There are very few Finnish bands that have broken into the mainstream media. There are even fewer that have become household names. But one of those very few is a band called HIM. Even in high school in the mid 2000s, when the internet and music sharing wasn’t as easily available as it is now, I knew of the band HIM. None of my friends listened to them, but we all knew about them. That was notoriety back then. It wasn’t until a couple years ago that I finally got into HIM, and unfortunately to me, they had retired. Even though HIM had retired, lead singer Ville Valo could not be kept from making new music or returning to the stage. Announcing his solo project under the name VV, a tour was announced over a year in advance before any song had been released. I marked my calendar and waited patiently as that year passed to finally see Ville Valo on his Neon Noir Tour with support from Kælan Mikla. By the time I got to the Belasco Theatre, the line was already around multiple blocks as fans have just as eagerly been awaiting this show as I have.
Opening the night was an Icelandic three piece called Kælan Mikla. I had no idea what to expect from this band, but to say I was pleasantly surprised would be an understatement. Classifying themselves as a post-punk dark wave band, and dressing like gothic lolita’s. I was immediately captivated. Lead singer Laufey Soffía was casting a witches spell on the audience as she moved her vocals from melodic melodies to stepping back from the mic and full on screaming at the crowd. Bassist Margrét Rósa Dóru-Harrýsdóttir was getting lost in her own melody as she danced throughout the set, but never lost the groove of each song. Pulling double duty on synthesizer and the flute was Sólveig Matthildur Kristjánsdóttir, who created tantalizing melodies that moved the packed crowd. Kælan Mikla played an enchanting set that included songs like “Stormurinn,” “Kalt,” “Sirenur,” “Næturblom,” “Andvaka,” “Solstodur,” and ending with “Hvitir Sandar.” Kælan Mikla may have come to Los Angeles as unknowns, but they left with a slew of new fans.
Finally, after a year of sitting and waiting, we were just moments away from Ville Valo playing Los Angeles again. Opening the night with “Echolocate Your Love,” Ville stepped onto the stage embodying the definition of tall, dark, and handsome. I then heard the biggest scream I have ever heard in the Belasco Theatre as people lost their minds. I have always heard that Ville Valo had a beautiful baritone voice, and you can hear how deep and sultry it is on record but hearing it in person was candy to the ears. Ville doesn’t move to much on stage, he would rather plant himself at the foot of the stage and lock eyes with every fan in the crowd. When the moment comes that you get to catch his gaze, his piercing green eyes fill your soul with pleasure as if Dracula was trapping you under his spell. But as soon as the moment happens, Ville finds his next passionate fan and you are just left wanting more of this man. The night was a fantastic mix of Ville’s solo album, intertwined with HIM’s biggest hits, including “The Funeral of Hearts,” “Neon Noir,” “Loveletting,” “Buried Alive by Love,” “Baby Lacrimarium,” “Wings of a Butterfly,” “Heartful of Ghosts,” “Join Me in Death,” and “When Love and Death Embrace.” As Ville walked off stage, the crowd was left panting in a puddle of their own sweat. But they were not done. They were not done being engulfed by their desire for Ville Valo. Coming back on stage for a four song encore including “Soul on Fire,” “Salute the Sanguine,” “Poison Girl,” and finishing off the night with “Saturnine Saturnalia.” As the lights came up, crowd cried for more pleasure. The crowd cried as they could have kept going. I’ve never seen a single man leave a crowd so wanting of more.
This was just a normal Tuesday to most people, but for the screaming fans at the Belasco Theatre, they were just given ultimate musical pleasure by a man who knows how to seduce with music. I finally understood why so many people were in love with HIM’s music and Ville Valo especially. The man can just gaze into your eyes, and he knows you are his. The wait until he comes back, could be the longest musical celibacy for many people. But this was not a normal concert, this was a night of romance and pleasure that most people may never truly know.
On Wednesday, April 12th, Tannahill's Tavern in Fort Worth, Texas was transformed into a rocking haven as JXDN headlined the evening's show, supported by Beauty School Dropout. The venue was packed with enthusiastic fans, ready to experience the electrifying performance from two rising stars in the music industry.
As the night started, Beauty School Dropout took the stage, quickly capturing the crowd's attention with their unique blend of alternative and punk rock. The band's energy was contagious, and their catchy hooks and upbeat rhythms had the audience jumping and singing along. They played a variety of songs, including "Stuck in a Rut" and "The Mess I've Made," showcasing their versatility and dynamic sound. The band's frontman engaged with the crowd, encouraging them to let loose and enjoy the music. Overall, Beauty School Dropout's performance was a perfect warm-up to the main event.
After a brief intermission, JXDN appeared on stage, and the energy in the room intensified tenfold. The young artist's commanding presence and incredible vocals were immediately apparent, and he effortlessly connected with the audience. The setlist was a mix of his popular hits, including "Angels & Demons" and "Better Off Dead," and tracks from his latest album, Tell Me About Tomorrow. The crowd sang along to every word, and JXDN even brought a fan on stage to share in the experience for the part of MGK in “Wanna Be”
JXDN's performance was a masterclass in modern pop-punk, with heavy guitar riffs, pounding drums, and infectious choruses. The band's energy was electric, and the audience was swept up in the energy and emotion of the performance. JXDN's voice was on-point throughout the show, and his ability to switch from powerful belting to softer, more intimate moments showcased his range as a vocalist.
Overall, the JXDN and Beauty School Dropout concert at Tannahill's Tavern was an incredible experience. Both artists delivered high-energy, unforgettable performances that left the audience wanting more. JXDN proved himself as a talented musician and performer, and Beauty School Dropout showed that they are a band to watch out for in the future. The show was a perfect blend of pop-punk and rock, and it was clear that everyone in attendance had a great time.
Minnesotans were in for a Nordic one-two treat this Wednesday as Insomnium and Enslaved rolled through the Varsity Theater, marking the first return of each band to North American shores since the pandemic hit back in 2020. Each band (with excellent support from New York City’s Black Anvil) also released an album earlier this year (Anno 1696 for Insomnium and Heimdal for Enslaved) and paired up for a combination of the some of the best black metal and melodic death metal has to offer all in one sweet tour lineup.
Black Anvil opened the show with a bang, the band crowded up to the front of the stage to make space for Enslaved & Insomnium’s stage gear, meaning audience members got an up close and personal experience of the veteran New Yorker’s unique combination of raw, black intensity and their defining melodic edge that sets them apart. Their opening set set the mood for the night - intense, hearts on their sleeves, and completely unapologetic. They cruised their way through roughly half an hour of excellent black metal tunes, leaving listeners a bit darker than when the show began.
Insomnium took the stage next - the Finnish legends are a special band for me. Outside of simply being one of my favorite bands to listen to, they also were the very first band I photographed in a large venue. This show was also the first time they have made back to my area since that show due to the cancellations of the Pandemic. In my mind, Insomnium have been the pinnacle of Melodic Death metal pretty much since their inception, and they bring that unparalleled excellence to their live performances. Their combination of latent folk elements and powerful, emotive songwriting has set them apart for the entire time they have existed as a band. The band released new album Anno 1696 earlier this year - based on a short story written by sadly absent Ville Friman - and set out to tour almost immediately on the material. Their set opened with the first track off of that album (the eponymous titled "1696") and lead directly into the second song off that album ("White Christ"). With a nod to old time fans, they left the new material behind briefly for an incredible live rendition of ""While We Sleep. The rest of the set was a delightful mix of new and old - longtime Insomnium fans made some intense noise when the opening piano notes of "The Gale lead into Mortal Share". They weaved into and out of "Anno 1696" and closed with a few tracks off of Heart Like A Grave, their 2019 release. All in all another fantastic performance by this band, and one I look forward to seeing again (hopefully much sooner).
Finally Enslaved took the stage - a band I had long been hoping to see (and photograph) for a very, very long time! Their combination of progressive and psychedelic soundscapes with black metal has always made them stand out, and it’s blade they’ve been refining the edge of since 2004’s Isa, nearly perfected on Axioma Ethica Odini, and continually pushing and developing in interesting ways. Their latest release - Heimdal - came out just over a month ago and continues their 3 decade streak of never releasing a bad album. You’d think that Enslaved would be motivated to hit the stage and play new track after new track - but not the case! Ivar Bjørnson - primary composer and songwriter - sadly could not attend this tour, so the Nords took to the stage as a four piece, with Grutle Kjellson leading the charge and screaming like a madman almost immediately as the opening notes to "Jettegryta" - off their previous album, Utgard - an album they would return to with their next song before veering wildly into their ancient back catalog and staying there for awhile (a few cuts off of Isa, and two(!) tracks off of Below the Lights including an incredible rendition of "Havenless". They did also play a few songs off of Heimdal, however they mostly hung out in their back catalogue - a treat for fans new and old alike.
Altogether - there is not a more perfect pairing of metal bands out there, and you would be making a mistake if you missed out on this tour! There’s still quite a few tour dates left so grab a ticket!
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Jennifer Freed founded Trevanna Post in NY, after working as a Production Accountant on major motion pictures on both coasts & internationally. Trevanna Post has been the gold standard for Post Production Accounting for more than 26 years, and has grown from a 2 person office in NYC’s historic Brill Building to a firm with offices in NY, Los Angeles and London, staffed by over 50 people. Trevanna has worked with every major, mini-major and independent studio on over 700 film and television shows.
Trevanna Tracks was born out of Jennifer’s unique perspective on the need for more efficient collaboration between those responsible for getting music licenses negotiated, paid and delivered. Jennifer’s access to veteran Film & TV industry experts enabled her to form a powerful think tank around these issues, and to create a new model for researching, budgeting, tracking, paying and delivering music licenses.
Meet FLASCH! This gender-fluid non-binary artist is taking the Los Angeles music scene by storm with their dynamic and bold energy. Originally from a small town in Minnesota, FLASCH fearlessly follows their dreams and pushes boundaries with their unique perspective. Get ready for a wild ride with the rising star of the non-binary music scene!
Genre-defying recording artist, composer and producer Doll Machine has been electrifying stages with her unique and culture-challenging performances.
With roots in electronic, hip hop, pop, jazz, and punk, doll machine brings forth a new level of artistic authenticity and self expression. She’s co-written with Grammy-nominated Telepopmusik, house legend DJ Robbie Rivera and is currently working on a collaboration with Grammy-winning artist, Really Doe. She’s also the co-founder and creative director of monthly Japantown residency Multi-Player.
Read Doll Machine's recent feature in SPIN Magazine, watch her Day In The Life video.
- From : Los Angeles , CA
- Alternative artist
- Art is my therapy , I let the music speak for itself
Kii Arens (One of the most credible and influential in Los Angeles - a critical driver in the creation of modern pop culture. A contemporary American pop-artist, graphic designer, photographer, director, and musician) and Jessy Greene (Violinist, Cellist, Composer, Singer, Lover of Life), together on stage at last.
The first time I got to see Myles Kennedy or Wolfgang Van Halen, both artists were filling the lineup as part of a legendary guitarist band. For Wolfgang Van Halen I was fortunate enough to see him twice playing bass alongside his father Eddie Van Halen during the Van Halen reunion tour in 2007 & the A Different Kind of Truth tour in 2012. Similarly, I have seen Myles Kennedy fronting Slash featuring Myles Kennedy & the Conspirators, as well as seeing him solo. It felt serendipitous that the Pawns & Kings Tour was announced to be featuring both Mammoth WVH and Alter Bridge. The bands that both artists have really been known for. Bringing Pistols at Dawn as the opener, it was time to head back to the House of Blues Anaheim with my best concert going buddy Brandon McCarthy to see these artists with their main bands.
As the lights dimmed, a single guitar could be heard coming over the loudspeakers. As the guitar riff turned into a full-on solo, out walked guitarist John William James Jr, Shredding and looking like Marty Friedman. The night has barely started, and we were already treated to an intense guitar solo. As vocalist Cris Hodges stepped onto the stage, James’s guitar solo slickly flowed into the opening song of the night “Gauntlet.” Hodges could not wait to be performing in Anaheim as he jumped around the stage like an excited puppy and had the facial expressions to match. Hodges energy was contagious as the crowd could not help but jump and rock out with him. Fellow guitarist Devin Thomas White balanced out the craziness of James & Hodges as he performed with a more stoic demeanor as he let his guitar playing speak for him. The bassist and drummer (who’s names I sadly could not locate), rounded off Pistols at Dawn’s sound and provided a solid low end to the screeching guitars. Playing songs like “Fly,” “Voices,” “The Truth,” and closing with “Under the Surface.” Pistols at Dawn brought the perfect blend of high energy and squeedly-dee guitar licks to start the night for the Pawns & King Tour.
Proving that he is more than just his name, Wolfgang Van Halen was ready to show his hometown just how much of a talented musician he is on his own. Mammoth WVH hit the stage with their opening song “Mammoth,” which started with Wolfie ripping out the opening guitar track. Not only does Wolfie handle lead and rhythm guitar duties through each song, but he is also stepping behind a keyboard from time to time. The man is a musical prodigy as he writes all instrumental parts and lyrics for the whole band. Wolfgang also lives by the philosophy that if a part of the song can’t be played live, he won’t add it to a song. Well Wolfie is just one man, writing music that needs to be played by a full band, and he found a stacked line up of musicians to play with him. Backing Wolfie on guitar is Frank Sidoris and Jon Jourdan, who get their chances to shine in the spot line with their own mastery of the instrument. Bassist Ronnie Ficarro and drummer Garret Whitlock might be further back on the stage, but they are non the less rocking complimenting every note played in the song. One of the most heartfelt moments during Mammoth WVH set is when they play the song “Distance.” Not only is this song beautiful, but it is Wolfie singing about losing his father. Something that many fans can related to, and I know my buddy Brandon McCarthy and myself couldn’t hold back the tears thinking about our dads who will never be forgotten. Rounding out their set with additional songs like “Mr. Ed,” “You’re to Blame,” “Epiphany,” “Another Celebration at the End of the World,” and closing with “Don’t Back Down.” I love seeing Wolfgang continue to grow and evolve Mammoth WVH as he continues to carve out his own legacy in the music industry.
Alter Bridge was always a band I heard Brandon talking so highly about, but at this point in their career they didn’t tour that much. So, it was a very rare occasion when they would come around to play Southern California. However, the band just put out their newest album Pawns & Kings, which meant it was the perfect time to hit the road again. I was ready to see why Brandon never stops bragging about this band. Opening the night with a song off the new album called “Silver Tongue,” the blending of Mark Tremonti’s opening guitar riffs, as vocalist Myles Kennedy let out a haunting cry, built tension in the crowd. Blasting into the verse, the lights shot up and the crowd erupted for Alter Bridge. Myles Kennedy’s knows how to control his voice with expertise, both layering it into the mix, so it blends with instrumental track, or belting and cutting through to make his presence known. Mark Tremonti stands out with his guitar skills. Managing to balance both the heavier metal type riffs in songs like “Addicted to the Pain,” and playing more melodic melodies for songs like “Blackbird.” Bassist Brian Marshall proves he’s a master of the five-string bass, as his fingers walk over strings with elegance. Drummer Scott Phillips knows how to push the melody when needed, and reigns back in to play the pocket and let the band go wild on their instruments. Alter Bridge played a thrilling hour and forty-five-minute set, consisting of 17 songs like “Ghost of Days Gone By,” “This is War,” “Broken Wings,” “Burn it Down,” “Cry of Achilles,” “In Loving Memory,” “Pawns & Kings,” “Isolation,” “Metallingus,” and coming back for a two song encore with “Open Your Eyes” & “Rise Today.” You can see how much the members of Alter Bridge enjoy playing together, and that joy is reciprocated from every fan in the crowd.
Seeing Wolfgang Van Halen and Myles Kennedy in their element with their main bands was a glorious sight to behold. Let alone on the same bill. This was a night of hard rock and heavy guitar riffs all started by Pistols at Dawn and created a through line as Mammoth WVH took the stage and ending with beauty that is Alter Bridge. I will passionately watch as Wolfie elevates himself in the music scene, as he continues to craft in the musical sandbox he has created. And I wait with bated breath for Alter Bridge to come back soon, as they like to take long breaks between tours. The Pawns & Kings Tour could not have been stacked better.
Hundreds of voices talk amongst themselves while the pre-show playlist attempts to drown them out. Within seconds, the chatter turns to cheers that have the ability to easily blow out an eardrum. That’s the effect that Michigander has on his audience.
Jason Singer, aka Michigander, is an indie rock artist who played the second show of his tour at The Echo in Los Angeles on April 1. His tour is 21 shows long and supports the release of his fourth EP, It Will Never Be The Same, which was released on March 31. Singer’s band consists of Aaron Senor on drums, Jake LeMond on guitar, and Connor Robertson on bass. Joining his tour is Abby Holliday and special guest BEL, who joined only for this LA show.
BEL took to the stage first with just her acoustic guitar. She was able to quickly win over the crowd with her charisma, relatable jokes, crowd involvement and detailed, honest music. She started off her set with “Jet Lag,” a song from her 2022 EP, Jet Lag. She also played her most recent single, “Woman on Fire,” which was released on March 31. She ended her set with “Are You Okay,” which came out in Feb, and was able to hype up the crowd by getting them to sing along with her in preparation for Abby Holliday.
After a brief intermission, Abby Holliday hit the stage with a powerful rendition of her song “when we’re far apart i fall apart,” from her 2021 debut album. Her heavily instrumented and electronic-esque music had a very different vibe to BEL’s music. Holliday’s raw and dramatic, yet energetic music set the tone for Michigander’s exciting setlist. She played all the songs from her sophomore EP, IDK WHAT I WANT, and ended her set with her 2021 single, “Better By Now,” which included crowd participation, leaving the audience wanting more.
Finally, Michigander and his band made their anticipated entrance while Elton John’s “I’m Still Standing” roared from the speakers (most likely related to Singer’s broken leg, which caused him to postpone the tour and delay the release of his EP). He kicked off his set with “Stay Out of It,” a single from his latest EP. This vibrant and optimistic song set the tone for the remainder of the show.
During “Cannonball,” the band walked off the stage before the last chorus and left Michigander on stage, alone, with his acoustic guitar, singing with and sharing a heartfelt moment with all of the audience members. After he finished the song, Michigander expressed his thanks to the audience.
“This is weird because for so long I’ve been in a van, traveling around the country and playing to nobody. Now, I’m really far from home and there’s people. The weird part about it is that I wrote most of these songs in my bedroom, and now I’m playing them here, hundreds, maybe thousands of miles away from home and having y’all sing and stand for this whole time is pretty cool,” Singer expressed.
During this time, he also announced the next song he was going to perform, which was “Nineties,” the first Michigander song ever released, and a surprise song that was not on the written setlist. The at-capacity venue was beautifully silent as the audience hung onto every word that Michigander sang, only accompanied by a small whisper as the audience sang quietly along, allowing Michigander’s voice to fill the space between the audience and the venue’s high ceilings. Towards the end of the song, the band joined Michigander on stage again to end the passionate song.
Michigander ended his set with “Superglue,” a song that while filming the music video for, caused him to break his leg in three places, ultimately postponing this tour and his latest EP release as he focused on rehabilitation. Ending his hour-long set with a song that must have caused him lots of physical pain (while filming the music video, at least) was an extreme power play and showed the audience how he is recovered, back better than ever, and ready to continue his tour and provide people across the country with a night that they won’t forget, just like he did in Los Angeles.
Overall, the night was a beautiful blend of indie artists that each had a clear tone and message with their music. The Echo’s intimate location mixed with Michigander’s unmatched energy made the night unforgettable and makes this tour one that no one will want to miss.
-Kate Kotlyar
It’s always a good time when I get the chance to head to Los Angeles to listen to good music with my buddy B-Mac. He’s been my gateway to so many amazing bands and musicians over the years. He knows how to let loose like no one else when rocking out at a concert. And there’s no one else I rather be at shows with than him. Sadly, life can get in the way and sometimes work and other personal responsibilities take priority and B-Mac has not been able to make as many shows with me as either of us would like. But when the Rock Resurrection Tour was announced with Theory of a Deadman, Skillet, and Saint Asonia. B-Mac and I knew we had to be at the last stop of the tour, at the historic Wiltern Theatre.
Opening the night was a band that has been on my radar for years, known as Saint Asonia. I am a huge Three Days Grace fan, and when Adam Gontier left the band, it was a shock to me. He went on to start a new project known as Saint Asonia and they have been bringing rock to the masses for nearly a decade now. This was also my first time seeing Adam perform, and you can tell he loves performing for a crowd. Opening the night with “Better Place,” Adam strapped with a guitar would not be stuck behind his mic. Constantly coming out from behind it to play right into the faces of the fans in the front row. Filling in on guitar this tour was Adelita’s Way shredder, Tavis Stanley, who complimented Adam’s guitar style perfectly. Bassist Cale Gontier and drummer Cody Watkins rounded off the band with a rhythm section that maintained the beat and let Adam & Tavis have the shinning moments on guitar. Saint Asonia decided to play some Three Days Grace classic in the set with two songs “Never Too Late” & “I Hate Everything About You.” As soon as these Three Day Grace classics came on, the audience lost their minds. Rounding out their set with Saint Asonia hits like “Above it All,” “The Hunted,” “Devastate,” and “Let Me Live My Life.” The wait to see Adam Gontier live and with Saint Asonia had finally happened, and hearing his vocals live was like coming home to a musician I’ve known for years.
Up next was a band I have been quite familiar with for some time now. I have been very fortunate to see Skillet for the fourth time now, and they continue to be one of the highest energy bands I have seen. Every member of the band is a true showman that understands that a live concert is a performance. They are not just there to play their instruments, but they are there to entertain the crowd. Singer and bassist John Cooper comes across as a fun loving himbo. While slappin’ his bass, he is constantly pumping up the crowd, pointing out screaming fans in the audience, and singing with the biggest smile on his face. You can tell he loves every second he gets to be on stage. Flanked by his wife Korey Cooper on rhythm guitar, who is an unstable ball of energy on stage. Jumping, headbanging, vibrating, she doesn’t slow down for a second while wailing on the guitar. On the other side of the stage is lead guitarist Seth Morrison, who brings a ferocity to his playing that drives Skillet’s sound. Never to be forgotten or ignored in the band, Jen Ledger is a beast behind the kit. Not only is she headbanging constantly throughout the set, but she also provides backing and co-lead vocals on songs. How she never sounds out of breath is a sign of a true professional. Skillet loaded their set with both classic hits and soon to be classics like “Feel Invincible,” “Rise,” “Surviving the Game,” “Awake and Alive,” “Hero,” “Whispers in the Dark,” “Psycho in My Head,” “Finish Line” performed with Adam Gontier, “Monster,” and ending their set with “The Resistance.” Skillet never fails to be one of the most fun live bands still touring in the rock scene.
The Rock Resurrection Tour has been in full swing, and the crowd was not ready to let the energy die down yet. Theory of a Deadman was about to take the stage, and you could feel the anticipation from the audience. Opening the night with the title song off their latest album “Dinosaur.” I have not heard this song before tonight yet, but as vocalist and guitarist Tyler Connelly hit the stage, this song sounded like a Theory of a Deadman song. It had the mix of post grunge, hard rock, and a bit of country twang that Theory fans have grown to love. Theory let the audience enjoy a sing a long with their next song “Bitch Came Back.” This song is great as the audience can really connect with the band, and just enjoy singing along, while dancing to Dean Back’s walking bassline throughout the song. Fellow guitarist Dave Brenner crafted the perfect hooks for each song that make Theory songs so memorable. While drummer Joey Dandeneau had to be the wildest man on stage in the band. Throwing his arms all around to hit his drum set, and yet never missing a fill or back beat. Theory of a Deadman brings a bit mellower of a energy to their set compared to Saint Asonia or Skillet, but none the less the crowd was grooving to every song they had to play that night like “Two of Us (Stuck),” “Not Meant to Be,” “Lowlife,” “History of Violence,” “Blow,” “Wicked Game,” “Ambulance,” “Friends in Low Places,” “Angel,” Hate My Life,” “Rx (Medicate),” and ending with the power house “Bad Girlfriend.”
It was a night of rock music. It was a night of hearing radio hits and classics. It was a night out with my metal brother B-Mac. And these three bands could not have brought a more solid night of music for us to jam out to. Saint Asonia was a bucket list band for me, and they lived up to the expectation I had set for them. Skillet will never be able to put on a bad show I feel, as they just care so much about bringing their music to life with their energy. Theory of a Deadman proves that rock does not need to be resurrected. It is still a live and thriving in the hearts of fans everywhere.
Last Tuesday, The Echo Lounge in Dallas, Texas hosted the Pitch Black Forever Part 2 tour, featuring a lineup of Hawthorne Heights, Armor For Sleep, and Spitalfield. As soon as I walked into the venue, I could feel the excitement and energy in the air. Fans of all ages and backgrounds had come together to experience an unforgettable night of music.
Spitalfield took the stage first, and they wasted no time getting the crowd fired up. Their blend of pop punk and emo had everyone singing and jumping along. Lead singer Mark Rose’s soaring vocals were the perfect match for their upbeat and energetic instrumentals. They played a mix of new songs and old favorites, including "Stolen From Some Great Writer" and "Texa$ With a Dollar Sign". Their set ended all too soon, leaving the audience wanting more.
Next up was Armor For Sleep, and they brought a different vibe to the stage. Their sound was more introspective and melancholic, but it resonated with the crowd just as strongly. Lead singer Ben Jorgensen’s haunting vocals were backed by a dynamic instrumental performance that created a sense of emotional depth and complexity. Their set included tracks like "The Truth About Heaven" and "Car Underwater", which had the audience swaying and singing along with their lighters in the air.
Finally, it was time for the headliner, Hawthorne Heights. As soon as they took the stage, the crowd erupted into cheers and applause. They kicked off their set with "Pens and Needles" from their OG If Only You Were Lonely album, and the energy in the room reached a fever pitch. Their performance was a masterclass in how to put on a great rock show. Lead singer JT Woodruff’s powerful vocals were complemented by the tight musicianship of the rest of the band, and their stage presence was magnetic.
One of the highlights of their set was their performance of "Ohio Is For Lovers", which had the crowd singing along at the top of their lungs. They also played some tracks from their new album, like "Constant Dread" and "Spray Paint It Black", which showed that they are still at the top of their game. Their set was a perfect mix of old and new, and they left the audience wanting more.
Overall, the Pitch Black Forever Part 2 Tour was an incredible night of music that showcased the best of the emo and pop punk genres. Each band brought their own unique sound and style to the stage, and the result was a dynamic and unforgettable experience. The Echo Lounge was the perfect venue for this show, with its intimate atmosphere and excellent sound quality. If you get the chance to catch any of these bands on tour, I highly recommend it.
After more than two years of reschedules, fans were finally able to line up at The Clyde Theater for this stacked tour package consisting of Static-X, Fear Factory, Dope, and Cultus Black. For a lot of fans, such as myself, this is more than two years of anticipation. After the shocking 2014 death of front man, Wayne Static, who would have known that Static-X would ever tour again?
First to take the stage was Cultus Black from Raleigh, North Carolina. Cultus Black formed in 2018 and consists of former members of the now defunct Motograter. From the moment they hit the stage, you can tell you were in for something very different. Frontman L had his face and torso covered in black and white ceremonious cult body paint and his counterparts, guitarists H and T, bassist M, drummer E, and percussionist Z were all cloaked with form fitting face masks complete with tattered clothing. Cultus Black released their debut self-titled album shortly before embarking on this extensive tour, so I will admit I was not super familiar with their music. They kicked off the night on a very ostentatious note, by opening with “Witch Hunt”. They continued playing their intense singles “Killing the Beautiful” and “Nevermine”. They also added in their 2020 single, a reimagining of Nirvana’s “Negative Creep”, which they put their unique industrialized sound to. Their music is unapologetically unique laced with hypnotic melodies to draw you in.
Hitting the stage next was, Dope. I haven’t seen Dope since 2017 at my old stomping grounds in NJ and I was thrilled to see them again – especially since they’re intro backing track was the opening song for The Sopranos (felt like home). If you have never seen Dope but are checking out this tour, their high-energy show accompanied with their industrial sound is something to not be missed. These NYC natives formed by lead singer Edsel Dope, have been going hard since their 2009 release Felons and Revolutionaries. The current touring lineup consists of founder Edsel Dope on lead vocals/guitar, bassist Acey Slade, guitarist Daniel Fox, and drummer Chrissy Warner. Dope opened with “Blood Money” from their 2016 release Blood Money Part One, with its counterpart prequel album Blood Money Part Zer0 which was released earlier this year. They continued grinding through their set with their expansive discography, including “Violence”, Bitch” and “Debonaire”. Naturally, Dope played their staple medley dubbed "Die, Boom, Bang, Burn, Fuck", which consists of segments from their biggest single “Die MF Die”, “I'm Back”, and “Sick”. This medley was released on their No Regrets album, however, on the album they ended the compilation with a cover of NWA’s “Fuck the Police”. On this run they ended the with a cover of what Edsel stated as “the dumbest song ever written” – “You Spin Me Round (Like a Record)” from 80s dance pop band Dead or Alive. Dope of course put their spin – no pun intended – on the song by adding in their signature sound. Dope released the song as a single in 2000 on the re-release of their 2009 album Felons and Revolutionaries.
Third up on the bill was Fear Factory. These long-time legends in the industrial-metal genre are no stranger to most and have been at it since ’89. Despite them having a new frontman, Milo “The Italian Stallion” Silvestro, they were just as tight as ever, and their energy got the sold-out crowd pumped. Having Pete Webber of Havok filling in for drummer Mike Heller was a treat as he didn’t miss a beat all set. The legendary Tony Campos along with founding member/guitarist Dino Cazares helps cement this new lineup. Tony is playing double duty every night of this tour, as bassist for Static-X as well. They kicked their set off with the devasting 808 bass drop of “Shock” followed by “Edgecrusher” both from Obsolete released in 1998. Sitting at the midpoint of the set was “Powershifter” from their 2010 album Mechanize and “What Will Become” from Digimortal released in 2001. SPOILER ALERT: Dino himself said he would never play the next song live, but this late setlist surprises was “Archetype” from the 2004 album of the same name. Long-time Fear Factory fans know Dino was not a part of that album and it has been somewhat controversial since its release. They rounded out their set with a blistering three-song throwback to probably their most recognizable album, 1995’s classic Demanufacture with the title song of the same name along with “Zero Signal” and “Replica”. Based off this performance, I see they’ve been reinvigorated, and I truly look forward to seeing what’s next for them.
Finally, the time has come – Static -X was about to hit the stage! I unfortunately never got to see them with Wayne, but I knew he was there in spirit. It was a privilege to see the OG lineup with Tony Campos, Koichi Fukuda, and Kenneth “Ken Jay” Lacey.
When this lineup was put together before the pandemic, there was much speculation as to who Xer0 was, with the rumors circulating that Edsel Dope was the man behind the mask. While at this point it’s safe to assume it is indeed Edsel (although he has humbly denied this) many can make the connection with Dope’s latest album from earlier this year titled Blood Money Part Zer0. Additionally, numerous articles have also shown similarities between the character Xer0 and Edsel, including the same neck tattoo adorning both. Regardless of who is behind the mask, it’s clear that they are keeping the focus about Wayne using Xer0 as a platform to bring evil disco to the next generation. When Xer0 was first revealed back in 2019, the mask was adapted to Wayne’s trademark look. The new look for Xer0 is now a fully decked out cyborg complete with glowing red eyes, cable-like hair reminiscent to Wayne’s iconic look, complete with robot-esque arms and hands.
Static-X opened with a four-song run from 2001’s Machine, which included “Permanence”, “This is Not”, “Structural Defect” and “Black and White”. Then, they went back in time to 1999 to their debut album Wisconsin Death Trip playing hits such as “Love Dump”, “Wisconsin Death Trip”, and “Bled for Days”. About midway through, a sea of lighters and cellphone lights illuminated the Clyde Theater as things were slowed down with “Just In Case” from their 2005 album Start a War. Static-X then revamped the energy in the room with one of my personal favorites “Get to the Gone” – that’s when the bodies really started to fly over heads. What really surprised me, was they included a Nine Inch Nails cover of “Terrible Lie” into their set.
Static-X’s encore was a pure love letter and homage to Wayne. A tribute to their late frontman lit up the screen behind them, I honestly don’t believe there was a dry eye in the house during this tribute; I know mine weren’t. Then the lights went blue, snow started ascending down on the audience, and they started to play “Cold” from their sophomore album Machine along with “I’m With Stupid” and “Push It” both Wisconsin Death Trip. During “I’m With Stupid”, the band's mascot from the music video (also seen in “Terminator Ocsilator”), a robot with a big “X” written on its head, joined the band on stage and during the lyrics “So I grabbed my shovel” the nameless character stalked the stage and threatened the audience with a shovel.
This tour continues running throughout the country until April 15 ending in Los Angeles. It is evident that evil disco is back, and Static-X is keeping Wayne’s memory alive. If this tour isn’t sold out yet in your area, I cannot recommend enough to get tickets ASAP as this is one tour you do not want to miss this year!
Since Yung Pinch dropped “Rock With Us’ back in 2016, I’ve been fascinated with his unique and colorful vibe. When the rap scene was devolving to drugs, guns, repetitive monotonous flows, and drill culture, Yung Pinch separated him from the pack with a colorful lighthearted melodic California beach vibe. Since then, he’s dropped a slew of bangers and collaborations with the likes of Blackbear, Lil Skies, NGHTMARE, and 03 Greedo showing his musical versatility adapting to different sounds but maintaining his signature melodic flow. His most recent solo effort did more of the same but flipped the switch on the aesthetic. Let’s hop into the video for “Take It Back” by Yung Pinch.
The first thing I noticed as the video started was the retro “Back To The Future” font on “Take It Back” in the opening scene. Immediately, Pinch adopted another darker tone similar to his “New Mercedes” video. This one was primarily set in the lower grand street underground in Los Angeles giving it a real gritty feel. In addition, Pinch is found pulled over rapping in alleyways and gas stations late at night. The overall edgy feel combined with his melodic flow is a total vibe. The visuals of Pinch and a model cruising through the city are ominous, cool, and dark. With the help of Nicholas Jandora on the edits, Pinch puts a bow on his visual for “Take It Back
Overall, “Take It Back” perfectly captured those late-night street vibes of Los Angeles. With Pinch being an Orange County native, I found it interesting for him to flip the script and film this one in the underbelly of Los Angeles. It shows how Pinch embodies not only that beachy soulful vibe of Orange County but also adapts well to those darker undertones of city life in California. Yung Pinch and Nicholas Jandora knocked this out of the park. Check this one out!
- Kris Kuganathan