Life Is but a Dream, or is it really a Nightmare? You be the judge.
To be honest, I have not been a lifelong Avenged Sevenfold fan. I was introduced to them back in 2013 by my friend Tony who nothing but raved about the band, their unique sound and their impressive musicianship. Since then, I’ve really fallen in love with the band and their impressive catalog dating back to their Huntington Beach origins in 1999.
Life Is but a Dream is Avenged Sevenfold’ s 8th studio album and was recently released on June 2nd, 2023. I was exposed to the album’s initial single “Nobody” in mid-March and quite frankly was unimpressed after taking it for an initial spin. While it had many of the fundamental A7X features I would come to expect, it fell short of my initial expectations as a follow up to 2016’s The Stage. The follow up single, “We Love You” didn’t fare much better to be honest. I felt the track jumped all over the musical spectrum with roads leading seemingly to nowhere.
So when Life Is but a Dream was finally released on June 2nd, I wanted to give the entire album a fair an honest review, not influenced by mainstream publications who either loved it or hated it upon first listen. Driving to work, I dropped the needle on “Game Over” and honestly thought that it might just be that for Avenged Sevenfold. Continuing on cruise control through the instrumental, “Life Is but a Dream”, the album didn’t seem to get much better and instead got a lot more chaotic, confusing the Avenged traditionalist in me. After the initial once over, I asked myself, “What the heck are these guys thinking?”
So now what? Do I shit-can the album in its entirety or give it another run through, hoping to somehow find something positive in what initially I felt was 11-tracks of pure garbage? Well, I chose the latter, and after a few more uninterrupted spins, may have figured out (at least for me) what this album is really all about. What it is not is your traditional A7X release. To take it a step further, it’s not even a traditional rock or metal release. Instead, it came across to me as 53 minutes of a mind-altering dream that bounced around in my head like a ping-pong ball looking for a way to escape the madness from within.
For most, the challenge for Life Is but a Dream will be that there is no consistency to the album upon first listen. Fans will definitely hear the underpinnings of traditional Avenged Sevenfold throughout the album. However, it hops back and forth in a beautifully chaotic way across many genres that initially confuse but ultimately provide clarity when the dust finally settles. Yes, it takes some time to get there, but the journey is worth it if you take the time and open your mind just a little bit.
A few call out’s I’d be remiss not to mention after becoming fully immersed in Life Is but a Dream…
Bottom line, Avenged Sevenfold’ s Life Is but a Dream ended up being a dream come true for me by all accounts. For new and old fans alike, this new music is definitely a departure from the norm but a welcome one in a world filled with cookie cutter sounds that fail to inspire or engage. In order to get it, one has to have an open mind, a willingness to listen to new things, and have some patience in their process. Trust me, it all makes sense if you give it some time. The album may not be for everyone, but it ended up being an instant classic for me.
I’d give Life Is but a Dream 9 out of 10 stars and is 100% Hunnypot approved!
LA Natives G Perico & Rucci returned to Los Angeles on 5/27/2023 as they wind down their 2023 Hot Shot Tour. With only two dates left to go including this one, anticipation was high for the homecoming of these two LA hip hop kings. The Hot Shot Tour featured 24 dates spanning from Brooklyn, NY down out west to San Diego, CA. The Los Angeles show at The Fonda Theatre served as the second last show on the cross-country tour. I’ve had the pleasure of shooting Rucci last year when he shared the stage with Fenix Flexin, and I couldn’t pass on the opportunity to see both G Perico and Rucci in one show. Let’s hop into it.
Opening the night was Kevin Parx, King TWI, and Chief Major. Each of these artists and their teams rocked the stage straight through the night till it was time for Rucci and G Perico. I always say – opening a rap show is one of the hardest shows to open. The crowd needs to have some sort of familiarity with your music to be able to sing along, and if they can’t, you’re tasked with the job of bridging the gap, armed with only a microphone and determination. All three acts bridged the gap. Fans vibed with them, picked up catchy hooks along the way, and sang along. After Chief Major, Rucci burst on stage and the crowd erupted. Sure, the closer of the night may have been G Perico, but Rucci proved that he was carrying his own weight and then some. The Inglewood rapper brought a few homies out on stage as performance an eclectic set of hard-hitting bangers, melodic bangers, and introspective moments.
Last but certainly not least was G Perico. G Perico brought his signature West Coast hip-hop style, incorporating elements of old school gangsta rap and G-funk. He played a lot of bangers off the Hot Shot: Gangsta Grillz project with DJ Drama. Some of my personal highlights were when he played “Action”, “German Engineering”, and “Rap Life”. Front to back, G Perico shined through his energic performances and authenticity in his raps. A little over halfway through his set, Rucci made a big return and the two heavy hitters closed out the show together.
All in all, the Hot Shot 2023 Tour featuring Rucci & G Perico was a hit. Both artists absolutely killed it and left the fans eagerly wanting more. There’s only one more show on this tour but both artists got a lot more in the tank for later down the road. G Perico has been praised for his authentic and gritty storytelling, and this show was no exception. Check out G Perico when he’s in a city near you. You won’t regret it. Innerprize Clicc!
It’s been a tumultuous year for Michigan’s The Black Dahlia Murder. With the passing of Trevor Strnad last year, there were a lot of questions surrounding whether or not the band could either continue, or if they could, what would that look like? The announcement that the band would pivot founding member and rhythm guitarist Brian Eschbach to lead vocalist and bring back guitarist Ryan Knight was met with nearly universal approval, but there still lingered a tiny remnant of doubt - what would this incarnation look like, and how would they sound?
Well, the band’s been on tour for a month (just finishing their Verminous Remnant Tour up with a performance at the reincarnation of Milwaukee Metal Fest), and if their Friday night Minneapolis show at the Skyway Theater is indicative of anything, the answers to those questions are “the band hasn’t missed a step, and they sound absolutely incredible”. Eschbach and company hit the stage with a vitality and purpose that you seem to really only get at the start of tours, but even after a month long trek, this new version of The Black Dahlia Murder brought intensity and precision to their live sounds - no easy feat already given how demanding much of their material is.
The band hit the stage swathed in deep green, a cue to come of a melding of audiovisual design with their trademark saturated album covers. The ominous strums of the opening notes of the title track off of Verminous hit the crowd, and then pure chaos ensued. There is something so beautiful about watching a band that is perfectly in sync, and there really is no other way to describe the performance qualities of The Black Dahlia Murder. Twin guitarists Ryan Knight and Brandon Ellis trade solos while flipping their hair around like madmen, bassist Max Lavelle frequently joining the fun and creating a tornado of hair on stage as Eschbach roams the stage, hand raised in mad sermon, breathing life into the two decades of material the death metal stalwarts have to fall back on, all backed by the mechanical and oppressive drum work of Alan Cassidy. It is one seamless, effortless machine, and in the blink of an eye they had already swung through fan favorite "What A Horrible Night to Have a Curse" and a monstrous rendition of "Kings of the Nightworld", respectively painting the creaking old theater deep blue and violent red to match Nocturnal and Nightbringers’ designs.
From there, the band saw fit to touch almost every album of their back catalog (all save Everblack and Abysmal), giving the fans 3 songs off of Nocturnal (with a perfect rendition of "Deathmask Divine" to end the night), several off of Nightbringers, and even a few tracks off of their debut album Unhallowed to begin the close the night down. In short, it was a night of pure metal perfection - as is to be expected from them - silencing all questions and doubts even the most cynical of fans might have had about their continued tenure.
The Black Dahlia Murder closed the night with a touching nod to Trevor, a nod to every one of their fans and crew, and promised they would be back soon - and with new songs.
Toronto's History Auditorium got a double dose of European Power metal with Sweden’s Hammerfall and German legends Helloween coming into town for their first appearances in almost 4 years. Hammerfall’s 12 song set featured newer tracks like "Brotherhood" with classics such as "The Metal Age," they satisfied fans old and new. Led by vocalist Joacim Cans, the band's commanding stage presence resonated, while their skillful chemistry and tight performance impressed. With closing tracks "Hammer High" and "Hearts on Fire," they showcased their enduring legacy, solidifying them as go-to for an electrifying live experience.
Next up was Helloween, and they would end up taking fans on a journey through their iconic discography which showcased their vocal range, stage presence, and unwavering dedication to delivering an unforgettable live experience. The multi-tiered stage, featuring a giant Halloween Pumpkin Drum Riser, set the tone for a night of grandeur and spectacle. Lead singers Michael Kiske and Andreas Deris took full advantage of the various levels, utilizing them to engage the audience and create a dynamic visual experience.
Deris, in particular, proved to be a master showman, working the crowd into a frenzy during the performance of "Eagle Fly Free." With his commanding presence and infectious energy, he effortlessly led the audience in singing along with the iconic chorus, uniting the entire venue in a moment of pure heavy metal euphoria. Despite the passage of time, the band has not lost any of their magic, the trio of Vocalists really were impressive. One of the standout moments of the night was undoubtedly the performance of "Mass Pollution." As the guitarists gathered at center stage, their synchronized attack on the intricate guitar work sent shockwaves through the audience. It was a true testament to the band's skill and their commitment to delivering an authentic live experience.
"Future World" provided another captivating moment, with guitarists Kai Hansen, Sascha Gerstner, and Michael Weikath prowling the stage, showcasing their versatility, and ensuring that every corner of the venue felt their presence. The crowd was treated to a masterclass in heavy metal guitar playing, as the trio unleashed blistering solos and harmonies. As the set progressed, Helloween's intensity only grew stronger. "Power," off their 1996 album The Time of the Oath, exemplified the sheer concussive force of the band's rhythm section. Drummer Daniel "Dani" Löble and bassist Markus Grosskopf laid down a thunderous foundation, driving the song forward with relentless power.
The main set culminated with the thunderous "How Many Tears," leaving a lasting impact before the eagerly anticipated encore. Helloween proved once again why they are masters of their craft, leaving the audience hungry for more. For the encore, Helloween delivered the crowd-pleasing favorites "Perfect Gentleman" and "Keeper of the Seven Keys," sending the audience into a frenzy of headbanging and sing-alongs. The band's tight performance and unwavering energy level no doubt that they are still at the top of their game.
The Toyota Music Pavilion in Irving, Texas was abuzz with anticipation as fans gathered for Quinn XCII's highly anticipated The People's Tour. With A R I Z O N A set to perform as the direct support, and Julia Wolf slated as the opener, the stage was set for an unforgettable night of music. However, the evening took an unexpected turn when it was announced that Julia Wolf had lost her voice and would be unable to perform. Despite this setback, Quinn XCII and A R I Z O N A managed to deliver a memorable performance that left the crowd in awe.
As the venue filled with disappointed murmurs upon learning of Julia Wolf's absence, the stage was quickly rearranged to accommodate the revised lineup. Although the absence of the opening act was unfortunate, the night pressed on, and the atmosphere was charged with excitement as A R I Z O N A took to the stage.
A R I Z O N A wasted no time in captivating the audience with their signature blend of indie-pop and electronic sounds. Their energetic performance, coupled with stunning visuals and infectious beats, served as the perfect prelude to Quinn XCII's headlining set. Songs like "Oceans Away" and "Find Someone" resonated through the venue, as fans sang along and danced with unbridled enthusiasm. A R I Z O N A's electrifying stage presence and genuine connection with the crowd created an immersive experience that set the tone for an unforgettable night.
When Quinn XCII finally graced the stage, the energy in the Toyota Music Pavilion reached its peak. Opening with the infectious hit "Straightjacket," Quinn XCII immediately had the audience jumping and singing along. The seamless transition from A R I Z O N A's set only amplified the excitement in the air, as fans eagerly awaited the performance of their favorite tracks.
Quinn XCII's performance was nothing short of spectacular. His soulful vocals and dynamic stage presence had the crowd hanging on his every word. From the anthemic "Flare Guns" to the introspective "Always Been You," each song carried a powerful emotional weight that resonated deeply with the audience. The vibrant light show and engaging visuals further enhanced the concert experience, creating a multi-sensory journey that left an indelible impression.
Despite the unfortunate absence of Julia Wolf, Quinn XCII's The People's Tour delivered an exceptional night of music at the Toyota Music Pavilion. A R I Z O N A set the stage on fire with their infectious energy, while Quinn XCII's captivating performance left the crowd in awe. It was a testament to the power of live music and the ability of talented artists to create an unforgettable experience, even in the face of unexpected challenges. The combination of exceptional musicianship, heartfelt lyrics, and an enthusiastic crowd made for a truly memorable concert that won't be forgotten anytime soon.
On May 23rd, the Toyota Music Pavilion in Irving, Texas was buzzing with excitement as music lovers eagerly awaited Dermot Kennedy's The Sonder Tour. As the sun set and the stage lights illuminated the venue, the opening act, Mehro, took to the stage, setting the tone for an unforgettable night of music.
Mehro, a rising singer-songwriter, showcased his talent and captivated the audience with his soulful voice and heartfelt lyrics. With a blend of indie-pop and R&B influences, Mehro's performance was a perfect introduction to the evening. Songs like "Chance With You" and "Lightning" resonated with the crowd, drawing them closer to the stage and building anticipation for the main act.
As the stage transformed for Dermot Kennedy's performance, the atmosphere became electric. The Irish singer-songwriter emerged with his signature intensity and raw emotion, immediately commanding the attention of everyone present. Opening with the anthemic "Blossum," Kennedy's powerful vocals echoed through the venue, sending shivers down the spines of the audience.
Throughout the night, Dermot Kennedy's magnetic stage presence and heartfelt delivery took center stage. Songs like "Power Over Me" and "Better Days" elicited passionate sing-alongs, with the crowd hanging onto every word. Kennedy's ability to connect on an emotional level was evident as he shared personal stories and experiences behind his music, creating a genuine connection with his fans.
The concert was a visual spectacle as well, with mesmerizing lighting and a backdrop that complemented the emotions conveyed in Kennedy's music. The combination of soulful melodies, heartfelt lyrics, and the artist's charismatic presence made for a truly immersive experience. Kennedy's band, comprised of talented musicians, added depth and energy to the performance, elevating the songs to new heights.
One of the highlights of the evening came during the encore when Dermot Kennedy returned to the stage for a breathtaking solo rendition of "Something To Someone.” Stripped down to just his guitar and vocals, the song's poetic lyrics filled the venue, leaving a profound impact on everyone in attendance.
As the night drew to a close, it was evident that Dermot Kennedy's The Sonder Tour had left an indelible mark on the audience. The concert was a testament to his talent as a singer-songwriter and his ability to create an immersive and emotional live experience. It was an evening filled with passion, vulnerability, and the unifying power of music.
In conclusion, Dermot Kennedy's performance at the Toyota Music Pavilion was nothing short of extraordinary. Paired with the captivating opening act, Mehro, the concert showcased the incredible talent of both artists and left the audience in awe. It was an evening that will be remembered by fans for years to come, a night where the power of music truly came alive.
Music is such a universally traded commodity. Recommending music and trading CDs/Vinyls with friends to show them amazing artists that you have come across. In the modern era we now have Spotify to listen to everything on and handing your friend a physical copy of music is mostly long gone. Now when a friend tells you of a band that you need to listen to, some of us let that fall on depth ears because we don’t want to search for them. Yet, when our friends know they are recommending a band they know we’ll love, they will be persistent until we give it a chance. And we realized we have been sitting on this amazing artist. This exchange occurred to me with a band called The Damned. My friend has been recommending them for years, and I regret not looking them up sooner. But I knew when The Damned came to the House of Blues in Anaheim with The Dictators, I finally had to cave to my friend and go see them. And I am so glad I did.
Opening the night was a band more tenured than I had thought. The Dictators from New York I shortly learned have been bringing punk rock to the masses since the 70s. Recently getting back together in only the past couple years after a twelve year hiatus, I was ready to rock with them. Original members Ross “The Boss” Friedman on guitar, and Andy Shernoff on bass are the support beam that keeps this band rocking. Friedman brings some gritty guitar riffs and stand out solos to the crowd, while Shernoff plucks away on some powerful bass lines. Keith Roth has stepped in on vocals and rhythm guitar and brings a bit more clean harmonies to his lead vocals that still bring the ruckus sound The Dictators are known for. Stepping in on drums is a cowbell master, original Blue Oyster Cult drummer Albert Bouchard. Who lays into his kit with dynamics that bring tenacity and finesse. The Dictators played a solid set including songs like “New York, New York,” “Avenue A,” “Let’s Get the Band Back Together,” “Dominance and Submission,” “What Goes On,” “Pussy and Money,” “Faster and Louder,” and ending with “Stay With Me.” The Dictators are a legacy band that still knows how to get the crowd moving.
After a 30 minute set change, I was ready to see what The Damned were all about, and why my friend who not stop recommending them. Guitarist Captain Sensible walked on stage wearing a bright red beret and a red striped shirt. Not what you think of when you think punk band. But as the opening to their first song “Street of Dreams” built, you could feel the energy in the House of Blues building to a point ready to explode. Vocalist Dave Vanian stepped on stage with a slick black suit and fedora and a vibe that felt creepy and mysterious like Judge Doom from Who Framed Roger Rabbit. As Vanian’s baritone voice echoed through the venue, we were all drawn in deeper to The Damned’s sound. Keyboardist Monty Taylor wearing a skeleton head fitting suit, was the charismatic wild card of the band. Bassist Paul Gray knows how to drive a bassline and sync up with drummer Will Taylor to create a powerful low end that got the moshers to open the pit up! Now, I have been to the House of Blues many times, to see some of the heaviest bands in modern metal today. Those shows could not touch how big of a mosh pit The Damned opened up, as it nearly crossed the entire floor of the venue. The Damned played a set lasting an hour and forty five minutes, with 22 songs like “The Invisible Man,” “Bad Weather Girl,“ “You’re Gonna Realise,” “Beware the Clown,” “Wake the Dead,” “Motorcycle Man,” “Born to Kill,” “Love Song,” “Standing at the Edge of Tomorrow,” and “Neat Neat Neat.” We were also graced with not one, but two encored consisting of “Eloise” and “Smash it Up” for the first encore, and “Girl I’ll Stop at Nothing” and “New Rose” for the final encore.
Before heading into the final song, Captain Sensible made a comment that The Damned doesn’t get much media coverage, and that it is the fans that truly let them play these kinds of shows. For one of the original punk/goth bands from the UK, fans truly show up to The Damned shows with passion. Across the house of Blues fans came dressed in punk attire, classic gothic fashion, and rockabilly stylings. The mosh pit ebbed and flowed between people circle pitting and just flat out dancing. The love that people have for The Damned could be felt in energy of the room. I now see why my friend would not stop recommend this band to me. I must formerly apologize to The Damned for sitting on them for so long, as they should not be glossed
Metal Church, the iconic American heavy metal band, returns with their highly anticipated 13th album, Congregation of Annihilation. With a career spanning decades, Metal Church has consistently delivered hard-hitting and relentless music, and this latest offering is no exception. Congregation of Annihilation showcases the band's unwavering commitment to heavy metal roots, along with a few surprises along the way culminates into just under 50 minutes of metalhead bliss.
Right from the opening track “Another Judgement Day,” Metal Church unleashes a sonic assault of punchy riffs, thunderous double kicks, and killer solos that doesn’t let up until after completing the roughly 50-minute tracklist. Nowhere is that more apparent than with tracks like, “Congregation of Annihilation,” or in this instance, “Pick a God and Prey” where breakneck tempo lines up perfectly with new front man Marc Lopes’ nihilistic lyricism to create a true standout.
Although this is Metal Church’s 13th studio record, it marks the first since the tragic passing of legendary front man Mike Howe who passed in July of 2021. Howe’s passing left quite a big hole needing to be filled that would be a tall task for anyone, and Marc Lopes does so with flying colors. His range and versatility shine throughout the album, effortlessly transitioning from melodic verses to bone-chilling screams all while delving into thought-provoking themes of societal issues and deep personal struggles with an unapologetic intensity that Metal Church is known for.
While staying true to Metal Church's classic sound from the 80’s for much of the album, the band adds some much-needed palate cleansers that are welcomed additions like “Me the Nothing” and “Making Monsters.” The former of which seeing the gas being let off the pedal just ever so slightly, for one of the more personal tracks on the album, and the latter pushing the pedal back down but this time with an infectious bassline that you can’t help but bounce your head to. It’s small little steps like these showing the groups willingness to switch things up and take a bit of risk when it comes to exploring the possibilities of the metal genre.
Congregation of Annihilation is a triumphant return for Metal Church, solidifying their status as one of the pioneers of American heavy metal. Relentless energy, impeccable musicianship, and Lopes’ dynamic lyricism establish this record as one dedicated to the craft, and to the legacy of Metal Church and the late Mike Howe. Although the lineup of Metal Church has changed, the music certainly hasn’t, as this 13th record packs just as much punch as their self-titled did back in ’84, and it’s one I recommend any metalhead to check out for themselves on May 26th, 2023.
I recently had a change to catch up with Frank Meyer and preview an acoustic version of "Stranger" off Highway 61's debut album, Driving South. After giving this one an initial spin, I was intrigued. After a few more spins, I was hooked and wanted more. It's just what the doctored ordered in a world full of copy cat releases that are typically dull and uninspired. I think these cats are on to something, and look forward to digging in more to their amazing sound & music!
Read more below from Frank on the songs origins as it provides some killer insight into how "Stranger" came to be, enjoy! - Matthew Belter
“Stranger” is the first single off our Highway 61 debut album, Driving South. Highway 61 started when I was in high school in the late ‘89s. Most of the material was written back in the day, but the band broke up in the ‘90s and we all went on to other adventures. Since then, I’ve been playing in the Streetwalkin’ Cheetahs and with musicians like James Williamson of Iggy and the Stooges, Eddie Spaghetti of the Supersuckers, and my hard rock band Trading Aces. But a few years back, during the pandemic, our guitarist Andy Medway got leukemia. He had his surgeries and transfusions during Covid, so he had to sequester himself in a hotel room while he was recuperating since his immune system was essentially nonexistent. I suggested he pick up the ol’ guitar and start writing some songs to keep himself entertained. Eventually, he wrote some new material that inspired the band get back together and go to the studio. We picked the best of the old material, plus the new stuff, and made our long-awaited album, over 30 years after we started. The whole process was so fun and easy, and the record came out so great, that we shopped it around and got a deal with Rum Bar Records. But the really amazing part is in this last year since all that happened, Andy completely beat the cancer, is doing great, and playing guitar like a beast again! Music really does save lives.
Originally I wrote “Stranger” on an acoustic guitar originally and I played it live in my solo acoustic act many times, so one day when I was bored, I decided to record a version. My wife, Sarah, filmed it, and I sang it to our dog Mojo. As you can see, Mojo is only mildly amused by my musical antics. But regardless, the song works great on acoustic guitar, and I like showing that side of the band’s songwriting off. The way I see it is there any good song should work as an acoustic number. If it doesn’t, it’s probably because it’s not that strong of a song.
The Half Alive show was more than a simple concert, it was an experience. My first Half Alive experience was in March of 2022 at the Ogden Theater in Denver, my hometown. Then, they packed a dynamic performance into such a small venue. Now, a year later, the group is performing at one of the largest venues in LA! The show was unlike any typical concert, this was a performance which included flawless choreographed dance sequences, a mind-bending shadow performance opening, and an all around astonishing night.
The show was opened with Dev Lemons, accompanied by nickisnotgreen on drums. Some of the quirkiest performers I have ever experienced. They showcased their low-fi hip hop energy with a presentation that contained lots of woof-like chants and pointing. The artist went as far to state that nobody was allowed to leave until they “had pointed to every audience member”. The duo certainly got the crowd riled. Yet, the night was still young, next to the stage was the renowned Tessa Violet, joined by her bandmates. Violet has such an eccentric and daring presence. Tessa is widely known for her bobble-pop single “Crush”. Her energy radiated throughout the Wiltern, bringing nothing but pure confidence and kindness. During her performance, she recalled a story in which a fan came up to her and asked how she got to be so confident. She responded by giving everyone in the audience that night homework. We all were to look in the mirror first thing in the morning and tell ourselves that we love who we are. It was a beautifly wholesome moment that accompanied a dazzling set.
Then it was time for the headliners, Half Alive. You’ve seen artists play instruments while singing and performing for a live audience, but have you ever seen a choreographed breakdance whilst singing? Josh Taylor, lead man of Half Alive, is a singer, dancer, performer, and at his core an entertainer. The show opened with a trippy visual all from behind a large white sheet. The group had lights moving behind them in sync with the music making for an insanely unique visual to accompany their music. The show as a whole was divided into seasons, which added a unique element that separated their songs into energy. The group also has set pieces coming on and off of stage. A highlight was when an old rotary phone was brought out to center stage and interrupted the current song. The entire stadium held for Taylor to talk to whoever was on the other line. It was then that the phone was passed through the audience and a short theatrical bit was showcased.
Half Alive is group is one that needs to be experienced, well, live! They add such a simulating element to their shows and their performances are not to be missed. If you want to not only hear the music live, but enjoy the performance of a lifetime as well, then Half Alive is the group for you.