Producer with an impressive portfolio of over 150 films and television projects, including iconic works like "The Dead Zone" and "Weeds," collaborating with visionary directors like Tyler Perry and Rob Zombie. Kicking off the night was NYC-based Hip-Hop interpreter ALY G followed by the mesmerizing Dr Monika Demmler from Berlin/L.A., who enthralled us with her trippy techno, blending Solfeggio frequencies and genres. We took an emotional journey with AKICITA, a dark pop, alt-rock warrior, who took us on a raw and profound exploration of life's tragedies. Wrapping up the evening was the inspiring Los Angeles hip-hop artist, Memento, delivering a performance that left us speechless. 

#WhereMusicLoversGoToPlay

JOEL C. HIGH (CO-HOST)

Joel C. High is a music supervisor and producer who has worked on over 150 films and television projects and also is chief executive for a company he co-founded in 2006. Over the last decade, he created and supervised the music departments for two of the leading independent studios in the industry: Trimark Pictures and Lionsgate Entertainment. He built the publishing division for both companies and started the boutique soundtrack label Lions Gate Records. In addition to his acclaimed work in motion pictures working with directors such as Tyler Perry, Marc Forster, Peter Bogdanovich, Don Roos, Roger Avary, James Foley, Bill Paxton, Billy Ray, Mario Van Peebles, Duane Adler, and Rob Zombie, he oversaw the music for the growing Television group at Lionsgate, including "The Dead Zone" and the Golden Globe-winning series “Weeds.”

Joel is currently the principal executive at Creative Control Entertainment, a multi-faceted music supervision, consultation, live event, and production company, with offices in Los Angeles and New Orleans and diverse clients ranging from independent studios and national brands to international governments.

WEBSITE  INSTAGRAM  SPOTIFY

ALY G

WEBSITE  INSTAGRAM   

DR MONIKA DEMMLER

WEBSITE  INSTAGRAM  SPOTIFY

AKICITA 

Teaming up with producer Ben Wylen, AKICITA created dark-pop and alt-rock masterpieces. Her unfiltered lyrics tackle stigmatized topics, breaking the silence. With her EP, AKICITA embraces her warrior identity, celebrating her power and bright future. 

LINKS  SPOTIFY  INSTAGRAM

MEMENTO

Hip-Hop artist in L.A., think for yourself & ignore the rules of society.

INSTAGRAM  SPOTIFY   

The new Bob Marley and the Wailers posthumous Africa Unite album is named after the sixth track of Marley’s 1979 Survival album. “Africa Unite is an extraordinary album that pays homage to the Reggae icon’s greatest hits, beautifully reimagined and infused with the infectious rhythms of Afrobeats,” a Tuff Gong release said. In the release, the Kingston-based label, which Bob Marley founded in 1965, described the 10-track production as “a majestic, posthumous album celebrating the vibrant fusion of Reggae and Afrobeats.” Bob Marley is what made reggae world-wide, back when he was alive, recording and touring, but even after his death, he is still making reggae popular though out the world.  His ageless music transcends borders and generations. One of his dreams was to see Africa Unite.  What better way then a collaboration with Afrobeats artists.  Bob Marley's impact on Reggae and Afrobeats music culture is immeasurable. This albums takes listeners on an amazing journey through history and present day. The album not only showcases the global reach of Bob Marley’s music but also celebrates the rich tapestry of African rhythms and melodies.

We start off the album with "So Much Trouble In The World" featuring Zimbabwe musicians Nutty O & Winky D.  This is a perfect song to start off the album with, this song resonates with issues of the past that are still current as it speaks about the state of affairs in the world bordering on inequality, poverty and conflicts. I love the flow of Nutty O & Winky D, mixing with Bob’s voice.

On track two, "Them Belly Full (But We Still Hungry)",  we have one of my favorite Afrobeats artist in Rema, hailing from Nigeria, along with Bob’s grandson Skip Marley.  They kick up the tempo in this song and include some soothing sax play.  Skip and Rema’s soulful voices work so well together (I hope they work together again), it is distinctive yet mesmerizing and captures the spirit of this album.

As we move to the third song, and my favorite Bob Marley song, "Redemption Song".  A song that has been redone and sung by many, sometimes good, but many times it just doesn’t carry through on Bob’s vision of the song.  It is very hard for me to really like a new version.  This may be one of the best renditions I have ever heard.  South African singer Ami Faku has such an amazing voice that makes this song even more exceptional. Her contribution to the song gives a distinct taste that enhances its attractiveness. Their verses together are more than just words; they are strong expressions that bring the music to life.  

As we flow to track 4 with Nigerian singer Tiwa Savage, "Waiting In Vain" is a soulful, heartwarming rendition, Tiwa has such a beautiful soulful, syrupy, sweet voice.  I need to listen to more of her music.  Tiwa takes on the verses of the song, making tweaks to its arrangement on an instrumental bassline to bring a whole new dimension to the classic track.  

Track 5 is "Turn Your Lights Down Low" featuring Afro B from South London. On this sped up track, It is a song that not only entertains but also soothes the soul with its melodious rhythm and captivating lyrics.  And while Afro B does not have as large a part in this song as the other artists do on their tracks, he comes in hard with his lyrics that fit so nicely with the song. This has always been a great song to chill too, and this rendition is no different.  As I listen to this album I keep thinking, wow this may be the best song, and then the next song comes on.

I will admit, "Three Little Birds" has never been one of my favorite songs, but this track featuring Nigerian singers Teni & Oxlade is so good. I had to repeat this song a few times. They create a sound that is a breath of fresh air by fusing a rapid tempo with the percussion and electronic vibes and a sweet background sax. It truly emulates the original with an Afro-fusion kick.  If you are only going to listen to one song on this album, this may have to be the one.

We move onto track 7 featuring my favorite Afrobeats artist hailing from Ghana, Stonebwoy, "Buffalo Soldier".  Buffalo Soldier is probably the first bob Marley song I ever heard, or at least the one I can first remember.  Stonebwoy's rendition pays homage to the original while infusing his signature flair and energy. The artiste's seamless blend of traditional reggae vibes with modern dancehall influences has struck a chord with this rendition. His sizzling verse really flows with the overall feel and mixes in so well with the upbeat rhythms and Bob’s lyrics. 

We move onto "Stir It Up" featuring Ghanian rapper Sarkodie. This song combines the signature guitar strums and soothing bounce we know and love, with Sarkodie’s iconic flow.  It is a nice change having a rapper on a track, and this is a perfect song for Sarkodie’s flow.  It is definitely a different flow and feel from the rest of the album, one that fits in nicely at track 8 with its uplifting energy. 

On track 9 we have "Jamming" featuring Ayra Starr originally from Benin.  Jamming is such a great rendition, the beats, Afrobeat rhythm just flow so well with Bob’s voice as if he was there helping to create this version.  They Arya Starr comes in with such strong lyrics and an amazing sound.  It may be one of the best tracks of both voices working so well together.  I hope the jam is gonna last!

We finish this 10 track album with one of Bob’s most famous (if not most famous) songs, "One Love" featuring Patoranking from Nigeria.  This song combines the fast-paced tempo and intensity of soul music with the pounding and thrilling vibes of electronic dance music to produce a nice sound. I really love the bassline in this version, keeps that old school reggae bass with a little something extra.  I love Patoranking’s voice on this track and how it works so well with Bob and the added in subtle background voices work so well. 

Overall I think the songs that were chosen for these artists worked very well, their styles and voices mixed in so well with Bob and these classics.  I simply love this album.  Not because it is a Bob Marley album, my favorite music artist ever, but this album just works so well, bringing together the past and present, Reggae and Afrobeats.  This is such a fresh and new take on these classics. It makes me want more of this.

Reflecting on the significance of this album, Bob Marley’s daughter Cedella Marley said in a statement, “Africa Unite is an album that showcases the importance of Bob Marley in modern day Africa. The artists that feature on this album have reimagined Bob Marley’s classics in a way we know he would have loved and been proud of.” The release of the album will undoubtedly captivate Bob Marley’s loyal fanbase and attract new listeners seeking to experience the magic of his music in a fresh and vibrant way.

-One Love, Todd

As a child of the 90s with two younger sisters, my mom would often play us Disney Radio growing up. This was the heyday of the boy band pop stars. Backstreet Boys and ‘N Sync were constantly played throughout our house, and I would be lying if I said I didn’t thoroughly enjoy listening to both bands with my family. My personal music tastes have gotten a bit heavier, and guitar driven as time went on, but that doesn’t mean I don’t have a soft spot for boy band music. Big Time Rush was a name I was very familiar with hearing, but I had aged out of the demographic that their TV Show was aimed at. So I never really listened to them. None the less, I’ve heard from multiple friends, and even my girlfriend, who gushed with excitement over how good this band is. I felt I would be doing myself a disservice by not seeing what post 90s boy bands have to offer and decided to head down to the Kia Forum to see Big Time Rush. Bringing with them Jax and fellow artist Max, I was ready to scream like a fan girl for the Can’t Get Enough Tour.

Opening the night was a pop singer known as Jax who came to prominence coming in 3rd on the 14th season of American Idol. I feel American Idol singers have a certain aesthetic to them that makes them feel larger than life, and untouchable. This was not Jax at all. She hit the stage with a full denim jump suit, a smile that lit up the room, and energy that felt friendly and enjoyable. Starting the night with “90s Kids” Jax was there to entertain every person that was able to get the show early. She was constantly working the full stage, and nearly leaning off the edge of the stage to get as close to the fans as she could. She was backed by guitarist Nash Overstreet and drummer Jess Bowen, who both kept their performance on Jax’s level of exude just as much playful energy as their front woman. Jax only played a 30-minute set consisting of songs like “Cinderella Snapped,” “Teenage Dirtbag,” “Like My Father,” “Crazy Ex GF,” and ending the set with “Victoria’s Secret.” The final song caught me off guard, as I had actually heard it before. Making me feel even more connected with this artist I thought I didn’t know. Jax was the perfect opener for a night of pop singers, as her joy in performing was felt by every single person who was fortunate to catch her set.

Up next was an artist known as MAX. Another artist I must apologize to for not knowing their music before going into the show, but I believe this helped MAX win me over. As soon as he stepped onto the stage, MAX was dancing non-stop throughout his set. The man was grinding and grooving all over the place, and it elevated the energy of the crowd to a new level. Starting his set with “Love Me Less,” MAX found a way to deliver a performance that was both sexually driven with his flamboyant dance moves but had those softer crooning moments as he worked the mic stand. Even the saxophonist got down with dancing with MAX, that just made the whole set feel like anyone could jump on stage and fit right in with this performance. MAX kept up the sexual tension and love making with the crowd throughout his whole set, and his songs benefitted from it. With songs like “Holla,” “Acid Dreams,” “Someday/Me and You Against the World,” “Blueberry Eyes,” “Strings,” “Satisfied,” “Lights Down Low,” and ending with “Mug Shot.” While listening to MAX’s music on CD is fantastic and enjoyable, you very much benefit from seeing him perform live. His charismatic energy is unavoidable as he will win you over with charm and the sincerest wink to the audience I have ever seen.

Finally, it was time to see what a more modern boy band has to offer. Starting off their set by emerging from behind their set dressing, and just standing their soaking in the cheers from the crowd, you could feel the love fans have continued to pour over this band since the beginning. Opening with a song off their newest album Another Life,  “Can’t Get Enough,” the boys of BTR were ready to dance all across the stage, and up their three tiered elevated stage dressing. Though I am used to the troupe of boy bands having five members, Big Time Rush being comprised of only four guys: Kendall Schmidt, James Maslow, Carlos PenaVega, and Logan Henderson, these stellar performs still layered their vocals perfectly to bring beautiful harmonies to each song. One of the most personal moments that BTR does is bring onstage four lucky fans from the audience to participate in their song “Worldwide.” One lucky fan who was brought on stage announced that this was her eleventh show of this tour. And the band made her feel so special for her dedication to them. As this was also the Los Angeles show, being right down the street from Hollywood, we got a special appearance from two members of the Big Time Rush TV Show. That being Gustavo Rocque (Stephen Kramer Glickman) and his assistant Kelly Wainwright (Tanya Chisholm). Gustavo, in character, specifically reminding the crowd that he’s the reason Big Time Rush is as big as they are. BTR fans were delighted to a nearly two hour set that included songs like “Elevate,” “Song For You,” “All Over Again,” “Can’t Forget You,” “Love Me Love Me,” “Paralyzed,” “Nothing Even Matters,” “Invisible,” “Confetti Falling,” and a three song encore of “Windows Down,” “Boyfriend,” and “Till I Forget About You.”

 I have been listening to metal and rock music for so long, I forgot how good and catchy pop music truly can be, and how much fun boy band music really is. Jax and Max were the perfect openers to this show, as they got all the screaming fans excited about the music they were waiting to hear. From screaming teenagers, to screaming 20 and 30 year olds, to dudes just losing their mind, Big Time Rush is carrying the boy band torch with pride and a faithful fanbase behind them.

My first experience with The Offspring was seeing the music video for "Original Prankster" on MTV. I begged and pleaded with my mom and dad to buy me that album on that song alone. Young Matt didn’t understand how release dates work, and we came to find out Conspiracy of One, hadn’t come out yet. My dad bought me Americana instead as it was the newest album at the time, and I was instantly hooked as a The Offspring fan. Jump to 20+ years later, and I am finally getting the chance to see The Offspring for the first time at the FivePoint Amphitheatre on their Let the Bad Times Roll Tour and bringing with them Simple Plan and Sum 41. I was ready to rock out with bands that teenage Matt never got to see live, and everyone in the FivePoint had to feel the same way, as we sold out the venue!

Opening the night was Sum 41, and they were ready to start the show their set off with “Motivation,” singer Deryck Whibley forgoed his guitar this night, to be able to have more freedom running around the stage. This opened a whole new style of performance as a lead singer for him, as it allowed him to engage with the audience even more. Lead guitarist Dave Baksh’s fingers were on fire as he ripped through the solos in Sum’s songs. Bassist Jason McCaslin runs those bass lines with precision and no fucks given attitude. Drummer Frank Zummo is probably the second most animated person on stage, even being stuck behind the kit. Making faces, and blasting on the kit, he makes sure he doesn’t get lost in the mix. Playing an all killer, no filler, set consisting of songs like “The Hell Song,” “Over My Head (Better Off Dead),” “We’re All to Blame,” “Walking Disaster,” “In Too Deep,” “Fat Lip” and ending with “Still Waiting.” Sum 41 has sadly announced that they will be disbanding the band after their next worldwide headlining tour. So, we better all turn up for them when they come to say their final goodbye.

Up next was Simple Plan who I have only seen once prior to this night, and that was at Warped Tour ’18. So, I never feel I truly got to experience what a real Simple Plan show was like, and holy crap did they blow me away. Starting off with the classic “I’d Do Anything,” Simple Plan was here to make sure everyone was just having a good time. Singer Pierre Bouvier was exuding golden retriever energy, as he just ran across the stage with the most infectious smile. Guitarist Sébastien Lefebvre and Jeff Stinco trade off licks with ease and style. Drummer Chuck Comeau looks like he’s always trying to catch his breath playing these songs, but never misses a beat or moment in the songs. Simple Plan went the extra mile to create crowd participation as they launch beach balls into the audience that bounced around throughout the latter half of their set. Chuck Comeau even wanted to high five every fan in the pit, and proceeded to crowd surf across the entire pit, slapping fives to everyone that could get to him. They even played a cover of “What’s New Scooby Doo,” that included someone dressed in a Scooby-Doo outfit shooting t-shirts into the crowd. It was a party all set long with songs like “Shut Up!,” “Jump,” “Addicted,” “Welcome to My Life,” “Iconic,” “Where I Belong,” ‘I’m Just a Kid,” and ending with “Perfect.” I’m so glad I finally got to experience a full Simple Plan show, as they built an even bigger fan out of me.

Finally, it was time for the hometown heroes to hit the stage and bring their California sound to the Californians. Starting their set off with “Come Out and Play” which was the song that really helped to launch their career. As the unique drum beat started up and the Arabian guitar riff rang out, the crowd erupted with excitement. The Offspring has been performing for nearly 30 years, and they still sound amazing. Vocalist Dexter Holland still sounds like he did all those years ago, which helps all of use punk kids get transported back to our high school days. Lead guitarist Noodles proves his fingers can still noodle around the guitar to create some of the most iconic punk licks of the late 90s and 2000s. Bassist Todd Morse and drummer Brandon Pertzborn held down the low end and created the rhythm’s that let the moshers go crazy. Something I really loved about The Offspring’s set is that they would have chat breaks with the audience. It felt like we were all just hanging out with these guys in a bar shooting the shit. It let you connect even more with the band and even though they can be thought of as larger than life people, it really made them personable. The Offspring played a set that spanned their career featuring songs like “All I Want,” “Want You Bad,” “Let the Bad Times Roll,” “Original Prankster,” “Staring at the Sun,” “Hit That,” “Hammerhead,” “Gotta Get Away,” “Gone Away,” “Why Don’t You Get a Job,” “Pretty Fly (For a White Guy),” “The Kids Aren’t Alright,” and ending with a two song encore featuring “You’re Gonna Go Far Kid” and “Self Esteem.”

There’s something music does to our brains that just helps release endorphins and bring the mind into a euphoric state. I have been listening to all these bands for song long but have rarely seen them all live. This was a lineup that teenage Matt would have broken open the piggy bank to see, and adult Matt did not let that thought escape him. Hearing these songs live really did transport me back to my teenage years, sitting in my room with a pair of headphones and a CD player whose anti-skip technology never worked. It’s experiences like this why I love live music and find it such a comforting experience that I hope never goes away again. 

Most people enter the music industry looking to make a name for themselves in a band, or maybe as a solo artist. Some are even able to branch out past their band and grow an additional following through a different musical avenue or even through a different medium. However, very few achieve cross platform success, as well as household name recognition like Danny Elfman. The man has fronted a massively popular 80s new wave band with Oingo Boingo, masterfully composed some of the most iconic movie scores, and influenced a countless number of people throughout the decades. The man recently celebrated his 70th birthday, and he’s invited all of us to his birthday party. Dubbed From Oingo to Batman to Big Mess and Beyond, Danny Elfman came to the Irvine FivePoint Amphitheatre with a goal to not just put on a concert, but to put on a multi layered show for his fans.

Opening the night was an electronic music group from Georgia known as Boy Harsher. Fronted by Jae Matthews, who haunting vocals creeped into each person’s ears, and echoed around their brain cage. Backed by producer and programmer Augustus Muller. Muller felt like he had four arms coming out of him, as he jumped between his soundboard, computer, drum board, and woodwind type instruments. Boy Harsher brought a dance vibe with them, playing an electropop/dark wave mix that I could hear playing at some of my favorite goth clubs. People were clearly vibing with the band, as you could find people dancing in their seats through the venue. Playing songs like “Keep Driving,” “Give Me a Reason,” “Fate,” “Westerners,” “Come Closer,” “Tower,” “Tears,” “LA,” and ending with “Modulations.” Boy Harsher put on a solid set as musicians. Though I feel they could benefit from a bit more production visuals. Something to help elevate the feeling you get from listening to their music.

As everyone packed into the FivePoint Amphitheatre waiting to see the man whose music has defined so many people’s aesthetic and style, many fans came dressed in costumes. From variations on Jack Skellington and Sally, to Pee Wee Herman (RIP), and anything & everything skeleton themed. These fans new the assignment for how to dress to a Danny Elfman show.

As Danny Elfman walked on stage and lights hit the stage, Elfman packed the stage with musicians. From a traditional band with guitars, bass, and drums, to two percussionists, and a full orchestra lining the back of stage. As some one who has not seen a Danny Elfman show before, I was elated to see that this was not going to be a traditional concert experience. Elfman began the show by stripping his shirt off to reveal a body that you would not expect a 70-year-old to have. Yet, Elfman was changing instruments and interpretive dancing throughout the entire show. The man felt like a boundless ball of energy and the crowd kept feeding that energy back to him. Danny Elfman managed to fit 33 songs into his set, floating between songs from his latest album Big Mess, Nightmare Before Christmas classics, orchestral performances of some of his biggest musical scores, and dedicating 1/3 of the entire show to Oingo Boingo songs like “Ain’t This the Life,” “Grey Matter,” “Jus Another Day,” “Only a Lad,” “Who Do You Want to Be,” “No One Lives Forever,” and “Dead Man’s Party.” No matter what era of Elfman you are a fan of, there was a song for you to lose yourself into.

With a four story video screen placed behind the band, Elfman orchestrated some amazing visuals to go along with the show. During the orchestral songs like “Spider-Man Main Title,” “The Batman Theme,” “Beetlejuice Theme,” “Wednesday Main Titles,” We got customer video snippets of the movies that were played for us. When Elfman played more of the original songs from Big Mess like “Dance with the Lemurs,” “Devil Take Away,” “Happy,” “In Time,” “Sorry,” “Native Intelligence,” and “Kick Me,” we were taken on an acid trip mindfuck experience akin to the tunnel scene from Willy Wonka. I found myself asking myself “Should I have taken something before coming to this show?” The show even included a heart felt moment when “Breakfast Machine” from Pee-wee’s Big Adventure was performed. Elfman stood center stage and banged on a snare drum ala Pee-wee style the whole song, as we got a video package dedicated to Paul Rueben’s, who sadly recently passed.

I’ve not left a concert experience on such a life high like I did this night in a long time. Danny Elfman crafted a show experience unlike any I have been fortunate enough to see. The musicality and precision of all the performers were top tier, and everyone was in rhythm perfectly. If you ever have the chance to see Danny Elfman, I implore you to make it a priority and get yourself to one of his shows.