Since the death of Bob Marley, Aston “Family Man” Barrett and his brother Carlton “Carly” Barrett kept the message of Bob Marley and The Wailers alive by touring, making music, and spreading the word. Over the past few years Family Man’s son, Aston Barrett Jr., has taken over the reins of The Wailers and has pushed forth keeping that message alive and well. And just a quick shout out to Aston Jr., his depiction of his father in the Bob Marley: One Love movie was fantastic and moving. While the band has been touring pretty much non-stop over the years, with a changing line-up, the Barrett's and Owen “Dreadie” Reid has been the constant. Today’s line-up consists of Dreadie, Mitchell Brunings, Wendel “Junior Jazz” Ferraro, Andres “Ipez” Lopez, Teena “Tamara” Barnes, Richard Walters, along with their crew Christian Cowlin, Lennie Chen, Anthony “Ants” Donaldson and Matt Denison. While many call The Wailers a cover or tribute band, they are a very talented group of musicians who put out their own music. I am always excited when The Wailers put out a new song or album, because being a huge Bob Marley fan and reggae fan, I want to hear what they are putting out, and how they are evolving, but still staying true to the one love message.
Evolution starts with “Love Should Be Free” featuring Black Uhuru legend Mykal Rose, an up-tempo It's a song that flows really well to get this started off. Mykal sounds fantastic. One of my favorites is next, “Give It Up” features an original I-Threes member, Marcia Griffiths. She sounds absolutely awesome and brings a great vibe to this song and album. She brings that Wailer's vibe to the song and album. “Love Without Pain” featuring Emily Estefan, daughter of Gloria and the producer of the album Emilio Estefan Jr., under his independent label, Crescent Moon Records. Estefan Jr. also produced The Wailers 2020 One World album. Emily has a fantastic voice, she really belts it out in this song. This has some horn play, the sax is awesome. The brass section on the song and album consists of Dean Fraser on sax, Randy “Trumboclaat” Fletcher on trombone, and Okiel Mcinrtye on trumpet. We flow into another song featuring Mykal Rose, “Close My Eyes.” A real sweet roots reggae flow to this song, Mykal taking over with his vocals.
The title track, "Evolution” is next, led by Aston Jr. on vocals, this is a wonderful song and Aston does a nice job as the lead. This sums up The Wailers to this point. “Love Surrender” is next up, a nice slower riddim and vibe. They pick up the pace a little with “You Belong to Me” lead by singer Mitchell Brunings. His tempo changes as does his vocals, flowing right along with the beat and horns. Great song! We move to another one of my favorites, a song that has a great happy vibe, a vibe that makes you want to dance and groove, “Get It On.” Another song led by Brunings, it just puts a smile on your face. “Unpredictable Heart” with jazz singer Nikki Kidd taking over the lead. A great flow and rhythm to this song, she has a sweet voice that just sticks in your head. A wonderful song about moving on in difficult times and circumstances,
“Holding On” has Aston Jr. on lead vocals again, accompanied by Gramps Morgan. I really enjoy the way Aston’s and Gramps's voices and flows work together. This one really hits! Next up, a song with a message for future generations about hope and optimism, “Generation.” Another song featuring Mykal Rose, and e once again he kills it! Such a great groove and flow to this one, it is the genuine spirit of emotional reggae, while it is the same instrumental group, they add in Llamar “Riff Raff” Brown on keys and Hector “Roots” Lewis & and Ras Perty on percussions. The album is finished off with “Sins,” also lead by Barret Jr. on lead vocals. We get more of that soulful roots reggae we have come to know from The Wailers.
This album gives us some great true Wailers vibes we have always gotten since the days of Bob Marley, but the title, Evolution, is so fitting. With the different artists, from different times and different styles coming together to create this different-sounding Wailers groove, it has a little something for those die-hard Wailer fans but has a vibe to bring in other reggae and pop fans as well. The Evolution of The Wailers is evident and not only needed to be done but is very welcomed by this listener.
One Love – Todd Judd
If you were one of those kids that got way too into a fandom to the point that your friends wish you would stop talking about it, have a meme page, were a theater kid, or just love music that's whimsical and makes you feel as if you’re in a storybook, you should have been at the House of Blues in Anaheim on September 18th for The Rick Tour: One Rick to Rule Them All. Headlined by the legendary Ricky Montgomery, with support from Ray Bull. Yes, that is the tour name, and I have a gut feeling it was inspired by Rick and Morty, the TV show. Since Ricky has made a joke about the show before, and if you’ve watched Rick and Morty, you’ll also get what I mean. It’s related to something specific in the show that I will not say because it's a spoiler, but if you want to understand, go watch the show. This was a night that wasn’t just filled with music but laughter as well. If you were having a bad day and you walked into this show, I guarantee your night would have ended with a smile on your fact.
Now, what kind of band opens for Ricky Montgomery? Well, needless to say, one with a sense of humor. Ray Bull and Ricky Montgomery both have the type of humor that makes you wonder if these guys are secretly related to each other. A lot of people in the crowd were fans of Ray Bull, so there was already excitement in the air. Ray Bull made the joke twice during the beginning of the set, after a song, that it was the end of their set. The crowd played along with it, which made the joke funnier. Their music has a nostalgic folk-pop feel to it. They knew how to hype up the audience, such as when they started clapping on stage and got the audience to clap along with them. You could also tell they were having fun from the smiles and silly faces they made on stage. It was refreshing to see. I loved that the band has two vocalists that work really well together. They ended their set with their song Name Something Better, which has lyrics that will make you miss camping and spontaneously want to go camping just to see the start.
For our headliner, to get us prepared for his arrival while music was playing during the time in between, there would be moments where the song would stop, and Ricky’s name would be said over and over again. The audience would also randomly scream a lot, so it made you think Ricky was going to jump out at any moment. The set started with the band playing behind a curtain that had psychedelic visuals on it. For a moment, you’d think, "Oh, Ricky is going to pop out from behind there." Well, if you thought that (which I don't blame you for, I thought that too), you’d be incorrect. Instead, he popped out from a door in the center of the stage and initiated one of the most energetic openings to a headliner’s set that I’ve seen in years. Like, if you came in late, you could easily think, "Damn, I missed everything, and they're already on the encore."
His opening song was "Line Without a Hook", which is one of those songs that, even if you don’t know Ricky, you’ve at least heard this song somewhere at some point in time. Heck, even your grandma has probably heard this song. It’s a classic that deserves to be a classic. During "Line Without a Hook", Ricky even jumped into the barricade, which was a field day for photographers in the photo pit. We rarely get such a sick moment in the first three songs. All the fans he interacted with during this moment were incredibly excited too. The rest of his setlist included songs such as "Cabo" (which is one of my personal favorites), "One Way Mirror", "Talk to You", "Ed "Sheeran (SUPERFAN)", "Black Fins", "I Don’t Love You Anymore", "California, Unknown", "Phantom", "Snow", "My Heart Is Buried in Venice", "Boy Toy", and for the epic three-song encore: "Sometimes I Need to Be Alone", "This December", and Mr. Loverman". The lights on stage helped enhance the energy, especially with Ricky jumping around. At one point, Ricky was by the door frame that was lit up, and he gave off the vibe of a powerful video game character. During "Black Fins", the audience had their phone flashlights on, and the whole room filled up with lights as they moved their arms along with the song.
One of the best things about Ricky is his sense of humor, but also how much he cares about his fans. He reminded everyone to embrace their weirdness no matter what and has been a really supportive artist to the LGBTQ+ community. I saw some fans with pride flags in the audience as well. During his performance of his unreleased song "Ed Sheeran (SUPERFAN)", at a certain point, he ended up with a giant flag on him too. A fan gave him a toy to hold when he sang his song "Boy Toy". He even made a joke that he wasn’t going to have an encore, then hinted at it being a three-song encore. Although one of the funniest moments would have to be when he made a joke about money to encourage people to buy merch. The joke clearly worked because it was a packed line for merch by the end of the night. The scenic visuals on the curtain during the encore were beautiful to watch as well. For his song "This December", he had the whole audience jumping, so if you felt an earthquake...that was the reason. All of his songs feel poetic in a way and paint a whole story. You can tell a lot of work goes into the songwriting. It was also fitting for "Mr. Loverman", one of his most iconic songs, to be the last song. To wrap up the set, he threw paper airplanes that were signed setlists into the crowd, and everyone had their hands up.
Everything about the show made for a perfect night, and Ricky is one of those artists that is always doing something interesting on stage. So it’s never a dull moment for a fan or a photographer. Ray Bull also has a lot of potential, and I’m excited to see what they do next. Both artists are highly relatable. I also thought it was wholesome that Ricky encourages his fans to show up in cosplay; he’s a big fan of anime. He often talks about different shows on TikTok, and his fanbase is made up of a lot of anime fans. So I ended up seeing fans in cosplay by the end of the night as well. There are many shows you can see, but few can make you laugh like a Ricky Montgomery show.
Alison Moyet has one of the most distinguishable female voices in all of music. Her latest album Key marks the return of the iconic singer songwriter since she dropped Other back in 2017. The album highlights songs she found worthy of a resurrection across her incredible 40 year career. Moyet admits there are certain songs she won’t sing again simply because they no longer resonate with her. Instead, she chose songs that have withstood the test of time and resonate with her still.
Starting with “Where Hides Sleep,” her soulful voice sets the tone for listener. Co-produced with her longtime collaborator Sean McGhee, the music combines synth with poignant instrumentation which gives the senses an interesting tingle. In “All Cried Out,” Alison's voice is blazingly bold just as you would expect. The music itself definitely resonates with the past, if not a tad bit too polished in its recreation. The song lacks the daring tone she is known for in her earlier work. “Such Small Ale” (one of her new songs on this album) starts out with her beautiful, moody voice sounding surprisingly reminiscent of Joni Mitchell. The music again is nice, but lacks the risk. "The Impervious Me" (the other new track) was similar, but a bit more daring and one that resonated more closely to me.
After giving this album a number of listens, “Love Resurrection” finally gave me what I was really looking for, that classic Alison Moyet sound. The incredible electronic music of this song pairs perfectly with what Alison does best, which is bring her 'diva' power to alternative electronic. It makes us realize what we have been missing in the genre for so many years. It was truly powerful and brought an immediate smile to my face. “You Don't Have to Go” is a haunting revisit of a love lost, and is a perfect ending for the resurgence of this female powerhouse. It clearly demonstrated Moyet's vocal prowess and amazing song writing ability. It was a great song to end Key, and one fans will really appreciate.
Alison Moyet proves once again that music from the past (that many might categorize as irrelevant) can become refreshed and yes, relevant, once again. Combining nostalgia and innovation, Moyet's Key is set to please her fans (and capture newcomers alike) with an 18-track album that dazzles the senses and feeds one's musical appetite for even the pickiest of fans. It put an immediate smile on my face, and believe it will for you too. Moyet is truly legendary, and this album reintroduces us to one of the best female vocalists in the modern era of music, bar none.
- Alli Richards
Recorded a week after his release from prison, Vybz Kartel released the video for his latest single on Friday Sept. 13th. Within a few hours of its release, it amassed over 67k views and within less than 24 hours after its release, World Boss’s “The Comet” surged to number 1 on YouTube’s top 50 trending videos in Jamaica. It also surged into iTunes Top 100 Reggae Songs chart, currently placing at number 5. So to say Vybz fans were waiting for new music from the artist is a huge understatement.
The video starts with footage of his release from prison, to the chants of thousands of fans…..”FREE WORLD BOSS, FREE WORLD BOSS!” This has a typical Vybz beat and sound, this is what the fans wanted. It let us know, I’m back, I’m the same Kartel, I’m going to hit you hard, and I’m already back on top. This track is a diss to Alkaline and other dancehall artists that, as he says, stole his style and didn’t want him released from prison. He tells them, I was making millions, US dollars, while in prison.
"All inna prison, me a mek millions/Me a talk 'bout U.S. dollar ni**a/A bagga big song, watch 'e Fever/It sell 'e gold and it sell 'e silver.” He is ready for a global takeover, and if anyone can do it, it is the World Boss.
This is a great song, and one we have all waited for - nice beat, great lyrics, and a video that just makes sense. But now at 48 years old, and coming out of prison after 13 years, I understand the song and the stance, but I am hoping to hear a new style from him, more uplifting, an evolution for him, one that will make him the king of dancehall once again.
One Love – Todd Judd
Zeren Zia is a Brooklyn native with Pakistani and Irish-American heritage. She is an extraordinary singer-songwriter known for her ability to create captivating, emotional, and atmospheric music.
Following her graduation from the prestigious LaGuardia High School of Performing Arts in NYC, Zeren Zia burst onto the city's music scene in 2023 with her infectious track "Such a Shame," and subsequently released the empowering anthem "Chase You Down."
SOUNDS LIKE: Taylor Swift, Ariana Grande, Katy Perry. Approaching 1 million streams on 4 single releases by 18K active listeners from 115 countries.
Photos by Yelena Ku
Labor Day weekend delivered an unforgettable experience for metalheads, with a double-shot of legendary metal bands Accept and KK’s Priest lighting up both the iconic Whisky A Go Go and the annual Rainbow Bar & Grill Backyard Bash. Kicking off Saturday night with a blistering performance at the Whisky, and wrapping up on Sunday under the scorching sun at the Rainbow, it was two days of metal mayhem that left the crowd drenched in sweat and satisfaction.
The night began at the legendary Whisky A Go Go, a venue that has seen its fair share of rock history. But even with its storied past, this was a night that felt electric from the start. The crowd packed into the intimate venue, and with the sweltering heat, the atmosphere became an intense, almost primal experience. Sweat dripped from every corner, and it was impossible to move without bumping into someone else who was just as soaked—exactly what you expect from a pure metal show.
Accept took the stage first, showing off the prowess that has kept them relevant since their 1980s heyday. Hailing from Germany, Accept is known for pioneering the speed metal genre, and their decades of experience shined through. They delivered crushing renditions of fan favorites like "Fast as a Shark" and "Restless and Wild," songs that continue to resonate with both old-school fans and newer generations. Vocalist Mark Tornillo, who has been with the band since 2009, sounded as fierce as ever, proving that Accept still has plenty of fire left.
Then came KK’s Priest, the brainchild of former Judas Priest guitarist K.K. Downing. The band, which also features ex-Judas Priest vocalist Tim "Ripper" Owens, brought the house down with their powerful blend of classic and modern heavy metal. Downing’s guitar work was as blistering as ever, and Ripper’s vocals soared over the wall of sound, with the crowd erupting to songs like "Hellfire Thunderbolt" and "Raise Your Fists." If Saturday was a warm-up, KK’s Priest made sure it set the bar sky-high.
The metal festivities continued on Sunday at the Rainbow Bar & Grill’s Backyard Bash, a staple event that marks the end of summer with a mix of nostalgia and rock chaos. This year’s lineup featured an impressive roster, with performances from Zack Kirkorian, Sunset Riot, Prima Donna Rising, Ted Poley of Danger Danger, Warbringer, Bulletboys, Accept, and KK’s Priest.
Prima Donna Rising, one of the standards of the Sunset Strip these days was in top form as were, Sunset Riot. I had never seen Ted Poley live and I was so impressed by his positive attitude. He jumped into the crowd and sung along with the fans, allowing them to take selfies. He said that they didn’t bring any Merch, as they wanted people to make donations instead to their local animal shelter. Warbringer was a bit of a THRASHING outlier as they had a huge fanbase there that whipped the parking lot into a massive mosh pit. They thrashing continued for a for their solid set, and then the more relaxed but fun, The Bullet Boys with Ira Black on fire on guitar and Marq Torien’s rocking vocals are always great fun. By the time the headliners returned, the Backyard Bash was in full swing, packed with rock fans of all ages, baking under the unforgiving afternoon sun. Despite the heat, the energy was contagious. Accept and KK’s Priest came back for slightly shorter sets compared to their Whisky performances, but the atmosphere was supercharged. The larger outdoor crowd fed off the energy, belting out lyrics to classics like Accept’s “Princess of the Dawn” and “Balls to the Wall,” and KK’s Priest’s electrifying “Sermons of the Sinner.”
The Rainbow Bash crowd sang every word back to the stage, creating an epic sing-along moment that epitomized the unifying power of rock music. Fans of all ages, from die-hard metalheads to those who discovered these bands more recently, were brought together in a celebration of the music that’s kept rock alive through decades of change. Despite the shortened setlists, the headliners gave their all, with performances that were as tight and energetic as the night before, and the audience responded in kind.
What made this weekend truly special was not just the raw power of the music but the sense of legacy and community that came with it. Accept and KK’s Priest are bands with deep roots in metal history, and seeing them perform back-to-back—first in the intimate Whisky A Go Go and then at the expansive Backyard Bash—was a reminder of why these bands have endured.
The Rainbow Bash’s diverse lineup also paid tribute to the wider rock and metal scene, with bands like Warbringer bringing thrash energy, and Bulletboys delivering glam rock nostalgia. Ted Poley of Danger Danger brought some melodic rock to the mix, and Prima Donna Rising and Sunset Riot gave the day a fresh, modern edge.
The weekend was a perfect blend of old-school and new energy, showing that metal is far from dead. From the sweaty walls of the Whisky to the sun-baked grounds of the Rainbow, Accept and KK’s Priest led a celebration of the music that has defined generations and continues to evolve. It was a reminder that no matter the venue, no matter the decade, rock and metal still have the power to unite, uplift, and—most importantly—bring the house down.
Country music has a long loyal history of fans who love to step into their cowboy boots, put on their cowboy hats, and boogie down at the local country club. It also has a very storied history with being the butt of the joke in the music industry. But every now and then we have a cross over artist that is able to bridge the gap between country music, and the rest of the music loving world. The latest man to achieve this goes by the name Jelly Roll. Not only has he been paving the way for his own singles and albums, but he has been invited to collaborate with musicians who don’t do country music such as Eminem, Machine Gun Kelly, Ronnie Radke, Lil Wayne, and many more. He has just ventured onto his latest tour dubbed the Beautifully Broken Tour, and this show sold out at the Honda Center with support from Warren Zeiders and Alexandra Kay. Street teams were outside the venue selling cowboy hats for anyone who forgot theirs, and the fans lined up early to get boot scootin’ boogie on.
Opening the night was Alexandra Kay. Alexandra was very excited to be performing on this tour as she mentioned she is still an unsigned independent artist. And in the music world, it can be nearly impossible for unsigned independent artists to catch a break like this to be on a national arena tour. So, it made her even more excited to get this opportunity to perform for the fans of Anaheim. The stage had two catwalks on the left and right side of the arena. Alexandra made it a point to interact with her audience as much as possible. Constantly walking down both sides of the catwalk to sing with her loving fans. Multiple times even stealing a phone to record herself singing with that fan. Sadly I could not get her setlist for the songs she played, but I would highly recommend looking up her top 10 songs on Spotify as each one will get you dancing in your seat.
Up next was a country artist from Hershey, PA known as Warren Zeiders. Warren hit the stage with some swagger and charisma like you’d expect from Usher, and the ladies in the crowd cheered for him just the same. Warren planned to step up the energy even more for the Honda Center, and during his first song “Take it to the Grave” huge canons of pyro blasted off across the front of the stage. Most people might be taken back a bit by this, but Warren embraced the heat standing close to the pyro blasts, locking eyes with every lady in the front row. Giving off some serious Glen Powell from Twisters energy. As well, Warren was not afraid to get right up close and personal with the fans. Often walking down the catwalks to let more people truly see this star on stage. Warren Zeiders kept up this highly charismatic performance for songs like “Intoxicated,” “Betrayal,” “Best I’ve Ever Had,” “Weeping Willow,” “Heartbreaker,” “Relapse,” “Sin So Sweet,” “Pretty Little Poison,” and ending with “Ride the Lightning.” I don’t know if country music stars have the “bad boy musician” archetype in their genre, but I feel Warren Zeiders exemplifies this characteristic.
When it was finally time for Jelly Roll to take the stage, he did something more unique than I probably have ever seen from other artists to start the show. Instead of walking onto the main stage, there was a second side stage set up in the middle of the Honda Center. Jelly Roll took a stroll through the crowd, hand in hand with his wife Alyssa “Bunny XO” DeFord, greeting and interacting with his fans. He kissed his loving wife before ascending to this side stage to perform the song “I Am Not Okay.” But what truly made this moment special was that Jelly Roll performed under a burning house apparatus. The sight of this was more unique than I can imagine any other country artist doing, or even modern day pop artist. As the song concluded, Jelly took his stroll through the other side of the arena, greeting the rest of his fans as he made his way back to the main stage.
Once on the main stage, Jelly Roll was flanked by his entire band who he would constantly embrace. Though Jelly is technically a solo artist, he continues to show love and support to his band during each song. Frequently playing with his guitarist, or dancing next to his drummer and keyboardist. Jelly Roll kept up this love for songs like “Halfway to Hell,” “Get By,” “Son of a Sinner,” “Lonely Road,” “Friends in Low Places/Feel Like a Woman,” “Creature,” “Same Asshole,” “Fall in the Fall,” “Wild Ones,” “She,” “Liar,” “Bottle and Mary Jane,” “Need a Favor,” and “Smoking Section.” During one of the songs, Jelly Roll performed standing next to a flaming grand piano as his keyboardist played it. For his final song “Save Me,” Jelly once again took to the side stage and set the house apparatus a blaze one more time. When the song flowed into its outro, the flaming house was extinguished by rainfall, as Jelly Roll was bathed in the cleansing waters of the rain. He took a couple more minutes to wave and connect with the fans, who desired more, before leaving the stage and walking to the back.
Walking out of the Honda Center, I can’t say that I am a country fan still, but I can say I am a Jelly Roll fan. This artist has been able to cross multiple genres and appeal to the masses. Anaheim sold out the venue to show their love to this man, and I can now truly understand why he is so beloved. The passion and heart that he performs with is undeniable. But it’s his eagerness to show his love back to his fans by greeting them directly and giving us an entertaining show that stands out from the rest. Jelly Roll has shows running till the end of the year, and even if you hate country music, I can guarantee this man will turn you on to his music at the very least. Don’t sit on Jelly Roll just because he plays country. Take a chance and go to one of his upcoming shows. I know you won’t be disappointed.
Poe The Passenger and Satellite Citi’s co-headlining show at The Roxy was a night brimming with community and energy. Supported by Love Ghost and Fencer —two bands that know how to put on a show—the night was unforgettable. Satellite Citi celebrated both their comic book and EP release, while Poe The Passenger marked their album launch. Each band brought a unique sound to the table, ensuring there was something for everyone. The evening was hosted by the talented Noelle Sucks (don’t let the name fool you—she’s awesome), who introduced each band with enthusiasm.
First up was Fencer, the manic rock trio from Los Angeles, known for their signature blue theme. They’ve managed to make lighting a stage with blue feel exciting and fresh. Their sound was so powerful you could hear the vocals clearly even from outside the venue. I’ve photographed Fencer multiple times, and I have to say, this was one of their best performances yet—they just keep getting better. Their stage presence is electric; they know how to engage with each other, ensuring there's never a dull moment. Lead singer Field’s witty banter only added to the excitement.
Fencer’s setlist included She Burns Trees, unreleased tracks, "Couch", "Buena", "Velvet Jetski", and their iconic closer, "Junebug". They also performed "SUV", which is dropping this month—if you're tired of life’s routine, this is your song. During "Couch", a mosh pit erupted, and what made it more fun? Blue dinosaurs joined in when the lyrics referencing them were sung. Field even jumped down to join the pit during a song! The blend of drums and instruments in "Velvet Jetski" has a beat that sticks with you long after the show. Fencer’s final jump during "Junebug" sealed their performance as a night to remember. If you're looking for a band that’s cool, humorous, and full of energy—Fencer is the one.
Next up, Love Ghost took the stage, and their name truly fits—they deliver hauntingly beautiful music. The lead singer’s style was sharp, and his confidence shone through as he got up close and personal with the crowd. Their setlist featured songs like "Fade Away", "Pulp", "Spirit Box", "Left on Read", "Just Another Sunday", "Zombie", "Angelic", "Payback", "Nightshade", "Cocaine", "Big Dog", and "Closure". Jazz made her stage debut during "Just Another Sunday", her smile lighting up the room. Despite it being her first time, she captivated the crowd with her energy.
Love Ghost is a band that knows how to look cool on stage—everyone has amazing hair, which makes them shine in photos. Tim Skold’s guest appearance during "Payback" was a highlight; he blended seamlessly with the band’s sound. "Angelic" is the kind of track that gives you chills—if you're a fan of Nine Inch Nails' "Hurt", you’ll love this. Love Ghost’s music is perfect for anyone who enjoys the eerie, cinematic feel of horror soundtracks.
Headlining the night was space-themed hard rock band Satellite Citi. After Noelle’s introduction, they took the stage with their mysterious spacewalkers—anonymous members dressed as black-clad astronauts, which tie into the band’s comic book lore. Their lead singer impressively doubles as a drummer, which is a rare and captivating sight. It was heartwarming to see little kids in the audience enjoying the set, especially during songs like "Spacewalker", "Evil Eyes" (out on 9/13), "Black Magic", "Trouble Flower", "Anxious Hearts", "As It Was", "Misery", "Dopamine" (unreleased), "Triggers" (unreleased), and "Reaper".
Their performance felt like a mix of Star Wars with a Midwestern twist. A special moment came when one of the spacewalkers formed a heart with their hands for the audience. The vocalist stepped away from the drums for part of the set, allowing her to showcase her stage presence alongside the guitarists. The set even featured a saxophone at times, adding a unique flair. Finnegan from Love Ghost joined them for a song, and seeing him fist-bump the kids in the front row was a touching moment. Satellite Citi showed their appreciation by having the spacewalkers throw shirts into the crowd. The audience was fully engaged, and it was clear this is a band you don’t want to miss.
Closing out the night was Poe The Passenger—not Edgar Allan Poe, though their name is inspired by him. Poe The Passenger is all about fostering a happy, safe community, and you can feel it from the moment they take the stage. Lead singer Jeff Pridgen’s infectious smile kept the mood light and joyful throughout the set. There was even a brief and wholesome moment between Jeff and Field (it was a bit of a playful roast), ending in a hug.
If you like Imagine Dragons or Linkin Park, Poe The Passenger’s sound is right up your alley. Their setlist included tracks like "Burn", "Hologram", "Doom N Gloom", "Endless Love", "Half Alive", "Damned N Beautiful", "Kerosene", "Heart Shaped Box", "Lose Control", and "Sweet Talk". The song "Endless Love" especially reminds me of Imagine Dragons’ Arcane-era music. During the performance, Jeff frequently engaged with the crowd, encouraging them to raise their hands and immerse themselves in the moment.
The band’s encore with "Sweet Talk" was the perfect finale. "Hologram" had that intense, cinematic vibe, like the soundtrack to an epic action scene, while "Damned N Beautiful" painted a vivid, emotional picture. Poe The Passenger closed out the night on an undeniable high.
If you missed this show, I’m genuinely sorry for your loss. The diversity between all the bands and their infectious energy made this a night to remember. Everyone on stage looked thrilled to be there, and the night was full of smiles. Do yourself a favor and check out all these bands—you won’t regret it.
Poised to embark on their 40th Anniversary Tour, legendary Christian metal band Stryper is about to release their 12th studio album When We Were Kings. I’m pleased to report it’s the band’s best work in many years. As a fan since “Soldiers Under Command” first rang through my young ears back in 1984, I’m very proud to see the band continue to actively produce quality albums and successfully tour. The current band lineup includes three original members: Michael Sweet on lead vocals and guitar, brother Robert Sweet on drums, and Oz Fox on vocals and guitar. Perry Richardson has provided bass and backing vocal duties since 2017.
The sonic production on When We Were Kings effectively highlights the classic Stryper sound fans expect- Michael Sweet’s soaring passionate vocals, booming backing harmonies, pounding drums and shredding guitars. This album has something for everybody, it will excite fans preferring the harder metal side of Stryper, but several tracks will please those preferring the gentler more pop rock offerings. It’s probably no coincidence that the first two singles represent the band’s different musical gears; "Love’s Symphony" is a classic meets modern rock track while "Grateful" is a melodic pop rock track with Stryper’s iconic inspiring and positive lyrical messages:
I'm so Grateful, I built on solid ground
For every high & every low, And for the lost and found
Though the stormy skies, Will bring the pouring rain
I'll always see the victory, And my heart will remain
Grateful
Lead singer, guitarist and primary songwriter Michael Sweet says this about “Loves Symphony”:
"We’re always trying to merge the past with the present. Trying to incorporate the classic sound that older fans miss with the modern sound that newer fans hope for. “Love's Symphony' is a great combination of both. It not only represents who we were but also who we are. We really are excited about this one and we hope you all are too."
Because I prefer the harder rocking side of Stryper, my favorite song is “End of Days”, a face-paced metal shredder that kicks off the album. I’m going to bet this rocking track will be the live show opener on their upcoming tour - it would be perfect! Another strong tune is “Unforgiveable”, a crunchy metal groove (that conjures up the spirit of Motley Crüe’s “Shout at the Devil”) coupled with another great melodic chorus. “Betrayed By Love” is a solid power ballad that showcases Michael Sweet’s powerful rock voice and the band’s patented booming backing vocal harmonies. The album’s solid track list continues with the kick-ass “Trinity”, another intense up-tempo hard rocker, passionate chorus and even a tasty sprinkle of a Rush style Moog synthesizer adding some musical texture. The title track is another memorable tune - a great classic metal riff and, surprise...a great melodic uplifting chorus!
The new album When We Were Kings, to be released September 13th, is locked and loaded to please both longtime Stryper fans and fans of hard rock metal in general. The quality and depth of the new songs will energize and boost the band’s upcoming 40th Anniversary Tour which kicks of September 11th in Tennessee. 40 years after the band’s triumphant debut, it’s simply amazing that the band is still going strong. Be sure to check out the new album and catch them on tour this Fall!
Be well and keep rockin!
Greg Vitalich
Widely regarded as one of the best cover bands off all-time, the popular punk rockers Me First and the Gimme Gimmes brought their live show to Observatory North Park in San Diego last week for night of non-stop entertainment. If you haven’t heard of Me First and the Gimme Gimmes (MFGG), they specialize in punk style covers from a wide range of well-known songs. Their two most popular covers are probably the up-tempo anthems “Take Me Home, Country Roads” by John Denver and Judy Garland’s “Over the Rainbow”. Whatever song it is, you’ll quickly recognize it and be smiling singing along with the band.
Formed in San Francisco in 1995, MFGG is led by the charismatic and flamboyant lead singer Spike Slawson. Slawson’s high-energy, humorous and engaging live performances have helped the group develop a devoted fan base and pack venues full of music fans of all ages - this night being no exception. Slawson and guitarist Joey Cape are the only original members of the band, with a rotating list of credible players performing throughout the years. Currently on bass is CJ Ramone (known for a stint in the Ramones), Andrew Pinching on drums, and John Reis on guitar.
Always wanting to keep audiences on their toes, the show opened with Slawson taking the stage by himself to deliver an energetic version of “Oh Lonesome Me” (Don Gibson) while ripping it on the ukelele. After wild applause from the eager crowd, the full band came out in matching outfits - uniform shiny black pants, grey shirts, sunglasses and black ties. Drummer Pinching slapped a four-count with the drumsticks and the band cranked into high gear with Dolly Parton’s country smash hit “Jolene”. Next was a frenzied punk version of Paula Abdul’s “Straight Up”, followed by “Love Will Keep Us Together” by Neil Sedaka - a rendition from MFGG’s latest album released in June, Blow it…at Madison’s Quinceanera.
MFGG wins over crowds by cleverly injecting familiar songs with a unique punk spin while delivering an infectious live show that is loud, carefree, irreverent, and humorous. It’s non-stop fun as we all enjoyed memorable renditions such as Culture Club’s “Karma Chameleon”, The Beatles “All My Loving”, John Denver’s “Take Me Home, Country Roads”, ABBA’s “Dancing Queen”, Gloria Gaynor’s “I Will Survive”, Elton John’s “Rocket Man”, and the grand finale, Boyz II Men’s “End of the Road. MFGG effectively injected punk freshness into timeless classics that gave the audience a show that won’t forget and reasons to smile all the home.
Be well and keep rockin’ -
Greg Vitalich