One of the best things you can do at any concert is show up for the openers. I have been introduced and discovered so much great music by getting to a show early and checking out every band on the bill. One artist that I was thankful to discover was industrial pop artist Nyxx, as she was the opener on the Industrial Pop tour back in 2017. I have been following her since and eagerly waiting for her to come back to California. Sadly, I missed a couple one night appearances she’s made here, but when she finally announced her first headlining tour across North America dubbed the Hot Goth Tour, I knew I had to make it out to this one. The hot goths included artists Danny Blu and Die Sexual on the bill. I arrived at the Echo in Los Angeles with a big smile on my face seeing Nyxx’s name across the marquee, as did every fan attending this night who were dressed in the hottest goth attire they had.

Opening the night was electric body musique duo Die Sexual. They got the night started by taking us all to a goth club to start dancing. Mixing and programming the music was Anton Floriano whose heavy beats were infectious to the crowd. Not a sole in the crowd could be held back from dancing. While Anton was driving the beat that we were all dancing to, it was vocalist Rosselinni Floriano that added an extra layer of sexual tension to the songs. Dressed in a skintight latex body suit, with her breasts exposed except for some pasties, Rosselinni helped transform the Echo into a BDSM-esque dungeon. As she sang, she would constantly be wrapping the mic cord around her, almost encapsulating herself in shibari. A lot of Die Sexual’s songs are about giving into the body’s raw natural pleasures, and looking around the crowd, many dancing fans were feeling the lyrics along with the beat. Since Die Sexual are local to Los Angeles, I hope to see them performing again soon, but I know what songs I will be requesting at my local goth club in the future if they don’t already play them.

Up next was solo artist Danny Blu whose flamboyancy and energy overtook the crowd. Danny amped up the sexual tension in the room with knee high boots, leather garters, a giant codpiece, and a sleeve only leather top. Danny Blu knew how to work the crowd and feel like he was performing directly to each person individually, as well as to the masses. Constantly dancing and grinding across the stage. He was his own go-go dancer to his own show. In between certain songs he would also play a video interlude on the screen behind him. Including an iconic moment from drag superstars Trixie Mattel and Katya Zamolodchikova talking about the world needing more gay goths. Whether you were familiar with Danny Blu’s music, he played a cover of Janet Jackson’s “Rhythm Nation” that got the whole crowd singing with him. One of the most real and heart touching moments came when Danny sang his new song “Stranger.” The song is written about his connection with dad, but really can be applied to any relationship that was lost due to someone not willing to accept who your true self is and becoming a stranger. You could tell how personal this song is to Danny as he shed a few tears during it. Though Danny kept the music upbeat and lively with his other songs like “American Dream,” “Give Me Your Love,” “Bubble,” “Violence,” “Tidal Wave,” “Predator,” “Finish Him,” and ending with “Bad One.” Danny Blu left an immeasurable impression on the crowd who fed their energy right back to him.

Finally, it was time for our headliner. Someone I have been waiting seven years to see again and couldn’t be happier that it was for her own headlining tour. Nyxx hit the stage kicking things off with “Voodoo.” She first hit the stage with a long trench coat and glasses, giving off Trinity from the Matrix vibes, before ditching both to reveal a tattered gothic apocalyptic-esque attire. The fans went wild when she revealed this outfit as screams of “QUEEN!” could be heard by many fans. One of the biggest things I noticed about Nyxx’s performance compared to seeing her seven years ago was her confidence on stage and her ability to command the space. Locking eyes with multiple fans in the crowd, and dancing from side to side working the entire space. Fans were drawn into her, inching closer and closer to the stage. She was enticing them like a spider looking to capture her prey in her musical web. We also got to see her perform some of her new songs that have not been released yet. This showed the evolution of Nyxx from her older songs, which were more industrial pop and still great, but the new music felt more aggressive and in your face with songs like “FERAL,” “Gun,” and “PL.” She even took her vocals to a new level with these songs, adding more harshness to her singing, as well as modulating her voice. These treats were an exciting addition to her show, and we could not get enough of this transformation. With Nyxx working hard on creating her new music, this concert was a special treat as we got a mix of older songs, singles, and new music like “Diabolical,” “Noose,” “Nightmare,” “Hearse,” “Salt,” “Crown,” and ending with another unreleased track “Body Count.” With the final song Danny Blu joined Nyxx on stage. The two of them combined was more sexual energy than the Echo could handle, and the fans were drooling over every second we got of this final song.

Though I mainly came to see Nyxx, I am so glad I followed through with my ideology to show up for the openers. Die Sexual and Danny Blu are two artists I probably would have never discovered if it wasn’t for showing up for the entire bill. Die Sexual crafted beats that will let me dance in my room, and on my next trip to a goth club. While Danny Blu created music that just oozes sexuality and living for yourself. No matter how hard that may be sometimes. But it was Nyxx that brought the whole show home as she not only showed off her evolution as a musician, but as a performer. The Hot Goth Tour lived up to its name with everyone on stage embodying the freedom of sexuality. There are not too many stops left on the tour but do yourself a favor. Put on a good pair of headphones, check out their music on Spotify, and just get sucked into their music world. You won’t regret it. 

When the name Peter Murphy is mentioned, immediately images of bats, spirits and the blackest of gloom comes to mind, but in the most fascinating way. The Goth Godfather of the youth who didn’t confirm, who made them feel right at home in their long black skirts, army jacket, black jeans and combat boots. Joy Division, The Cure, Siousxie and the Banshees and of course, The Bauhaus helped usher in the world of Goth Music, with Peter Murphy at the helm.

Peter Murphy has always surrounded himself with some of the most interesting and pioneering musicians in the genre from the likes of Mark Gemini Thwaite (The Mission U.K.), Justin Bennett (Skinny Puppy), Tricky (Massive Attack), Mick Karn (Japan) all the way to Trent Reznor (NIN). However, Murphy’s latest collaboration is with none other than Boy George on “Let the Flowers Grow”.

I was excited to see what these two had come up with. If you aren’t familiar with any of Murphy’s previous work, you should immediately go pick up anything from the early days. What will be unearthed there is edgy, complicated, making you wonder if you should be listening and loving what you’re hearing. The lyrics are raw, dark and sometimes chaotic. “I will scream in vain, Oh please miss Lane, Leave me with some pain.” -  From their 1980 release, In The Flat Field, "Dark Entries".

Unfortunately, this collaboration with Boy George leaves nothing to the imagination and nothing that makes us feel even slightly uneasy. There are no highs and lows, just one plane of music. The song seems to be something neither artist is: epic, sweeping, movie-montage and conquering. It feels lazy, and that pains me to say. I respect and love both artists for everything they have stood for and contributed to music and am certain they will stand out in the history of music giants. However, this song needed some edge and the unexpected, and sadly for me had neither. 

At the end of the day, I think there will be many fans of Peter Murphy and Boy George that will enjoy "Let the Flowers Grow".  My opinions aside, some die-hard fans have raved about the track and some have even compared it to the eclectic Bowie sound of the 70's.  I'd suggest you give the track a few spins on your own and come up with your own conclusions. Music is in the eye of the beholder, so I'd love to hear what you think of the Murphy/George collaboration after your initial test drive.

- Alli Richards

I grew listening to hip hop, R&B and a little bit of reggae and through the years have become a huge reggae fan.  That is what my friends know of my music love. I still listen to old school hip hop and R&B, absolutely love reggae, dancehall, etc. So, when someone hears that The Cure was one of my favorite bands in the early 90’s they are a bit surprised.  Over my winter break my freshman year in college I was driving to a friend’s place and “Lovesong” came on and I was totally taken in by it.  I knew some of my roommates liked The Cure so when I got back to our apartment after break I asked to listen.  We (Shebby, Bobber and Radzia) sat there the first night listening to album after album and I was mesmerized by the music, the lyrics and vocals, the production, it was all so different to me, but also felt right.  I quickly became a huge Cure fan and for a good 5-6 years listened to them regularly.  Radzia, Shebby, Bobber and I even got to see them live in Philadelphia. It had this gloomy, dangerous atmosphere but yet was thoroughly beautiful and stunning. It somehow gives you a seductive tone, but also a suffocating feel.  It is amazingly theatrical.

The Cure arrived out of Crawley, Sussex, with their debut 1979 album, Three Imaginary Boys; they started with that riff-heavy drive of punk before quickly evolving into the prototypical band of their own making. So many other bands following in their footsteps, as the evolved themselves and a new genre. By the end of the 80’s, their sound changed even more with bringing more dark and sad lyrics but adding that sugary pop twist, creating that perfect blend of bitter and sweet, naughty and nice. Their evolution continued with their psychedelic and vivid raucous phase and then back into their gloomier and ominous sound. So my thought was, what will their latest, Songs of a Lost World, bring us?  Which Cure sound, which Cure mood, which Cure style? There have been 14 studio albums prior to this release, and each very similar but also so, so different.

SOALW starts off with “Alone,” a long song, almost 7 minutes long and Robert Smith doesn’t start signing until about halfway through. But the theatrical start, you get pulled right into the synths and strings and the propulsive rhythm. You instantly get that Disintegration and Wish feel. It pulled me back to the early 90’s and my college days. Smith sounds so perfect, there is no change in his voice.  The second track is “And Nothing Is Forever” starting off with the relaxing strings hitting us again with ghostly keys, once again a beautiful theatric flow. Roger O’Donnell and Perry Bamonte are amazing on the keys and syth throughout this song and entire album. This is an absolutely exquisite song, it could have been recorded the same time “To Wish Impossible Things” was recorded. We are thrown into “A Fragile Thing” with the pounding of drums and bass, Cure fans know the sound! You feel it in your chest. Smiths voice is amazing throughout this song. Then the guitar solo hits, it just takes you away, riding that wave of despair and happiness. Reaves Gabrels is just flat out amazing on this album. His guitar work talks to you.

We are then brought to the pounding “Warsong” with the beating drums again and a haunting guitar screeching through this almost upsetting but dare I say uplifting song. The guitar almost talks behind Smith’s voice, for an absolute eerie feel, you want to get away from it, but you are so attracted to it you can’t stop listening. They change up the vibe and mood with an almost industrial and metal feel with “Drone:Nodrone.” Still has The Cure feel, but an interesting groove going on, an upbeat and thrashing sound.  Great guitar solo and beating drums, just pounding and pounding! Smith’s voice working so well with this song. You wouldn’t think it fits with this album, but somehow it works so well. Next, we get a wonderful but gut-wrenching song about the death of Smith’s brother, “I Can Never Say Goodbye.” “Something wicked this way comes/From out the cruel and treacherous night/Something wicked this way comes/To steal away my brother's life/Something wicked this way comes/I can never say goodbye/I can never say goodbye.” This brings the same feel as “The Same Deep Water As You.” It is amazing how these songs stand on their own, but also pull from the past. Smith’s vocals are amazing, to say you can feel the pain is an absolute understatement.

“All I Ever Am” talks about the difficulty of being in the present moment, but I can speak for most Cure fans, we do not have any difficulty listening to this.  This is another wonderfully produced and composed song, flowing right along with the synth, piano, guitar, drums and the bass.  Simon Gallup’s bass lines are consistently hard and low slung, bringing the same rugged flow he has delivered on and off since the late 70’s. The album is finished off with the 10 minute 23 second song “Endsong” that takes us along a journey that doesn’t seem like a 10-minute song, it sucks you in and opens your mind. Jason Cooper once again drills us with the wonderful drums, it draws you in to the song, it holds you there, you can’t leave and you don’t want to leave. This is another one of those theatric tunes, one that you don’t hear you feel throughout your mind and body. At about the 6-and-a-half-minute mark Smith starts in and brings us that magical melancholia we love so much. It presents us with the mournful cry and makes it feel “Endsong” is a looming final statement from Smith and The Cure. “It's all gone, it's all gone/I will lose myself in time/It won't be long/It's all gone, it's all gone, it's all gone/Left alone with nothing at the end of every song/Left alone with nothing at the end of every song/Left alone with nothing/Nothing/Nothing/Nothing.” But according to Smith there are two more albums in the works to finish off a trilogy.

While Songs of a Lost World is not the masterpiece of some of their past works,  it certainly gives us that nostalgic throwback that most Cure fans will love.  It is still a great piece of work, and I would have loved a few more songs. It took me back to the time in my life, a time of my college years, where I didn’t really have a worry in life.  A time where I had so much fun, a time that I may not want to go back to but have so many amazing memories from. Smith’s voice is still a remarkable instrument after all these years, his producing and production is still on top, and while they maybe didn’t go out and change things up much, I think after all these years this is what we all wanted to hear.  That amazing theatrical mastery. The Cure is precisely where The Cure will always be—waiting, sinister, in a haze of ominous questions without answers. This album shows The Cure is still a force and still owes the genre. I will be waiting, hopefully not too long, for the next album.

One Love – Todd Judd

Art is always inspired by something. An idea, an event, a person, a muse, something out in the ether causing inspiration. With music, love or love lost from someone else tends to be one of the biggest driving forces in music. Music can be the biggest love language’s, and way of immortalizing your feelings towards someone else. Fiji Blue is an artist that is on the cusp of releasing his debut album Glide, with many songs inspired by his wife Natasha. Fiji Blue was supposed to embark on their Glide North American Tour a little earlier in the year, but Natasha battle with brain cancer delayed the tour so he could be at his wife’s side. Thankfully, after a successful surgery back in September, Fiji Blue was ready to hit the road again, truly kicking off the Glide Tour at the El Rey Theatre in Los Angeles. Emotions were high as Natasha was in the crowd, and many fans were there to support Fiji Blue’s music and be there for him emotionally.

Opening the night was an artist known as Crying City. She is a Korean American songwriter based out of the Bay Area of California. Crying City brought some lo-fi music with introspective lyrics. The music allowed the crowd to just sway in the audience and vibe with the tunes, while Crying City sang about the musings of life. The music often felt like we were being transported into a dream state. We were no longer in Los Angeles but flying off to our own version of self reflection. Crying City only played a 20 minute set which featured songs like “Urn,” “Lucky,” “better (with you),” and “The Way You Do,” but she left an emotional impact on the crowd. Whether you wanted to get the night started off by getting in touch with your feelings or not, Crying City brought your emotions right to the forefront.

As the curtains pulled back and Fiji Blue emerged onto the stage, the crowd was thrilled to finally see the artist. Vocalist and guitarist Trevor Dering was animated and charismatic on stage. Even busting out a guitar solo right at the beginning of the show as he was just feeling the energy of the crowd. The name Fiji Blue comes from the blue spectrum of emotion that the band tries to capture in their music, and though the lyrics can be a bit introspective and self reflective, the instrumental of the band brings uplifting and a bright aspect to the songs. Fiji Blue blends indie pop. Electronic, and R&B to craft their unique sound that gets people grooving and dancing in the crowd, and it was a beautiful sight to see. Fiji Blue had us rocking out with songs like “Angel,” “Start Over,” “Peppermint,” “Waves,” “It Takes Two,” “Outside,” and “Butterflies.” In between songs you could see the love, passion, and happiness that Trevor was performing with. He would often tell the crowd how happy he was to have his wife Natasha in the audience after her ordeal. Though Trevor was making this declaration to the crowd, it felt like he was constantly having to remind himself that she is here with him watching him do what he loves.

The El Rey Theatre was filled with emotion this night. From both Crying City and Fiji Blue’s music, but also from the love one man has for his wife. The audience was along for the ride the entire time, and there to get in touch with their feelings. The music was beautiful, but the people were more beautiful, and the night was enchanting. Fiji Blue continues his tour next year starting in February, and if you feel like getting in touch with your emotion, this should be the tour for you.

"Welcome to the Palladium!" was the first greeting I heard upon arriving at The Wiltern—a funny reminder that this was Ginger Root’s very first downgraded show. Even so, the creative announcement had been so well-received by both press and fans for its honesty and transparency. Los Angeles was Ginger Root’s last stop on their SHINBANGUMI (2024, Ghostly International) tour and, most surprisingly, it was also (sort of) a hometown show for SoCal native Cameron Lew, Ginger Root’s frontman and leader.

The Wiltern’s setting made the event feel even more intimate, with fans filling the entire general admission floor section of the once movie theater, now transformed into a stage for Ginger Root’s short film screenings, synched with live Aggressive Elevator Soul™ music. Inside the venue, the closer you got to the doors, the more impressive the merch line became. The majority of the merch was already sold out before Ginger Root even began their set. This rare phenomenon—especially for an artist not yet close to arena-level fame—is a testament to the aesthetic and universe created by Lew, which draws heavy inspiration from '80s Japanese City Pop culture.

The opening act, Amaiwana (アマイワナ), a Japanese singer-songwriter from Kyoto, has been referred to as the "retro pop princess," creating what she calls "Japanese dream punk" with influences from Shibuya-kei, new wave, and techno pop. She proved to be an excellent choice as the opening act for Ginger Root, bringing dazzling and bubbly energy to the venue and serving as a perfect introduction to Japanese music. The crowd seemed to be a mix of anime and Japan lovers, along with Millennial fans who appreciate nostalgic and lo-fi aesthetics.

When Lew finally arrived on stage, greeted by the enthusiastic applause of the fans, the setup featured stacked old TVs and a jukebox as part of the decor. Lew was wearing a beige tuxedo, while the drummer Matt Carney rocked his cowboy hat, and Dylan Hovis on the bass was dressed in a classic vintage style—an homage to old-fashioned jazz clubs with an added touch of anachronism, serving as a subtle nod to Ginger Root’s cultural roots.

The three-piece band opened with an intro video, followed by their track "Better Than Monday." Clips and music videos have always been integral to Ginger Root’s identity, with Lew also serving as a graphic designer and video editor. These videos only enhance the entertainment value, bringing them much closer to a both visually and musically more immersive experience for the audience, especially when enjoyed with The Wiltern’s amazing popcorn.

Two original and creative elements really captured my attention: the second "mic" Lew was using and the role of the cameraman. In addition to a clean and transparent, standard live microphone, Lew also used a red vintage telephone handset, mounted on a mic stand. Not only was this setup so cool and aesthetically pleasing, but I was also amazed by the technical complexity of amplifying sound from an actual old telephone handset to a medium-sized concert level. This innovative touch is hardly surprising to me, considering Lew's background as an audio engineer. His voice coming through the handset sounded exactly as one would expect from such a device—highly compressed and slightly saturated—adding a rich texture and unique tone to the overall performance.

The second intriguing element was the role of the cameraman, who did an exceptional job of capturing the band’s energy in the most uncommon way. The videos were both projected on the big screen and broadcast live on the old TVs, maintaining the aesthetic of vintage shows—another nod to Ginger Root’s fictional world. To achieve this effect, the cameraman continuously captured dramatic shots of the band members, using excessive zooms and rapid shifts between them. He was almost dancing, swerving around and moving in sync with the music. He was not just a cameraman; he was the fourth member of the band. This added so much to the synths riffs and the groovy, yet dizzying music Ginger Root was delivering live. 

The disorienting effect from both the music and visuals complemented Lew’s on-stage humor—a socially awkward Asian guy, quirky and random in the most entertaining way. He encouraged the crowd multiple times to participate in the show, prompting loud screams (“Everybody SCREEEEAM!”), leading a Peanut Butter Jelly Time sing-along, and even asking the audience to start a mosh pit. At The Wiltern. To Japanese city pop.

In between songs, the cameraman had fun filming the audience, capturing everything from a fan holding a cardboard sign congratulating the band on their first downgraded show to a guy wearing a banana costume. Towards the end of their set, Lew even gave a short speech in Mandarin to what appeared to be his mom, or grandma (?), who was sitting and relaxing in the VIP section. Lew invited everyone to sing along with the “Only you's and “Come on baby's from both sides of the venue. The randomness of each interaction, paired with the amazing music, were truly refreshing and fun, making this show an unforgettable moment for everyone in the crowd. Thank you, Ginger Root!

- Lio 

Follow Ginger Root on social media!

Official Website | YouTube | Spotify | Instagram | Facebook | TikTok |X

Klash of the Titans has been used many times over the years as tour names for various bands with the most famous being in 1990, a European tour featuring Megadeth, Slayer, Testament and Suicidal Tendencies. Well in 2024 the name has been used again, this time with a “K”, titled Klash of the Titans and featuring co-headliners Testament and Kreator with special guests Possessed. This tour of thrash royalty was a 33 date, 6 week run, making a stop at The Palladium in Hollywood, CA on Saturday night October 26 for a night of epic Bay Area thrash with a side of German Teutonic Terror.

Possessed hit the stage early at 6:50pm to kick off the night with a brutal set of eight Possessed classics from across their catalog including three songs from their 2019 album Revelations of Oblivion. Vocalist Jeff Becerra remains the only original member from their 1983-1987 classic lineup and even though in a wheelchair, Becerra still pumps out those growling vocals with brutal intensity and still sounds incredible doing so.

The circle pits and crowd surfing gained intensity throughout their set as they played “Pentagram”, “The Exorcist” and “Death Metal” from their critically acclaimed Seven Churches album. Guitarists Daniel Gonzalez and Claudeous Creamer traded off scorching riffs and blazing solos while bass player Robert Cardenas thrashed intensely but the star of the set was the insane drumming from blast-master Chris Aguirre.

The night ended with the ever so fierce “Swing of the Axe” from the 1987 EP The Eyes of Horror. Possessed is a headliner in their own right and they were the perfect opening act for this night of metal in Hollywood.

Kreator is still out supporting their fifteenth studio album, 2022’s Hate Über Alles and although playing before Testament they are co-headliners for Klash of the Titans. The band has a killer stage setup for this tour with 20 ft tall blow-up demons flanking each side of the stage with one also behind the drum kit, that coupled with CO2 cannons and a crazy light show laid the perfect foundation for Kreator to destroy The Palladium.

Opening with “Hate Über Alles” then into “Phobia”, guitarist/vocalist Mille Petrozza along with lead guitarist Sami Yli-Sirniö, longtime drummer Jürgen "Ventor" Reil and the newest member of the band, bassist Frédéric Leclercq, put on the most intense Kreator show they have played in Los Angeles in many years. Prior to the third song “Enemy of God”, Petrozza setup the crowd for the first Wall of Death and it was nothing short of war out in the pit as the crowd attacked each other viscously.

Kreator plowed through thirteen songs that included such thrashers as “Betrayer” and “Phantom Antichrist” that had a gigantic circle pit going all night and the security was continuously catching bodies tumbling over the barrier. Kreator was full of piss and vinegar on this night and when you are in what Petrozza called Kreator’s second home (Los Angeles) and playing directly before Testament there is nothing else to do but slay all those in attendance.

Prior to the closing song, one of their most brutal thrash classics “Pleasure to Kill”, Petrozza once again setup the crowd for a final Wall of Death and those brave souls in the pit did not let Petrozza down as the band ended their time onstage. A final bow in unison and their time was up. It cannot be put into words how mind blowing Kreator’s set was – how does any band follow that . . . well if any band can it surely is the mighty Testament.

At 9:40pm, behind a giant curtain, the intro to “Eerie Inhabitants” blasted over the PA and with a bang the curtain dropped and saturated in red lighting Testament kicked off a 14-song journey exclusive to their first two albums, 1987’s The Legacy and 1988’s The New Order (both that have recently been remastered and re-released by Nuclear Blast Records). Now all of Testament’s material is strong and goes over well live, but to hear ONLY these classic songs, some that have not been played in many years was truly a Testament’s fan thrash dream come true.

The hulking Chuck Billy sounds better than ever and was quite active onstage the entire night. Billy has one of the most diverse voices in thrash metal with spine tingling clean vocals to demon summoning death growls and everything in between. Testament is loaded with talent and guitarists Alex Skolnick and Eric Peterson combine for one of the premier thrash duos in the business. Skolnick's scorching solos marry up perfectly with Peterson’s six-string gallops that make up Testaments thrash attack they are known for.

Bass duties for the last 10 years have been by the fretless bass monster Steve Di Giorgio, one of the most technically proficient bass players in extreme music. Di Giorgio’s partner in crime is the newest member of the band, drummer Chris Dovas who (with all due respect to Testament’s former legendary drummers Gene Hoglan, Dave Lombardo, Paul Bostaph and many others) brings powerful energy and precision to every Testament song played.

It was classic after classic – “Apocalyptic City”, “The Preacher”, “Disciples of the Watch”, so many songs that don’t get played live much in recent years. The stage had a huge backdrop with Testament inspired graphics and the strobe lights coupled with the colored front lights and CO2 cannons added to the blood pumping experience of the show. The crowd caught a second wind and was crazier than when Kreator was onstage and YES, as amazing as Kreator was, Testament somehow took that energy and elevated it tenfold.

The last two songs of the night were just beyond epic as the band and crowd collectively unleashed an energy that cannot be described as “Over the Wall” and “Into the Pit” ended this soon to not be forgotten night of thrash metal in Hollywood. Testament, Kreator, Possessed . . . each one of these bands is a legend in their own respect and Klash of the Titans delivered possibly the premier extreme metal tour of 2024 and without a doubt the most intense show The Palladium has hosted in quite some time.

Protoje released The Jamaican Situation, which is “Side A” or a preview to a soundtrack for an independent short film he and his In.Digg.Nation Collective are creating.   He has recently left RCA Records and is working with Ineffable Records now, while staying independent.  This is the first project with ineffable. He’s excited about his movement into film but, like always, stays busy with multiple projects going on at the same time. His fans will be happy to know that he is working on The Jamaican Situation, film and full soundtrack and a new full-length album as well with Ancient Future producer Winta James. Protoje recently said of the music and movie; “The Jamaican Situation tells the story of a man returning home and grappling with his identity amidst the complexities of modern Jamaican life. My music intricately weaves into this narrative, enriching the dialogue and themes explored throughout the film”. I’ve been a fan of Protoje for the past few years, a little late to listening to his music, but he has quickly become one of my, not only current, but all-time favorite reggae artists.  His style, music, production, and lyrics are so amazing, hard to ever find a song that doesn’t hit just right! 

The first track is the previously release “30 Million,” a great modern roots reggae vibe. It is the perfect song to start this off with, it represents what the movie is all about, Jamaica today with the inequality, poverty, violence, but also about Jamaica from the past. Protoje, with his meditative lyrics, hit so perfectly in this, his voice flowing along the drop-beat and a really sweet guitar solo from Lamont Savory. You really get the feel where this EP and where this movie will take us. “Mariposa” is next up and a more romantic R&B dancehall groove. This sexy tune flows along nicely with Protoje’s lyrics, the groove has a bubbling stream of thick seductiveness. We are brought back to that modern roots reggae with “Where We Come From” featuring Jahshii and produced by IzyBeats. Jahshii really hits on this track and flows with and compliments Protoje so well. This song is for the yutes, time for them to revolt against the system, “we’re in the struggle, and still surviving, because they don’t want to see youths rising”.  Such a great drum and bass line.

Loving all these songs, but my favorite lyrically is “80’s Wild.” Produced by Will Tee, it’s more of that modern roots reggae but more stripped down with that traditional bubble rhythm, drop beat bass and skanking guitar flowing through the song. It has that Lee “Scratch” Perry sonic groove and sound. That guitar at the ends gives us a nice Bob Marley and The Wailers sound. Has that back in the 80’s groove with the music and the lyrics.  It is a history lesson about Jamaica, taking us to the late 70’s into the 80’s explaining why Jamaica is in the state of affairs it is in. As Protoje says; “They aren’t going to teach you this in school.” We finish off this preview or “Side A” of The Jamaican Situation with “Barrel Bun.” There is a different feel to the music and production to this.  It seems like an uplifting, positive and even playful song.  But the lyrics come in and are, while his flow and mood seem positive, the lyrics are darker and more depressed.  It is a very unique way to do this song.  The song on the album you would most want to dance to, but once you listen to the words, the message; it gets your mind thinking and moving.  There is great horn play on this tack, which helps with that positive vibe, Oshane Love on alt sax, Randy Fletcher on trombone and Okiel McIntyre on trumpet just dance along this entire track. Protoje flowing right along with the horns.  

It is hard to really give this a true review, knowing there will be more coming to our ears, along with a film. But this is true Protoje, this is really good, each song musically done perfectly.  And once again Protoje give us lyrics to make us think, to make understand what is going on in Jamaica, but also entertain. As I listened to this over and over, I just kept thinking, I cannot wait for the rest of this soundtrack to be released and also I can’t wait for his new full-length album to be released (we will need to wait until 2025).  Protoje is on top of his game with his sights on only getting higher and better. 

One Love – Todd Judd 

That’s the thing I love about music. I keep getting older, and the music just keeps staying great. Everyone holds those certain albums from our teen years close to the heart and cherishes every song from front to back. We find comfort in throwing the album on, laying in our bed, and just getting lost in the music over and over again. Bands understand this, and when the time is right, they will honor their fans by doing an anniversary tour for their biggest albums. Underøath decided to do this for the 20th anniversary of their breakthrough album They’re Only Chasing Safety. Originally the band was only set to play one Southern California date at the Observatory in Santa Ana. However, after the show sold out in less than 24 hours, the band decided to announce a Ventura, CA show and a second show at the Observatory. I was fortunate to be at Night 1 of the Observatory shows, and fans packed in like sardines to take in one of their favorite albums being played in full.

Opening the night was Static Dress from Leeds, England. I had heard of this band from others and was excited to see what they brought to the table. Kicking the night off with “disposable care,” vocalist Olli Appleyard was an uncontrolled ball of chaotic energy. Falling around the stage in a controlled stumble as he sang, it added to the energy he brought to his vocals. The guitarist was more than a man, as he appeared as some kind of Black Mirror creature that existed in our world. Playing and shredding on his instrument with feeling, but never truly showing emotion in his body movements. Bassist George Holding was locked in with drummer Sam Ogden holding down the rhythm section. Static Dress flowed from song to song including “sober exit(s),” “Push rope,” “Courtney, Just Relax,” “crying,” “Di-sinTer,” “safeword,” “sweet,” and ending with “clean.” With Static Dress being the first and only opener this night, the fans wanted to make every moment count with moshers spinning up the pit throughout the whole set.

When it was time for Underøath to hit the stage, fans were expecting a high energy kick in the ass energy for an opening song. But the band decided to change things up by opening with the ballad “Some Will Seek Forgiveness, Others Escape.” For this song, drummer Aaron Gillespie sat on a La-Z-Boy recliner at the back of the stage with one single reading lamp illuminating him. It was actually a nice change of pace, and a warm welcome from the band to their fans to set a loving and caring tone across the venue. Moving into “Young and Aspiring,” the rest of the band came in and truly kicked off the show with explosive energy. Vocalist Spencer Chamberlain is beloved by fans. Even with his vocals being amplified by the speakers, the diehard fans of the band were singing with such passion and volume, the crowd's vocals would overtake Spencer’s multiple times throughout the night. With Spencer being flanked by guitarist Timothy McTague and bassist Grant Brandell, fans were within arm’s reach of the front line band members. Constantly reaching out to try and fist bump the band members. With keyboardist Christopher Dudley going absolutely mad behind his keys and synth setup. The fans ate up every song off of They’re Only Chasing Safety like “A Boy Brushed Red Living in Black and White,” “The Impact of Reason,” “Reinventing Your Exit,” “The Blue Note,” “It’s Dangerous Business Walking Out Your Front Door,” “Down, Set, Go,” “I Don’t Feel Very Receptive Today,” and “I’m Content With Losing.” This album only produced about 40 minutes of music, so Underøath would mix in some additional songs to end the set that changed every night based on fan voting. This night we got the additions of “Teeth,” “In Regards to myself,” “A Moment Suspended in Time,” “When the Sun Sleeps,” and truly ending with “Writing on the Walls.”

They’re Only Chasing Safety was a huge turning point for Underøath, as that was when Spencer Chamberlain joined the band whose vocals helped reshape the sound of their music. Though this may not have been their biggest chart topping album, it is the one fans tend to hold closest to their hearts. The fans of Southern California showed up to show the band just how much they love this album, selling out all three dates in our area. Underøath reciprocated the favor by performing each song with heart and passion, never making it feel like they’re just going through the motions with some of the deep cuts off the album. We all left the Observatory that night with an even bigger fondness for Chasing Safety. 

Damn, it honestly hasn’t felt that long – but the last time I shot a show at the MGM Music Hall – Fenway in Boston was for Sum 41 on their final tour. Now nearly a FULL 6 months later – the mosh pit was replaced by people standing, enjoying the music, and giving each other space. Shooting from the GA pit wasn’t a scramble to try and stay on my feet, and I wasn’t silently pleading that a stick of deodorant would fall from the heavens and uh…spare the sorry souls who happen to catch a whiff haha. Instead, I was met with a fascinating change of pace, an albeit a welcome one, as a sort of “throughline” permeated through every act from Vincent Neil Emerson, Nikki Lane, and especially Mr. Orville Peck. The MGM Music Hall wasn’t a 5,000 cap venue that night, but more an intimate collective built on acceptance as the man said it himself, “There’s only one rule to this show tonight, and it’s that if you feel a wave of emotion come on – don’t you dare try to hold them back.” A sentiment it seems that many followed suit.

The evening kicked off with Vincent Neil Emerson, who, although not my style per say, delivered a soulful set full of heartwarming country ballads. His rich, twangy voice had this certain, gritty cinematic quality about it that dug it’s hooks in with the incredibly vivid storytelling from especially with tracks like Willie Nelson’s Wall. I challenge even the greatest country skeptic to throw this on and try to not bop your head along with it – you literally CAN’T.

As someone who didn’t know either of these two openers beforehand, I was curious but hesitant to see what Nikki Lane was going to bring. Especially if it was the same kind of vibe/style of Vincent – how wrong I was haha. From the moment they started playing on stage, she cranked the energy up a notch with her signature blend of outlaw country and rock. I mean…she had an electric violin up there with her. That says it all! From tracks like Highway Queen to Born Tough though, Nikki commanded the stage with her fierce vocals and honky-tonk charm, drawing cheers and yelps from the crowd. Her gritty, rebellious energy was a nice contrast to Vincent's more subdued vibe, setting the tone for the man of the hour who somehow is able to blend these two tones together in efficient beauty.

Then, the lights dimmed, and the moment everyone had been waiting for arrived giving way to the sole thought by me of: OMG…I want that suit.

Now, I’ll admit: I didn’t know much about Orville Peck going into this, outside of a couple clips of social media and saying, “Oh, that’s a sick mask.” So I can’t even lie to ya, I was a little bummed out when he walked onto the stage when it wasn’t in one of those iconic, ornate mask. That being said tho, that disappointment quickly evaporated when he launched into "Big Sky" – A song that I now can’t stop playing. My god the sheer power of his voice hits you IMMEDATELY. His vocal range? Unbelievable. The energy? Infectious. Even with his quieter, more contemplative songs like "Kalahari Down," Orville held the crowd in the palm of his hand. And I mean, again—do you see that green suit?!

Orville Peck's performance was an exhilarating mix of powerful vocals, captivating stage presence, and unexpected energy culminating in what I would truly rank near the top of the shows I’ve both shot/one’s without the camera. Although I didn’t get the insane mask and specific pictures I had in my head, he proved that his voice and persona were more than enough to command the stage – one that felt like it belonged to us, just as much as him.

The anticipation could be felt Friday evening for the Sofi Tukker show and what was about to come. The duo had released Bread earlier that year to critical acclaim, and – known for their extravagant commitment to boisterous live show – the overwhelming sense of excitement was palpable that evening.

A duo of delightful DJs opened the show this evening – Brazilian Carola and Curaçao duo Shermanology got the crowd vibing and buzzing early with a pair of electric sets. Carola’s subdued house set was a perfect way to set up the crowd for the dynamicism presented by Shermanology, with soulful, excellent vocals provided Dorothy Shermany as brother Andy played an arresting electronic mix underneath her. The pillared set around the duo amplified this back and forth interplay, turning into a mesmerizing hour of electronic music that was easy to get lost into as the hype for Sofi Tukker built.

Then it was time for the big event – Sophie & Tucker appeared center stage, Sophie silhouetted against a fiery piece of bright orange toast (a “subtle” hint towards the first few notes of “Bread” off of Bread), Tucker emerging through a ring of light on the left, surrounded by a troupe of dancers that would come to play a pivotal role in the following night.

It was both structured and chaotic all at once – there were so many elements on stage at once that it was almost hard to make sense of it all, as LED strips pulsated and strobe lights mounted atop roman pillars flashed to each and very beat, Sofi Tukker moving all around the stage, dodging and dancing the litany of dancers – but at the same time, this chaos made a sort of sense. The unbridled, raw energy of this first song was the ambition of a monstrous live performance laid bare – taking relatable and danceable EDM music and making it feel both explosive and intimate. The first song concluded with everyone gathering stage left and a dancer passing a baton of bread to Sophie, held aloft in celebration and she belted the closing

Every song this evening played out in a unique fashion just like that, with what seems like an insane amount of forethought put into what would occur.  Highlight “Throw Some Ass” taking advantage of the massive LED screen behind the group flashing caricatures of dancers exactly in time to the band and dancers shaking their booties on stage, showing a ridiculous dedication to choreography, followed shortly by Sophie being surrounded like a queen by everyone on stage as she raised her guitar aloft to finish off the song. The craft on display was truly like nothing I had seen before, and I am certain that everyone in the Armory that night came away with an appreciation for just how special the show they had seen was.