If you missed Hot Tub Johnnie’s Birthday (show #480), be sure to come out and celebrate as we keep the party going! Guest host Rosie Howe (Netflix) will be spinning a guest DJ playlist. Taking the stage are Jules & The Howl, Donna Adja, and Fencer! 2/27/2023
#WhereMusicLoversGoToPlay
Rosie Howe is a music supervisor and a creative biz wiz who works with filmmakers, TV producers, gaming companies, advertising agencies, and brands from all across the globe. Her superpower is procuring unforgettable music from artists, producers, and companies through artist relations, music supervision/licensing, and original music production. She loves to work with her diverse network of professionals to provide clients with the power of music.
Rosie is a member of the Guild of Music Supervisors and spends her free time providing helpful feedback and educational resources to musicians starting out through workshops, panels, and one-on-one sessions. She has been featured on Behind the Music podcast, panels and workshops for The Grammy Museum, Billboard, The Guild of Music Supervisors, Synckeepers, Music Biz Mentors, and has contributed to the magazine-style blog Ms. In The Biz.
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Jules & the Howl is the culmination of a five-year journey. I started off my music career as a Chicago-based pop-rock solo artist under the stage name Julianne Q in 2015. As a solo artist I explored a number of different genres before finally finding my identity in blues and classic rock with a modern twist. Inspired by Janis Joplin, Freddie Mercury and Aretha Franklin, I formed the blues rock band Julianne Q & the Howl in early 2018. We played gigs all over the Chicagoland area. We were a family. A group of like-minded artists striving to create a liberating experience for our fans.
Then it all came crashing down. In October 2018, after barely five months together, all of my band members - my second family - left. Julianne Q & the Howl literally broke up the day after our EP release show. I needed a new start. So I moved to LA and decided to change my name to Jules & the Howl.
Jules is the nickname that my friends and loved ones call me. To me, nicknames are a source of warmth, trust and familiarity. That’s what I want I want my fans to feel. I want to be raw and honest and welcome you into a community. A tribe. I want you to feel a part of my community, like a wolfpack.
The Howl references Howlin’ Wolf, a Chicago Blues artist who heavily influenced the Rolling Stones. It honors my hometown and the era of music that most resonates with me: 1969, Woodstock, classic rock and roll. When I saw footage of Woodstock, it was a cathartic release of energy and emotion; a feeling of kinship within the audience. All inspired by the music. I also howl when I’m on stage. It’s how I sing. I growl. I wail. I pour out all of my emotions. The Howl is the release of everything pent up inside of me begging to be free.
I want you to experience the Howl with me. I want you to be a part of a tribe where I hope you can feel loved and accepted as you are. A member of a wolfpack. A unified release and sense of freedom so that together we can feel the power of the Howl. You + me = an even better Howl, an unstoppable awe-inspiring force of honesty. So let’s build that community together.
Fencer, the self-defined garage opera band, is leading a new era of rock music with their own undeniably, dynamic sound. The Los Angeles-based trio consists of vocalist and guitarist Field Cate, bassist Scott Sauve, and drummer Cameron Sauve. Only two years after their inception, they became fan-favorite openers for notable acts such as Badflower, The Wrecks, and Dead Poet Society.
Tackling the stigma surrounding mental health and its struggles, Field’s emotive and frenetic vulnerability resonates with listeners to further solidify the band’s electric presence. The trio have racked up an impressive 2 million listens across all streaming platforms, despite having not even released their debut album. Field’s synesthesia (seeing music in color), Scott’s vigorous bass-lines, and Cameron’s expertise in self-producing flow together to create an eccentric style that is certain to become rock’s newest novelty.
Hailing from Delta State in Nigeria, Donna Adja is a multiple award-winning Afrobeat recording artist based in California. She infuses African sound and style into danceable Afropop music. Donna’s artistic career began in church at 15, which led her to pursue singing and songwriting professionally at 22.
Donna’s first break in the music industry was working as a featured vocalist with top Nigerian recording artists such as Solid Star, Harry Song, Dezign, and others. Soon, she took the lead in putting together her own band, Daz Entertainment, which became the in-house talent at the prestigious Sheraton Lagos hotel, where they performed five shows a week. During their multi-year run, she and her 14-piece band performed for two different Nigerian presidents, while Donna herself did solo shows in the UK, Dubai, and Australia.
As a budding solo artist, Donna was featured in top Nigerian magazines like Vanguard and The Sun, among others. She had multiple singles featured on MTV Base, Africa, and other top stations. Donna also had two hits on Nigerian radio, “Shut Up” and “Gaga.” Since relocating to the US, her releases include “I Like Your Body,” with over a million views on YouTube, and more recently, “Breathe,” and “Oghene Do.”
Donna is the consummate songwriter and a unique vocalist, whose sights are firmly fixed on making addictive songs that cross international borders. She brings a wide repertoire of skills to her stage show, even designing and building her own costumes. To experience Donna Adja live is to have an unforgettable encounter with a true artist.
The time is the 80s. The sunset strip is alive with metal. Glam metal is all the rage as bands and fans alike walk the strip with skintight leather pants, hair teased and sprayed to high hell, and rock out to songs about partying and hooking up. Many people look back at these times with fond memories, and other looks back and laugh at the style choices that were made. There’s one band that looked back at all this and decided, let’s bring it back! Steel Panther roared onto the scene in the year 2000, and has been keeping the glam days alive with their raunchy lyrics and wild party themed shows ever since. The band just released their sixth studio album, On the Prowl, and hit the road to support it. Playing the House of Blues Anaheim and bringing with them Tragedy & Crobot. Fans were putting on their tightest spandex, most colorful outfits again to rock out to some 80s glam classics (written in the new millennium).
Opening the night was a band called Tragedy an “All metal tribute to the Bee Gees & Beyond”! The band hit the stage with a slew of costume assortments that had them dressed like 70s disco-ers, glam metal & gothic rockers, and a black metal drummer. Passing lead vocals across the band, it seemed that every member could sing and hit those high notes they needed to. With Disco Mountain Man handling vocals and keys, Mo’Royce Peterson sharing guitar duties and vocals, Andy Gibbous Waning on the bass and vocals, Gibbon Ass Freehly sharing guitar responsibilities and vocals, and The Infernal Demigibb on the drums and the only one not on vocals. Tragedy played a set of covers that have been turned metal like “Tragedy” by the Bee Gees, “Gimme! Gimme! Gimme! (A Man After Midnight” by ABBA, “Sweet Caroline” by Neil Diamond, “It’s Raining Men” by The Weather Girls, “How Deep is Your Love?” by the Bee Gees, and ending with the ultimate Bee Gee classic “Stayin’ Alive.”
Up next is a band that is starting to make waves in the rock scene, called Crobot. I had no idea what to expect from this band as a man was wheeled out to the front of the stage strapped to an electric chair, accompanied by a mad scientist. The man in the chair happened to be lead singer Brandon Yeagley, and we had to electrocute him to bring him to life so he could perform. As the lights flickered, and Brandon was brought to life, he enthusiastically came to life and captivated the crowd within seconds as the band jumped into their opening song “Electrified”! Brandon danced, boogied, and swung the mic stand all across the stage for the entire 40 minute set. He was a man with unlimited energy. Backed by Chris Bishop on Guitar who looked like a punk rocker, but played the funkiest of hard rock guitar licks. Bassist Tim Peugh stood out like a hardcore man who maintained the groove with drummer Dan Ryan slamming away on the cymbals in the back. Crobot played songs like “Dizzy,” “Livin’ on the Streets,” “Gasoline,” “The Necromance,” “Golden” which was dedicated to Chris Cornell, “Low Life,” and ending their set with “Without Wings.” If you’re a fan of The Darkness, I would highly recommend checking out Crobot!
You could feel a change in the energy. As you looked around, all of the giant 80s glam wigs were dawned by countless fans in the audience, and adorning neon sweat bands. The crowd was ready to rock out with their cocks out. Steel Panther hit the stage with their song “Eyes of a Panther” and we were all transported back to the glam metal days. As lead singer Michael Starr trotted onto stage ready to entice all the lovely ladies in the audience, every person in crowd male or female was screaming in utter joy. Guitarist Satchel, armed with his iconic Pussy Melter guitar pedal from the riffs inspired by Mick Mars & C.C. DeVille. Drummer Stix Zadinia was in the back giving us a show of his own filled with stick tricks, and blasting beats. Bassist Spyder is the newest member of the bands, filling the pumps of former member Lexxi Foxx. And Spyder fits the spandex perfectly, jiving and riffing with the band.
At a Steel Panther show it’s not just music for the masses. You also get a good helping of comedy from the members. The guys are all almost perfect stand up comedians roasting each other and making some of the raunchiest jokes about getting laid and scoring coke. They remind everyone what made the 80s so free and fun. It’s also an audience participation show, as they brought up a fan named Tim to sing a cover of Motley Crue’s “Shout at the Devil.” A fan named Sierra was brought on stage so that the guys could see who could serenade her the best before singing “Girl From Oklahoma” dedicated to Sierra. And then bringing up any girl who wanted to dance on stage, including any girl who was transitioning was welcome to join for “Never Too Late (To Get Some Pussy Tonight)” & “Party All Day (Fuck All Night).” The whole night was a night of unabashedly fun and debauchery with songs like “Let Me Cum In,” “Asian Hooker,” “All I Wanna Do Is Fuck (Myself Tonight),” “Death to All But Metal,” “1987,” “Community Property,” and ending their set with my personal favorite “Gloryhole.” Steel Panther helped remind everyone that the 80s glam still has a lot to offer.
Sometimes you need a night where you can just let loose and have fun, with not a care in the world. This was what this night was for. Steel Panther reminded people that sometimes you just gotta let the fun times roll and let it all hang out there for everyone to see. Tragedy brought the Bee Gees groove, and Crobot brought the funk to everyone. Then Steel Panther rounded out the night with a huge 80s party! Steel Panther will be returning to the Sunset Strip where it all began and playing at the Whisky A Go Go for a two-night event on April 6th & 7th. If you did not have the chance to make the House of Blues Anaheim show, you better not miss the party on the strip.
Bush, one of the oldest remaining and most consistent bands of the early 90s grunge phase, have never been ones to rest on their laurels. The veritable old guard of grunge kicked off 2023 with their The Art of Survival Tour, picking up support from a medley of exciting artists including Candlebox and Silversun Pickups.
For this rainy (but thankfully no longer aggressively frigid) February evening, this leg of the tour saw Starcrawler opening for the rock veterans. Speaking tongue in cheek to the average age of the crowd, the lead singer Arrow de Wilde jokingly referred to those in attendance as ‘the coolest retirement home we’ve ever played’. There was, to some degree, a kernel of truth to this, as Bush’s crowd leans a bit further back in demographics than lots of the artists that come to the stage of the Fillmore. That said, the energy that Starcrawler brought to the venue that night was met with youthful, animalistic vitality that far exceeded than perhaps what they were expecting with a remark like that. De Wilde and Co. gracefully began to set the tone for a night of no-holds-barred rock ‘n roll, working in a Ramones cover and playing several originals, giving the show absolutely no room to rest and recover before Bush took to the stage shortly after.
The English stars took to the stage very shortly after, smashing into a rendition of "Identity" off of their 2022 release and tour-titled album, The Art of Survival, with lead singer Gavin Rossdale jumping all over the stage (sometimes legitimately difficult to keep track of as he flung himself from stage left to stage right in the midst of the chorus). Bush have the kind of presence you come to expect from a band who has played an enormous number of shows in their tenure and everything was locked in to absolute margin-less perfection. Lead guitarist Chris Traynor dipping theatrically for guitar solos, bassist Corey Britz hogging the risers and leaning in to the crowd, and drummer Nik Hughes absolutely losing his mind buried way high in the kit in the back of the stage. All this while never missing a beat, never losing that special touch you get from bands who aren’t just going through the motions - Bush make you feel like they really are giving these songs, new and old, their everything. They soon moved further back in their catalog, with a noteworthy recreation of "Blood River", and before you knew it, Gavin was off in the crowd singing his heart out to his adoring crowd (and based on the teenage-like shrill cheering of women you’re guaranteed to hear when he hits the stage, you better believe it’s adoring).
Bush played for well over an hour, closing with an encore featuring both "Glycerine" and "Comedown", two hits they are likely best known for, all the while keeping the energy to an absolute max.
When you think of thrash metal, there are always four names that come to mind. They have been known as “The Big Four,” and they are Metallica, Megadeth, Slayer, and Anthrax. Still to this day each band carries that legacy proudly. Anthrax specifically has been celebrating being a band for forty years now. To celebrate this monumental accomplishment, Anthrax set out on their 40th Anniversary Tour. Bringing with they two other heavy hitters in the metal community, that of Black Label Society and Exodus. Originally the tour was supposed to end in Oakland, CA, but we were fortunate that Anthrax added one last date to the tour, instead ending at the City National Grove in Anaheim, CA. And what a way to end the tour with a sold-out crowd!
Opening this night of thrash chaos was Exodus. This was the only band of the night that I had not had the opportunity to see before. I was very excited to experience them live finally. Opening the night with “The Beatings Will Continue (Until Morale Improves),” Exodus was full of energy ready to unleash it unto the crowd. Just hearing guitarist Gary Holt & Lee Altus shred those classic thrash riffs got the crowd already roaring with excitement. Hearing singer Steve “Zetro” Souza gritty voice just layered into the instrumental perfectly. It was full of grit and tenacity that just fuels the energy of the fans in the crowd. Bassist Jack Gibson and drummer Tom Hunting held down the low end and kept a steady beat for the fans to be pumping their fists in the air too. Not to be hidden in the back, Hunting would frequently stand up over hit kit to feel the energy of the crowd. Playing songs like “A Lesson in Violence,” “Blood in, Blood Out,” “Blacklist,” “Piranha,” “Prescribing Horror,” “Bonded by Blood,” “The Toxic Waltz,” and ending the set with “Strike of the Beast.” Exodus is one of my friend’s favorite thrash metal bands, and after seeing them live, I completely understand why. The ferocity that Exodus brings can not be mistaken, as they will pull you in and there’s no escaping.
Up next is one of the most technically proficient bands I’ve ever seen, while also being one of the most entertaining bands in the metal scene. Of course, that would be Black Label Society, helmed by the immeasurably talented Zakk Wylde. Opening the night with “Funeral Bell” BLS was in prime condition at the end of the tour. Zakk Wylde pulls triple duties by being the lead singer, trading off lead & rhythm guitar, and being the showiest member of the band by head banging in a kilt while not being able to see hit fretboard while playing. Not to be out shown by the lead man, fellow guitarist Dario Lorina carries himself right up next to Zakk with ease. Blasting through solos and headbanging himself throughout the set. Bassist John DeServio can be slapping the bass across the stage, getting up close and personal with the fans. In the back, drummer Jeff Fabb can be seen with the biggest grin across his face, as he just enjoys every second he is on stage. Playing through songs like “The Beginning…At Last,” “Destroy & Conquer,” “Heart of Darkness,” “You Made Me Want to Live,” “Trampled Down Below,” “Fire it Up,” and “Suicide Messiah.” One song that always sticks out in BLS’s set is “In This River,” which is dedicated to Dimebag Darrell & Vinnie Paul. Zakk takes to the piano, and drapes to portraits of the Abbott brothers across the amp stacks in a touching memory to these legends. Ending their night with “Stillborn” BLS always puts on one of the most consistently solid sets every time I see them.
As a white curtain was raised to block the view of the stage, the audience eagerly awaited their headliners to start. A short 10-minute documentary was projected onto the white screen, showing musicians, celebrities, and some fans talking about the history of Anthrax and how much this band has meant to the scene over the last forty years. Right as the video ended, the curtain dropped, and Anthrax blasted into “Among the Living.” Rhythm guitarist, and one of the most famous beards in metal, Scott Ian hit the stage with a flood of energy oozing out into the crowd. As Charlie Benante came in with the drum line, you could feel the need for a mosh pit to open up immediately! Vocalist Joey Belladonna has one of the best voices in thrash, and a need to make a connection with every fan in the crowd. Even getting up close and personal with some of the photographers, screaming into their cameras. Bassist Frank Bello is like an over excited puppy running across the stage. Screaming, pounding his fist into the air, rocking next to his cohorts, all the while finger picking at his bass. Lead guitarist Jon Donais shredded each lick with precision and finesse. Playing songs like “Caught in the Mosh,” “Madhouse,” “Metal Thrashing Mad,” “Keep it in the Family,” “Antisocial,” which is my favorite song and I couldn’t keep myself from screaming my voice out during it, “I Am the Law,” “In the End,” “Only,” “Got the Time,” “Bring the Noise,” and ending their set with “Indians.” I love hearing Joey’s vocals on “Indians” as he just gets to scream as well as belt out to the audience. It’s the perfect song to show off his vocal talents in my mind.
Hearing such classic thrash and metal bands like Exodus, Black Label Society, and Anthrax live felt like coming home. When I was growing up, 80s metal was the first genre of music I truly felt like I discovered for myself. And getting to see these bands still touring today and carrying with them the same energy and quality 40 years later is just amazing. My first experience of Exodus really showed me why these guys are as beloved as they are. Zakk Wylde and the boys of Black Label Society are untouchable when it comes to the quality of their musician ship. And Anthrax, after forty years of being a band, seem to be showing no signs of slowing down in quality. Here’s to another 40 years of Anthrax!
The era of the Sunset Strip in the 1980s was a glorious and decadent time for rock ‘n’ roll. It was in famous clubs like the Whisky a Go Go, the Roxy, the Key Club, the Viper Room, and Gazzarri’s that glam metal and hard rock bands ruled the streets. The Sunset Strip era redefined the phrase sex, drugs, and rock ‘n’ roll. I was born in 1987, so I never got to experience that excitement (minus the drugs). However, one glam metal band looked to keep that 80s spirit alive with a comical twist. I am, of course, talking about L.A.’s own Steel Panther. They glam metal comedy rockers have been spreading their rock filth to world since 2000, and with the release of their latest album, On the Prowl, they are continuing their mission to party and rock hard. This album marks the debut of their newest member, Joey “Spyder” Lester, who has taken over for the departed Lexxi Foxx, who I wish him all the best with his newest venture, “Sexxy Lexxi’s Prettiest Pets.” The question is: is On the Prowl worth the hunt?
The album opens with “Never Too Late (To Get Some Pussy).” Raunchy and sleazy in Steel Panther fashion, frontman Michael Starr oozes out his sexy tenor voice and I can imagine women’s underwear dropping everywhere. Right off the bat, Spyder emerges as a talented bassist with his simple yet potent licks. “Friends With Benefits” follows and as soon as the first riff kicks in, you feel that 80s glory. Guitarist Satchel highlights the tune with some bolstering riffs and one mean solo that would rival that of CC DeVille. I cannot tell you which solo in the song I like more because they are both sharp. Next is “On Your Instagram,” an ingenious parody on our obsession with Instagram models and being catfished. I mean, come on! Of course, Steel Panther would sing about that. It is cleverly funny and written as a power ballad. Satchel is a blistering machine on the solo, scorching the Earth in heart-wrenching fashion. Ladies, heed Starr’s words and hold on to your man, for an Instagram model has become your nightmare. “Put Your Money Where Your Mouth Is” feels like a filler song that has some great hooks. I did not feel it was one of their strongest, but that is not to say I hated it. With time, it should grow on me.
“1987” is not only a great title, but it was also the year I was born. This tune is an ode to one of the greatest years for rock, for it was the debut of Guns N’ Roses’ Appetite for Destruction and the release of Mötley Crüe’s Girls Girls Girls. Starr loves singing about the days of listening to great metal tune and doing good blow with girls. Drummer Stix Zadinia was thunderous on the kit while Satchel muscled out a bombastic solo that one would in 1987. “Teleporter” sizzles right off the grill thanks to the spicy riff Satchel put together. This song has the markings of a classic hard rock tune in 80s fashion, just do not wear white pants. Up next is “Is My Dick Enough,” wear Frank Zappa’s own guitar virtuoso son Dweezil came into the fold and added some hot blues riffs. The way his plays is very smoldering, setting the whole song ablaze. The raunchy lyrics Starr throws out there go hand-to-hand with the blues. After all, blues back in the day sometimes sounded sexy. “Magical Vagina” is power ballad that touches on love and well…pussy! Only Steel Panther could write a song about a woman’s lady parts, give it a catchy hook, and somehow make it playful. Stix and Spyder continue to not overcomplicate the beat, yet the simplicity they bring to the song adds muscle. “All That and More” continues to assert Steel Panther’s salute to their manhood.
With 4 songs left, On the Prowl has been very sporting. “One Pump Chump” gives recognition to PE and more importantly, dodgeball. This is probably one of the few times I wish I could take PE again because I hated it back in the day. “Pornstar” is another ballad that seems to demand your lover act more like pornstars. Honestly, Satchel reached deep into his pocket of riffs, and screeched one of his best solos off the album. We now come to acoustic pleaser with “Ain’t Dead Yet.” This song shows us that no matter how old you get, you are never too old or young to rock out. Satchel does a stellar job on the acoustic while Starr becomes vulnerable with his words without sounding like a wuss. This is probably one of their best written songs to date. As the album ends, what better way to cap off a great record than with “Sleeping on the Rollaway.” It is a perfect blend of Judas Priest with Van Halen and Green Day. The group incorporated some pop rock into the tune, and the gamble pays off.
We were On the Prowl, and this record captured its prize. Steel Panther certainly know how to keep the party going. This is only their 6th album, and they do not have any intentions to throw in the towel. There are a few songs that I felt were throw aways, but I think as time goes on, I will grow to like them even more. The party never stops, and neither will these guys. To Steel Panther, I salute you. Horns up!!!
Hunnypot Approved - 8.5/10.
Nate Husser has always been a rapper’s rapper. Since the beginning, his impeccable multisyllabic flow has been a testament to this. His new single/video, “Did It B4” is the perfect exemplification of that. Straight and to the point, “Did It B4” is a braggadocious stream of conscious from front to back.
On this release, the Montreal native is depicted riding an ATV in the boonies as he delivers rapid fire verses over a beat cooked up by DJ Coco, Ajaz, and Jay Century. Directed by “Directed by Serge”, Husser can be found alone in the middle of field, rapping over a cackling camp fire, and in front an old beat up trailer. Taking flavors from the legendary Cole Bennett, “Directed by Serge” placed cut scenes where Husser is color graded like a heater sensor, with colors ranging from pink, yellow, green, and blue, giving it a real 2019-2022 feel.
Without skipping a breath, Husser lays a verbal onslaught of rhymes on the track. Over the beat, Husser boisterously claims, “Whatever [rappers] doin’ now, I done did it B4”. The hook is exceedingly catchy, and the verses have the listener bouncing through the song from beginning to end. Check this one out. It’s Hunnypot Approved!
- Kris Kuganathan
A truly unforgettable night! Hunnypot Live #480 2/13/23 Hot Tub Johnnie's Birthday, pre-Valentine Holiday Show with a successful LA Mission donation drive mixed in. Co-Hosted by music supervisor Alec Stern (Radish Music) and ALETHEA. Thanks to all who came out and celebrated and big hugs to all who donated.
Music from: Megan Graney, Alethea, James Barre, Cayden Corbett
Photos: J. Gray
Twas Hot Tub Johnnie's B-Day so we blew out a big one. Hot Tub's only belly button day wish was CHARITY! If you are able, please bring one of the following items to be donated to LA Mission
#WhereMusicLoversGoToPlay
Megan Graney is a Bay Area musician known for her healing lyrics and colorful production. She has performed a variety of genres, including jazz, americana, gospel, folk, and choral music, and has earned accolades such as singing background vocals for Rita Ora and performing at Capitol Studios. Megan has also performed at The Village Studios and The Descanso Gardens Summer Series, and has worked as a studio manager for film composer Heitor Pereira and assistant to Andrew Lockington. Her second single, "Waves," deals with the concept of grief after the passing of her father in 2020.
Alethea’s voice gives you chills. Her powerful performances leave you wanting more.
Whether with bare piano keys or dashes of ear-tingling electronica, she explores her own relationships with a subtlety that captures the raw yearning inside all of us.
Her confessional torch folk sounds like Sarah McLaughlin mixed with EDM and a touch of PJ Harvey and Shakira. On stage and in her music videos, her soul finds fiery expression.
Alethea grew up in the country of Hubbard, Oregon as well as the city of Portland, Oregon. She has performed all over the US and the world including Germany, China, Sacramento, San Francisco, Idaho, Oregon, and New York. She discovered she wanted to be a musician in a tunnel in Freiburg, Germany after writing the song “Butterflies”
This is her second concert in LA and second co-produced event.
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James Barre has come a long way, starting in what is unmistakably pop, releasing his first song when he was in the eight grade. He has evolved greatly since then, finding home in an alternative, punchy sound. With lyrics like a hand grenade, his (in progress) debut album seeks to take you on a journey through his mind. The good, the bad, and the questionable.
Cayden Corbett is an Asian American Singer/Songwriter/Producer who seems to acknowledge no boundaries between styles or eras inside his music career. Creating and performing music from all forms of genres but is known best as is an Alternative Pop/R&B artist.
Originally from a small town in Utah but now based in Los Angeles, Corbett recently joined a collective of professional musicians and producers called Outdonesia. After years of writing/producing alone, as a leading artist in the new group Corbett believes his songwriting has been elevated to its full potential with "Outdonesia" and has become more personal and relatable than ever before.
I had the pleasure of sitting down with Justin Kim, Chapman University Graduate, filmmaker, and the face behind Suave Punk, an up and coming alternative solo project. What immediately struck me was Justin’s dedication to music (he even came to our interview, book in hand, entitled “Our Band Could be Your Life”, which tells the story of bands like Minor Threat and the alternative movement, a large influence on the Suave Punk sound). Justin has always been a musician, playing the piano as a child and becoming self taught on guitar at 12 years old. However, it wasn't until Kim found electric guitar in college that he found a closer bond with music stating it was the “First instrument to feel like an extension of myself, [it created], Not just a sound, but a feeling”. It was in the freshman dorms of Chapman University in Orange, California that Justin began his solo career under the name Suave Punk, it was also during this year (late 2020, early 2021), that a Suave Punk single was put onto the Spotify playlist Fresh Finds. Through Spotify’s influence, Pack Records reached out to Kim, signing him, joining the label who assists the likes of Blood Cultures, aldn, and CARR. The single in question being a personal favorite of the Suave Punk discography - “Dreams of Losing Teeth”.
I got to ask Justin about how he came to write such a beautifully dark and euphoric song. The inspiration comes from a real nightmare Kim had in late 2020 that he says “seared into my memory”, not just visually but sensory “the feeling of the roots snapping is what stood out”. Which created a visual for Kim to base his first Suave Punk release, he says he often uses similar devices for writing saying, “I like to focus on images and vignettes rather than describing parts of my life”. It was after the release of “Dreams of Losing Teeth” that Suave Punk began to grow a following. Kim explained how many people began to reach out, sharing their similar dreams of vivid gore similar to Justin. From there, along with lead man of The Incredible Purple Toad and owner of the then unknown, local venue, Steve Wehner decided to put on a show. Using out-of-pocket money, the two musicians put on a show at a Warehouse, playing for the very first time to a live audience. Thus was born a new idea that the two are still growing to this day. The Warehouse OC is the “it” place to be at Chapman University. Along with help from local bands and Justin Kim, Wehner has some expansive ideas in the works for the venue.
Suave Punk has snowballed since Kim’s freshman year of college. He has just recently played his first out-of-state venue in New York, and has his first full length album in the works. Justin is an extremely talented and incredibly humble artist. His philosophy with producing music is, in his words “do it for the homies”, always making his music not for himself or his fans, but for those he cares about most.
For me, the great nation of Australia has produced two great things that impacted my life for the better: the Crocodile Hunter and heavy music. The Land Down Under is where some of the most exciting rocking bands have come from. From Rock Hall of Famers AC/DC to new wave rock gurus INXS, I could not get enough of them. Recently, more heavy rock groups have emerged from there and the sound is just getting better and better with Airbourne, Make Them Suffer, Like a Storm, and of course the crème de le crème, Parkway Drive. Rockaholic first introduced me to the New South Wales metalcore bashers when they released their 5th album, Ire, and I fell for their brutal nature and ravaging riffs. Last time we saw them, they headlined the Hollywood Palladium in 2019 and the sound board stopped working in the middle of their set, ending the show early and bumming the hell out of me. After 3 years, Parkway Drive returns to the States with Southern metalcore outfit Memphis May Fire and progressive djent warriors Currents. First stop was the Wiltern, where Rabit, Rockaholic, and I attended.
First up on the bill was Currents. Fresh off their latest hit album, The Death We Seek, the progressive/djent masters of SharpTone Records were the perfect blend of angst and excitement. Frontman Brian Willie produced hypersonic melodies and hellacious screams that give each tune its own soul. One of the things I truly enjoyed seeing was the righteous breakdown riffs and invigorating hooks performed magnificently by guitarists Chris Wiseman and Ryan Castaldi. Bassist Christian Pulgarin and drummer Matt Young did not go too far off the rails with the beat, but they made it feel fiery with djent passion. They had a short setlist, but Currents made every second count at the Wiltern. From “Monsters” to “Into Despair,” “The Death We Seek,” “Kill the Ache,” “Better Days,” and “Vengeance,” we were in djent heaven. The song that stood out the most was their latest single, “Remember Me” because I felt the raw passion not only with the lyrics but also for the song’s tone. In a world that is riddled with metalcore artists, Currents proved that night they have boldness and stamina.
It has been a while since I caught Memphis May Fire, but I was more than ready for those guys. Hailing from Denton, Mich., the metalcore bad boys rocked the stage and brought some Southern rock flair to the mix. The Rise Records vets were guns blazing, returning to their former glory after experimenting with the nu metal sound as evidenced on their last album, Broken (2018). Frontman Matty Mullins, in all his Heavenly swagger, gave the fans a perfect mixer of clean vocals and harsh screaming, cutting straight to the point with his words. Longtime lead guitarist and sole original member Kellen McGregor blasted through the riffs with dominant force as drummer Jake Garland and bassist Cory Elder attacked the beat with sheer will. Garland stood out the most as I come to relish his vicious style of playing. Memphis for much of the evening played tunes from their last year hit, Remade in Misery, which included “Blood & Water,” “Left for Dead,” “Death Inside,” “Bleed Me Dry,” “Somebody,” “The American Dream,” “Make Believe,” and “Misery.” Of course, no Memphis May Fire would not be a true show without hearing 2 of their classic hits, “Vice” and “The Sinner.” After watching that, the stage as well as the crowd, were on fire.
With 2 bands down, out came the group that truly are metalcore idols, Parkway Drive. All I was praying for (I am sure Rabit and Rockaholic did as well) was that the Wiltern sound board did not crap out this time around. Promoting Darker Still (which happens to be album #7), they performed at high volumes and an ultra-cool set design. It is always fun to hear the first scream from longtime frontman Winston McCall. A brute force with a zeal for heavy metal, McCall wasted no time engaging the audience with his signature screams. As rhythm guitarist Luke Kilpatrick, aka Pig, fiercely laid down the main riffs, lead guitarist Jeff Ling layered in succulent solos and licks that would cross the boundaries of metalcore, classic metal, and nu metal. Dare I say, Pig and Ling are one of metalcore’s finest guitar duos to date. Drummer Ben “Gaz” Gordon wreaked havoc on the kit, all the while bassist Jia “Pie” O’Connor brutalized the beat with his swift plucks. From “Glitch” to “Prey,” “Carrion,” “The Void,” “Vice Grip,” “Dedicated,” “Boneyards,” “Imperial Heretic,” “The Greatest Fear,” “Darker Still,” and “Bottom Feeder,” simply put, Parkway Drive kicked ass!
It is safe to say that this Parkway Drive performance out trumps the Hollywood Palladium performance. Why may you ask? Well, it is because…THE SOUND BOARD WORKED THE WHOLE NIGHT!!! Memphis May Fire were full of heavy Southern charm, while Currents were progressively rancorous. There is no feeling like it, for attending a metal concert can be therapeutic. With a lot of beer and whiskey in me, we all came out of the Wiltern feeling rejuvenated, and it was only Tuesday. To Parkway Drive, Memphis May Fire, and Currents, I salute you. Horns up!!!
Photos by Matt “Rabit” Martinez
J.I.D & Smino have both been making a ton of a noise individually in the hip hop circuits as mainstage contenders. Given they have a shared fanbase within the Zoink Gang realm, it only made sense for the two of them to co-headline the JID + Smino Luv Is 4Ever Tour across North America in 2023. The 32-date tour name is a play on both of their recently released projects: JID – The Forever Story (8/26/2022) and Smino – Luv 4 Rent (10/28/2022). The last time both artists were in Los Angeles, they had strong showings individually headlining some of the smaller venues in town. This time around, combining forces and leaning into their shared fanbase via Zoink Gang, they packed out the Hollywood Palladium not once but twice on back-to-back nights on 1/30/2023 and 1/31/2023. Let’s hop into it.
First up was the Atlanta native, SwaVay. The crowd was very receptive to the opening act. Typically, due to the nature of the music, it’s not uncommon for crowds to sort of just sway back and forth when hearing out openers. If you don’t know the music or the lyrics, it’s hard to get into it. I get it. SwaVay also got it. To counter-act this, the rapper engaged the audience by physically reaching out to the rail and encouraged a higher level of energy throughout the crowd. The crowd reciprocated and set the tone for the co-headliners to follow.
I understand J.I.D and Smino have been trading off who starts and ends the night throughout the tour; JID was batting leadoff at the 1/31/2023 show. In front of two inverse heart-shaped video monitors, J.I.D dealt a wide array of rapid-fire raps and got the crowd hyped from the front to the back. A few notable moments were when he performed the songs, “Crack Sandwich” and “Stars”. He brought out a few guests as well, most known were the members of EARTHGANG. It was a Spillage Village reunion up on stage. Closing it out was Smino. Backed up by a female vocalist, the St. Louis rapper/singer brought the temperature down and set a vibey tone throughout the crowd. He encouraged everyone to chant “I love you best friend!” to all the significant others who were brought to the show. Smino nailed many moments but some of my highlights were “90 Proof”, “Settle Down”, and “Wild Irish Roses”. Both JID and Smino were backed by full bands, with drum solos and guitar solos. The crowd was very receptive to the drum solos and guitar solos sprinkled in throughout the night.
After many years of hard work, these two 30-ish year old rappers are really solidifying their spots in the big leagues of hip hop. Packing out the Hollywood Palladium two nights in a row was just the start. They have back-to-back nights in Atlanta, New York, and Toronto, among other cities on the remainder of the Luv Is 4Ever Tour. Take advantage of this opportunity to see this double header. It’s not one you’ll regret!