Why in the world would a concert at the Honda Center start at 5:30? That’s not the time of the doors opening. That’s the actual start time of the show. Maybe it’s because there were two headliners, Staind and Breaking Benjamin, playing full sets, along two openers, Daughtry and Lakeview. It was pretty obvious by the packed house that the audience knew there was going to be a lot of great music coming at them.
First up was Lakeview and they were everything you’d want in an opening act. Energetic, passionate, and owning the stage like they were the headliners. This is the first arena tour for the duo from Nashville-by-way-of-Pittsburgh, but they didn’t show it in the least. Jesse Denaro and Luke Healy mash Country, Rock, and Metal into a heavy Americana sound that is without a genre and still being defined. Whether it’s “Yallternative”, “Heavy Country” or some other definition yet to be put out there, vocalists Denaro and Healy, flanked by guitarists Alex Drizos and Jordan Tomb, with Cory Muro on drums, took full advantage of the large Honda Center stage and brought Lakeview’s self-titled debut album to life.
Next was Daughtry. While that’s the actual name of the of band, there’s no mistaking that singer and namesake Chris Daughtry is the main focus. Fortunately, Daughtry the singer has the voice and Daughtry the front man has the presence to warrant the attention. Clad in a tank top and sporting a physique that gets him featured in Muscle & Fitness, Chris Daughtry showed he had the vocal prowess to match the look.
Daughtry the band featured Brian Craddock on guitar, Elvio Fernandes on keyboards, Marty O'Brien on Bass, and Jeremy Schaffer on drums. Since Daughtry headlines as well as supports other acts, again the audience was treated to a performance that warranted being in their seats on time. Daughtry made sure you don’t want to be stuck in a concession stand or merch line as they launched into the powerful opener, “The Reckoning” from the EP Shock To The System (PART ONE). Daughtry is back delivering arena rock at its best.
Co-headliner Staind was first on stage for this date. The giant curtain dropped to reveal the powerful foursome of vocalist Aaron Lewis, lead guitarist Mike Mushok, bassist Johnny April, and drummer Sal Giancarelli. There was a gap of 12 years between Staind albums, so opening the show with “Lowest in Me”, their No. 1 hit from 2023’s Confessions of the Fallen, made total sense.
The 15-song set delivered hit after hit with the songs creating a sense of catharsis for many audience members. One fan leaning against the pit rail held up a sign the read, “Staind music saved my life.” Even though Lewis lives in Massachusetts, he was sporting an anti-Newsom (Governor of California) sticker on his American flag guitar. He also finished the show with a profane rant against the Democratic nominees for President and Vice President.
Finally, it was time for Breaking Benjamin. Led by founder and frontman Benjamin Burnley, the band started out with “Failure” from the album, Dark Before Dawn. It was immediately evident that the stage setup was a little different. What looked like two air conditioning units separated Burnley and bassist/vocals Aaron Bruch with a space in between. Filling that space, dead center on stage, was Burnley’s 10-year-old son, Ben AKA Cheech. The young man was not brought out as a guest or a stunt, he was there from the moment the curtain dropped. He often played guitar face to face with his obviously proud father and even threw guitar picks into the adoring crowd.
Besides young Ben, the band was rounded out by lead guitarist Jasen Rauch, rhythm guitarist Keith Wallen, and drummer Shaun Foist. Breaking Benjamin powered through a 16-song set filled with hits and audience sing-a-longs.
Staind and Breaking Benjamin have had constant airplay since the early 2000’s. Staind has had 12 top 10 singles, while Breaking Benjamin has produced 10 #1 hits, and they are still creating new music today. And by the looks and sound of it at the Honda Center, both bands are still delivering killer live sets to a loyal fan base.
LAKEVIEW SETLIST
1. Hits Different
2. LOSER
3. See Me In A Suit
4. Money Where Your Mouth Is
5. Neon Nightmare
6. Lips of an Angel
7. Home Team
8. Son Of A
DAUGHTRY SETLIST
1. The Reckoning
2. Separate Ways (Worlds Apart)
3. Pieces
4. It’s Not Over
5. The Dam
6. Home
7. Over You
8. Heavy Is the Crown
9. Artificial
STAIND SETLIST
1. Lowest in Me
2. Eyes Wide Open
3. Fade
4. Right Here
5. Not Again
6. Here and Now
7. Something to Remind You
8. Raw
9. Outside
10. Wannabe
11. Better Days
12. So Far Away
13. For You
14. It’s Been Awhile
15. Mudshovel
BREAKING BENJAMIN SETLIST
1. Failure
2. Until the End
3. Red Cold River
4. Evil Angel
5. Blow Me Away
6. Follow
7. So Cold
8. Dance With the Devil
9. Crawl
10. Breath
11. Polyamorous
12. Without You
13. Dear Agony
14. I Will Not Bow
15. Had Enough
16. The Diary of Jane
The current Lynch Mob tour is billed as The Final Ride. George Lynch has said that after 35 years of the inception of Lynch Mob, the time is right to let this chapter of his musical life fade into the sunset. Which is a shame in a way. While the many members and iterations of Lynch Mob may have made George feel like he was riding a bucking bronco at times, this version is sonically locked in. So much so, that the foursome released an album, Babylon in 2023, and will release another in 2025.
On lead vocals is Gabriel Colón. He can obviously sing and has to cover songs by vocalists ranging from Don Dokken to Oni Logan. But his contribution goes farther than that. He brings a youthful energy to the show and gets George to smile every once in a while. There’s even some banter between the two, usually regarding Gabriel’s age. Colón doesn’t just take on the role of lead vocalist, in a lot of ways he’s growing as a front man. But of course, the true front man of this band is the guy whose name is in it.
Jaron Guilino on bass hails from the band Tantric and also currently plays in Heavens Edge. With a low-slung bass, flying hair, and backing vocals, he more than holds down stage right. Guilino also has a hand in choosing the show’s setlist.
While not an original member of Lynch Mob, former Bullet Boys drummer Jimmy D’Anda has toured extensively with the group. Jimmy is easily one the most one of the most charismatic and animated drummers around and has his own following and fan base. His contribution to this version of Lynch Mob cannot be overstated. Set up as a four-piece, Lynch Mob’s instrumentalists must bring the power for the show to work. And at the Whisky a Go-Go show on September 26, they brought it.
In a word, Lynch Mob was incendiary. There was an extra-heavy feeling to the sound and setlist that once again shows George Lynch and crew are incapable of phoning it in. For almost two hours, the band absolutely pummeled the audience while also getting the packed house to rise to their level of energy. This is by no means an easy feat at The Whisky. There were six, count them, six, opening acts before the headliners hit the stage at 10pm.
Starting off with the Dokken tune, “Lightning Strikes Again”, Lynch immediately showed why he’s considered one of the greats. The memories must have been flooding back for George. He’s played the Whisky many times in his career, dating back to his days with The Boyz, and Xciter. Speaking of Xciter, one of the shows highlights was “Paris Is Burning”, a Dokken song off the band’s debut album, but actually dates back to Lynch’s Xciter/Whisky days.
Throughout the show, Lynch showed his guitar prowess, but of course his true showcase is the instrumental, “Mr. Scary”. Although he’s known for playing ESPs and guitars of his own design and making, Lynch also uses a Gibson and, on this night, he was playing a Les Paul Jr. which he mentioned he was enjoying so much that he wanted to try it for Mr. Scary. (Which he had never done before.) He must have really gotten into the Les Paul, because he kept playing it for the remainer of set until being reminded by Jimmy D’Anda that he was known for his ESPs and it was time to use it again.
The show finished just after midnight and Lynch mentioned that his birthday was the next day. He would be turning 70. He doesn’t look like it, act like it, or play like it. So, while this tour is The Final Ride for Lynch Mob, I don’t think it’s the final anything for George Lynch. At least I hope not. The man is too good, too prolific, to shut it down forever.
Set list
Everyone has experienced that one concert that just went above and beyond their expectations. It blew their minds and sat with them till the end of their days. For me, that would be when I got to see Rammstein at the LA Coliseum in 2022. The grandeur and spectacle that came with it has never been topped. Though the band doesn’t come to America that often, frontman Till Lindemann has embarked on a North American tour for his solo music, making a stop at another famous Los Angeles venue, the Kia Forum. Knowing just how outrageous this man can be on stage with Rammstein, I knew that his solo show would be nothing less than shocking as well. The night started with two amazing opening acts, Twin Temple and Aesthetic Perfection. Fans adorned in their favorite gothic attire or BDSM gear filed into the Forum, ready for a night of debauchery.
Starting off the night was hometown favorites Aesthetic Perfection. I have been fortunate enough to see them many times, but it was always in smaller 300 capacity venues. So, getting to see them perform on the grand stage of the Forum was an amazing experience. Vocalist Daniel Graves' charisma and stage presence engulfed the arena. The man should never be subdued to small venues. He makes the most of his set time marching constantly around the whole stage, and standing on the pit amps to get as close to the crowd as he can. Daniel has never been one to follow trends, and instead tries to always push the boundaries of the industrial scene. Aesthetically he does this wearing a basketball jersey and bucket hat, two things you would almost never see in the scene. But he then pairs it with latex skinny pants, and his personalized corpse paint. This uncanny unison may not work for most, but Daniel finds a way to make it fit. Daniel is backed by Noizith on guitar and keyboards, who looks like she’s stepping out of the industrial military regime. And drummer Brooke Colucci who blends her beauty and grace into slamming drum beats. Aesthetic Perfection played a set consisting of mostly his more modern songs like “Gods & Golds,” “S E X,” “TOXIC,” “Summer Goth,” “Rhythm + Control,” “Into the Void,” and ending with fan favorite “Love Like Lies.” I do hope this tour helps Aesthetic Perfection increase their fan base, as I need them to come back and tour California more consistently.
The next band up is one I have heard a lot about, and they have booked support spots on some major tours, but I have yet to have heard their music before this show. Twin Temple hit the stage and blessed us in their satanic holy water before slipping into their opening song “The Devil (Didn’t Make Me Do It).” For those of us not familiar with Twin Temple’s sound, I guarantee satanic doo-wop was not what any of us were expecting. The band consists of husband Zachary James on guitar and wife Alexandra James on vocals. Zachary, armed with his flame adorned Fender Telecaster, manipulates his tone to embody the old timey sound of 50s and 60s rock guitarists. While Alexandra seduces us with a voice that channels The Supremes. On the surface, Twin Temple’s music seems to be about worshipping Satan and falling in love with Lucifer. But truly listening to the lyrics you can find themes of feminism and individualism. Along with some of the most beautifully romantic songs I, personally, have heard in a long time. With Zachary and Alexandra being husband and wife, they have natural chemistry on stage, and you can feel how much they love performing together. Often taking part in a romantic dip and kiss throughout the show. Twin Temple only played five songs with the others being “Be a Slut,” "Let's Have a Satanic Orgy,” “I’m Wicked,” and “Satan’s a Woman,” but they left a lasting and lingering impression on the audience that no one will soon forget.
As the stage was flooded with fog, Till Lindemann finally took the stage. The entire band wore red bdsm-esque outfits, while Till himself also painted his face red. Kicking the show off with “Zunge,” the fans in attendance were ready to dance the night away to their industrial sound. Till has a deep powerful voice that commands the audience’s attention. Whether you speak German or not, every person was hanging on each word Till was singing. Lindemann is backed by an eclectic group of musicians, like Jes Paige and Emily Ruvidich on guitars, Danny Lohner on bass, Constance Antoinette on keyboards, and Joe Letz on drums. With Letz dressed as his alternate persona Sandy Beaches. Who has his mouth and nose pulled open, wearing a fake set of breasts and working vagina. How do I know it’s working? At one point, the band stopped playing so Letz could walk up to the front of the stage and pull fake baby fetus’s out and throw them into the crowd.
Something I didn’t realize until I got to the show and saw my ticket, that this was an 18+ event. Till Lindemann crafted a show that would have been pulled in front of the PMRC if they were still around today. Though the band members themselves weren’t doing anything too outrageous (other than Letz), the video package that accompanied the show constantly outdid itself. From starting the show with more tame visuals like an old man tearing off his skin, or overweight people jiggling their belly fat. To Lindemann having a swimming pool lube wrestling match with two naked women, a woman giving herself a golden shower, and creating a mosaic collage of vagina’s. Sometimes it was hard to focus on the live performance, as the visuals were baffling to say the least. Europeans tend to say that us American’s are prudes, and seeing how embarrassed and shy people were getting in the crowd as these visuals were shown on a 30ft LCD screen. I might have to agree.
Even with these visuals going on, there were still plenty of moments where Till Lindemann made sure the audience’s attention was on the band. For the song “Fish on,” Till pulled out what looked like a t-shirt cannon, but was instead shooting real dead fish out into the crowd. As the fish flew over the audience, fans were fighting for these souvenirs with just as much gusto as if it were a free t-shirt. For “Du hast kein Herz,” Till dawned a top hat with a live feed camera as he walked through the crowd interacting with the fans. Broadcasting it back on the LCD on stage. In this moment Constance Antoinette followed him with a keytar as fans happily danced around her in the pit. Till’s set also included songs like “Schweiss,” “Fat,” “Altes Fleisch,” “Allesfresser,” “Golden Shower,” “Sport frei,” “Blut,” “Praise Abort,” “Plats Eins,” “Skills in Pills,” and ending with a three song encore of “Knebel,” “Entre Dos Tierras,” and “Ich hasse Kinder.”
Walking into the Forum this night and seeing some of the attire fans were dressed in, I knew I was in for a unique kind of night. But nothing could truly prepare you for the experience you were going to have. The night played out like a drunken holiday out in Europe. Aesthetic Perfection started the night with a fun time at the industrial club dancing and drinking. Twin Temple was that weird couple at the end of the bar buying you drinks and inviting you to the after party. Till Lindemann then took you to the red light district and to the back alley after parties that you’re not quite sure if you want to be there or not. But you wake up the next day with a story none of your friends are gonna believe happened to you. If you’re brave enough, and Till Lindemann decides to tour again soon, I recommend the experience. You may be scared or questioning many things, but you’ll never have a concert experience like this again.
In the musical heyday of late 00’s and 2010’s, touring music festivals was something many music fans have grown to love and look forward to every year. Probably the biggest one had to be the Vans Warped Tour. But one that metal fans specifically looked forward to was the Rockstar Energy Mayhem Festival. Sadly, the tour retired with their final show taking place in 2015. But after nine long awaited years, Mayhem Festival has returned with a vengeance, ready to take over the Glen Helen Amphitheatre in San Bernardino, CA for a one day event. Mayhem booked 22 bands to play this day with headliners like Architects, Parkway Drive, and Bad Omens. As well as having three stages for fans to enjoy non-stop music from. Though the festival took place in October, we were blessed with sunny skies and warm weather. The perfect day to unleash the mosh pits and roar with the bands.
The doors opened at Noon and fans were already lining up to run into the venue and save their spots on the barricade for our headliners. Hours before they would ever hit the stage, our very first band Holy Wars kicked off this momentous event on the Back to Black Stage. Holy Wars was the perfect opener as vocalist Kat Leon brought the energy and bravado to entice fans over to the side stages. Even running into the crowd to embrace all the early attendees. The Back in Black Stage traded off bands with its counterpart the Blood Runs Red Stage, giving fans a never ending momentum of ear piercing music. As one band would finish their set, the next band would hit their opening song moments later. These two stages hosted two thirds of the overall bands playing including the likes of Roman Candle, Brutus, Escuela Grind, It Dies Today, Born of Osiris, Unearth, Hanabie, Darkest Hour, Throwdown, After the Burial, Suicide Silence, and We Came as Romans. Both stages culminated with their own headlining bands with Kittie on the Red Stage, and August Burns Red setting fire to the Black Stage.
While all this chaos was going on on the side stages, halfway through the day the Hot Topic Main Stage opened with Peyton Parrish kicking festivities off over there. But it was Seven Hours After Violet that really kicked things off on the main stage. This new band features Shavo Odadjian of System of a Down and Taylor Barber of Left to Suffer. This was the band's live performance debut, and they chose to do it at Mayhem Fest. Though fans may not have been familiar with the songs, the fans were still excited to see this supergroup live on stage and ate up every moment we got with them. We then got the one-two punch of Poppy and Jinjer who carried the flag for women in metal that can rock harder than some of the boys. With Poppy bringing a blend of sultry seductive songs, and then releasing her true fury and power in her voice. Where with Jinjer, you get the beautifully melodic cleans of Tatiana Shmayluk, who then can pivot on a dime into some of the nastiest gutturals any singer is bringing to the table this day.
As the sun was setting for the day, we got the first of our big names for Mayhem Fest with Architects. The last time this band played California was in 2019, and I have eagerly been waiting for them to get back here. So, it was very fortuitous that they were booked for Mayhem Fest. Kicking off their set with “Seeing Red,” vocalist Sam Carter hit the screaming fans with one of the filthiest “BLEGH’S” he could unleash, and this sent the crowd into a frenzy. With probably the second biggest stage setup of the night, Architects brought a headlining set, but we were still left with more to come. Following them was Parkway Drive who were the first to ignite the flames across the stage of Glen Helen. Parkway had a very stripped down stage setup, but made up for it with the 20ft tall pyro blasts, and some of the best breakdowns of the night. No other band could touch the intensity of the pit when Parkway went into their fan favorite song “Bottom Feeder.” It was when the band ended with “Wild Eyes” and vocalist Winston McCall guided everyone in the crowd to sing along with the guitar line that the world felt in harmony.
Finally, it was time for our ultimate headliner with Bad Omens. If there was a top band t-shirt people were wearing, it would be for this band. So, when Bad Omens hit the stage with their opening song “CONCRETE JUNGLE,” the fans were all too eager to start singing along. Vocalist Noah Sebastian dawned a new version of his traditional black ski mask, now with part of it torn away showing burnt skin. Guitarist Joakim Karlsson, bassist Nicholas Ruffilo, and drummer Nick Folio were still wearing their traditional black ski masks. If there was one thing the band set out to do with this performance at Mayhem Fest was show the evolution of the band and the grandeur that they can perform with, and they brought that aspect tenfold. With a 30ft+ LCD screen and LCD pillars placed on the floor and dangling from the ceiling. Bad Omens transformed the stage with every new song. From an urban cityscape to a futuristic world, through a forest, down the red door, into the inner workings of a machine shop, and more. Not only was this visual spectacle beyond captivating, the addition of pyro and cryo blasts amplified the presence of the band. Even setting the front line of the stage on fire for their song “Dethrone.” A personal favorite moment was when Poppy joined the band for their song “V.A.N.” Even after nearly 10 hours and 21 other bands, Bad Omens still managed to re-awaken the crowd and have them rocking out with songs like “ARTIFICIAL SUICIDE,” “THE DRAIN,” “ANYTHING > HUMAN,” “What Do You Want From Me?,” “What It Costs,” “Like a Villain,” “Take Me First,” “IDWT$,” “Glass Houses,” “The Grey,” “Nowhere to Go,” “Limits,” “THE DEATH OF PEACE OF MIND,” and an acoustic performance of “Just Pretend.”
Mayhem Festival got some backlash online for booking Bad Omens as the ultimate headliner, as some gatekeepers don’t feel they have earned that spot yet. To them I say, you missed a hell of a festival headlining show. Bad Omens put together a headlining show that could rival any other band out there right now. Mayhem wanted to make a statement that they were back after nine years with this show, and they certainly made one. Fans were knocked back by music that varied from metal, progressive, deathcore, hardcore, metalcore, and many other facets of the genre. Mayhem has announced plans for a full returning touring show in 2025, and I can only hope that this comes to fruition as I would love to attend this festival again and see what other bands they can bring together.
“I think about death all the time.”
Almost ironic for someone called Brendan Dyer. Principal songwriter and singer of the indie rock, shoegaze band MILLY, Dyer lays his hushed vocals over a bed of heavy guitar riffs while singing about both love and death. In their freshly released third LP "Your Own Becoming" (Dangerbird Records, 2024), the LA-based rock band exploits the benefits of weekly hangouts and daily walks to create ten powerful tracks, fueled by the desire to use one's darkest thoughts as a productive means. "Bittersweet Mary" brings mystery and love in a haunting record.
“This song was actually co-written in a song trade with my close friend, Dan Poppa (People I Love, Waveform*)" shares Dyer. “I ended up taking his song and changing up the lyrics and writing a whole second part. Bittersweet Mary was his title and it’s a song about mystery and magic and love and death. Yarden does his first ever scream at the end of the song before the guitar solo brings it all home. It’s a triumphant and powerful song — anthemic like the goal of a lot of these.”
Check it out now.
- Lio
When the video for "Night Terror" was released, I did myself the injustice of reading a ton of related social media posts prior to listening to the track out right. I saw everything from 'Best Song Ever' to 'Total Disappointment' and everything in between. Who would have thought a new release from one of my all-time favorite bands could be so polarizing? I get it, Portnoy is back after a 13+ year hiatus and Dream Theater as a whole is reportedly back to its chiseled pre-2009 form. There are many (and I mean many) opinions on Portnoy's departure and even more on his return. Regardless of your stance, its important to just sit back, take in the new track, and judge it for yourself based on the entire puzzle presented and not the individual puzzle pieces scatted across the table.
As the video begins, listeners are greeted with an all too familiar intro that seems to span decades of their most important work. Petrucci, Myung, Rudess, LaBrie, and Portnoy are each featured individually as the song takes flight, gaining in tempo and fervor until the 1:30 mark where this track literally goes ballistic. From that point forward, fans are treated to a barrage of interwoven sounds and stories that I would consider classic Dream Theater. And I wouldn't make the mistake of trying to say this track is supposed to be a continuation of X or the next chapter in Y. Take it as a reunion of brothers, doing what they were born to do right now in 2024. From start to finish, "Night Terror" is fresh, thoughtful, and edgy. It's a song that grabs ahold of you with its sonic mastery, ties you down, and won't let go.
Now for those who believe that "Night Terror" might be just another collection of madness from really talented musicians trying to out do one another, that couldn't be further from the truth. While each virtuosos in their own right, there is never any one instrument that overpowers another throughout this 10 minute rollercoaster. Instead, Petrucci, Myung, Rudess, and Portnoy masterfully glide along in unison, exploring the state we all encounter between sleep and wakefulness. LaBrie then weaves in some ultra haunting vocals that tie together the all the unique threads and concepts the song conjures up.
After a few spins around the block, I literally fell in love with this song and never looked back. To me, it transports me back in time to Dream Theater's roots while at the same time crossing new boundaries that highlight why this band is so special to so many, all around the world. "Night Terror" kicks some major ass, is a perfect precursor to their upcoming release, Parasomnia. It will provide new and old fans alike some critical insight into the Dream Theater's current state and where their March 22nd release may be taking you. And based on on this track, I'm all strapped in and ready to go for what will surely be one wild ride!
- Matthew Belter
James Todd Smith is one of the most influential people in hip-hop, when he hit the scene in 1985 he bought something new and something different to hip-hop. L(adies) L(ove) Cool J or now it could be L(iving) L(egend) Cool J is one of the earliest rappers to achieve commercial success, which has grown to a really solid acting career. But along the way putting out 13 albums, with that distinctive voice with some great tough lyrics, but also becoming the master of the hip-hop slow jam tracks about the ladies. How many rappers tried (and in many cases failed) to do those slow jams? I’ll be honest, I was never a huge fan of LL, but I’d put him up there with the other greats of hip-hop; KRS-One, Big Daddy Kane, Rakim, Kool Moe D were all my favorites, but no denying LL is a legend and one of the greatest of all time. Maybe it was the fact that he hit that commercial level with his music that I wasn’t into him as much as some of those others. My boy growing up; Mike from the boogie down Bronx, aka Money Mike, aka Maker, aka Herbie Love, LOVED LL, and was always playing his music. So, I heard LL the time. To this day when I hear “Go Cut Creator Go” I think about Herbie Love. When I heard he was coming out with a new album, his 14th studio album, I thought why, what does he need to prove. He’s one of GOAT’s. But I guess the question should be, WHY NOT? Hip-hop today lacks something, no it lacks a lot. So, if LL Cool J can bring something good to hip-hop, he should do it. It doesn’t matter how long he’s been doing this, and some could say he’s past his heyday in hip-hop, but his impact on hip-hop is enormous and undeniable, and is still felt today.
When I first listen to an album, especially if I am going to review it, I don’t look at any information, who produced it, collaborations, nothing. I like to go in fresh with a clean slate. So, when I started listening to The Force I was thinking this is LL Cool J rhyming over A Tribe Called Quest beats. Sure enough, we have LL’s lyrics over Q-Tip’s production to bring us a nice mash-up of styles and a pleasant surprise. They started working on this project in 2020, so this has taken time to create and complete, and it is worth the wait. This is unfiltered hip-hop. The album starts off with “Spirit of Cyrus” which brings an unexpected opener, not in a bad way, and portrays a black vigilante, with their gun pointed at the crooked cops that are always targeting the black communities. LL is fierce and vicious right out the start! This song features Snoop Dogg, I only wish Snoop would have had a verse in this joint. One of Q-Tips strongest productions is on the title track “The FORCE.” Love this beat! The jazzy abstract beats laid out with LL’s flow makes this a hit. “Saturday Night Special” featuring Rick Ross & Fat Joe comes to us next, this is a dope groove with the Q-Tip production and LL kills it with his flow and lyrics. Rick Ross and Fat Joe both do their thing, but compared to LL’s flow, just kind of fall flat. Cool J and Gambian singer Sonia Jobarteh bring us “Black Code Suite” where LL reflects on his life and really defines his blackness. The message is great, the song falls a little flat with both the production and lyrical flow. I love Sonia’s voice and would have like to hear more.
“Passion” is next up, another one of those tracks that takes us back to the glory days, it is a jazzy concoction with the hallmarks of that classic Tribe groove while LL flows over top of the beat. LL takes us back to those great love songs he’s known for adding Saweetie to “Proclivities.” There is something about the way LL shares his fantasies in his songs, not dirty and raw like so many hip-hop artists do, he makes it sound almost classy! It’s the way he hits us with the storytelling to get his point across. Saweetie sounds so good and is a perfect fit in this joint, the chemistry between them is on point. This brings us to a great song, “Post Modern.” The music is great with blazing electric guitars over a tough, strong beat with LL giving us some ferocious rhymes telling us about his time starting out and his drive to achieve; “My intuition is speakin', I'm tweakin', I can't ignore it/I'm on a mission of beatin' the odds, feed me some more/Got a vision, I'm raisin' the bar up to the Lord/Sowin' and reapin', so pockets are never leakin'. “30 Decembers” gives us a nice classic beat over that Tribe background sound, LL giving us a song about his self-worth, his struggles and growing confidence. One of the better lyrical songs on the album. “Runnit Back” comes on and you think it’s a Tribe or Q-Tip tune, but LL comes in with a slap in the face, BAM it’s me…..flowing straight through talking about his past accomplishments and carrying through his mission to destroy his opposition. “Yo, yo, you gettin' money, you really don't need to talk about it/Move quiet, you should try it, there's some clout around it/Chasin' hoes and overthinkin' the process/Outside of the gates spewin' the nonsense.”
“Huey In The Chair” featuring Busta Rhymes is next, and while not loving this one, both LL and Busta do flex in this one and give us some powerful moments. They bring the energy which helps get this song through. We get taken back in time with the production in “Basquiat Energy” and those amazing LL bars we have always been used to. “Roll some smoke and throw on Kid Creole/We in it to bring in the dough, not control hoes/In life, you gotta dance to your own rhythm/Nothin' fuckin' wit ya mans, got a bold vision/Devils in the system actin' like they have religion/When the bullets get to whizzing, where is all the moralism?” Nas joins LL on “Praise Him,” for another great song. Love seeing Nas join him on this joint, two legends going head-to-head, two legends that have been doing it for years and are still on top of their game and on top of the hip-hop world. Such a great flow from LL. “Murdergram Deux” featuring Eminem comes in with that Slim Shady beat feel. I have the utmost respect for Em, never really got into his music and style, but he can rap with the best of them. I think he falls a little short in this though, kind of blah with is flow, kinda like been there done that. And I think that carried over to LL’s flow. The album is finished off with “The Vow” featuring Mad Squablz, J-S.A.N.D. & Don Pablito. We are taken back to a more old school beat and flow, and some of L’s best lyrics and flow on the album. I love the production in this one, but it’s LL’s flow that makes this one of the top tracks, and a perfect way to finish off this project. The young MC’s do a nice job, and I love LL bringing them onto this song, but it is Uncle L that truly delivers.
I’ve been a hip-hop fan for most of my life, been listening since the mid-80’s, and while most of today’s hip-hop doesn’t do it for me, when a legend can come back and hit us with a dope, lyrically strong album it keeps that love of hip-hop alive in me. It’s not great, but it’s powerful, and LL Cool J is still a master rapper, he did say that he had to re-learn how to rhyme while making this album. I think what he is saying is, he didn’t want to just bring us the old school LL, he wanted to keep those strong lyrics and flows, but he needed to step up his game and hit us with some powerful lyrics and rhymes. And he succeeded! Q-Tip plays an important role as well, bringing a new and fresh style to LL, bringing us some great beats and grooves. It all comes together, for the most part, and works well. He brings dynamic tracks that just works with LL's style, flow and delivery. THE FORCE is not flawless, but it is incredibly good and in todays hip-hop…..great. The 56-year-old flexes, brings strong lyrics, gives us some of that old school Uncle L, but also brings us a nice growth and new style. Don’t call it a comeback, he’s been here for years…..and still bringing it!
One Love – Todd Judd
Portland, Maine’s State Theatre became a battleground for some of the heaviest names in metal. Crypta, Umbra Vitae, Harm’s Way, and Carcass took on the responsibilities of setting the tone perfectly before legendary Hatebreed Took the stage in what I can only describe as face-melting chaos from start to finish (in the best way possible).
The evening opened with Crypta, the Brazilian death metal outfit. Their thrash-infused sound and tight musicianship quickly got heads banging. Lead vocalist Fernanda Lira was a force on stage, with songs like “From the Ashes” showing off her dynamic presence. The crowd, still warming up, responded well to their high-energy performance, which set the night’s unrelenting pace.
Umbra Vitae, followed with a heavy, and actually surprising set was a moshers dream. In a welcome and rad surprise, they took the stage, and I realized they were fronted by Jacob Bannon (of Converge fame), who’s voice and stage presence felt right at home with their blend of deathcore and hardcore. Their haunting tones provided a sharp contrast to the intensity that followed with Harm’s Way.
By the time Harm’s Way took the stage, the circle pits were in full force. The Chicago band’s pummeling grooves and industrial-tinged hardcore were met with a wave of furious moshing, especially during tracks like “Mind Control.” Their set was tight and ruthless, leaving little room to breathe as they continued to stoke the fire of the evening.
The anticipation reached its peak with Carcass - legends in their own right. Their surgical death metal precision was undeniable, as they carved through classics like “Corporal Jigsore Quandary” and “Heartwork.” The sheer intensity of Bill Steer’s guitar and Jeff Walker’s snarling vocals commanded the room, delivering a performance that was both nostalgic and exhilarating. By this point, the State Theatre was a sea of bodies moving in unison, preparing for what everyone had come to see: Hatebreed.
Hatebreed exploded onto the stage with the kind of energy that can only come from a band with decades of hardcore under their belts. Jamey Jasta, ever the motivational figure, led the charge, whipping the crowd into a frenzy with every lyric. Songs like “Destroy Everything” and “Perseverance” hit hard, each riff heavier than the last. The crowd was unstoppable, fueling the band’s performance as bodies collided in the pit.
Hatebreed’s setlist was a career-spanning mix of fan favorites and deeper cuts, with highlights like “Live for This” and “Looking Down the Barrel of Today.” Chris Beattie’s basslines hit like a wrecking ball, while Wayne Lozinak’s blistering guitar work kept the momentum at a fever pitch. As always, Matt Byrne provided the perfect rhythmic backbone with his machine-like drumming, each beat pounding through the crowd like a call to arms.
The night reached its climax with the final two tracks of the setlist “Perseverance” and “Proven” with Umbra’s Sean Martin coming back out on stage and playing with Hatebreed. The venue damn near erupted, with nearly everyone headbanging along (myself included). Hatebreed’s presence felt like more than just a concert—it was a communal experience, an outlet for aggression, empowerment, and unity. The mass exodus from the venue as the night came to a close was a wave of sweat, bruises, and tired exhilaration as the consensus was a mutual one – Damn, that was a hell of a show.
Last week I headed to The Marley Brothers concert in Holmdel, NJ and while waiting for my photo pass (about two hours) I met and talked with reggae artist Kenny Vanella. This was the first time meeting him. What a great guy and we had some great conversations. Kenny mentioned to me that he loves Jamaican reggae and really doesn’t know much American reggae artists/groups. He’s all about Jamaican reggae, much like me (even though I do listen to my fair share of America reggae) I also love Jamaican reggae. His friend Shannon asked me if I listened to his album, Revival of the Spirit, because it is really based on that Jamaican reggae and message. I told him I haven’t but promised I would. He asked if I knew Squidly Cole because he produced the album and has worked with him since 2014. I’ve known Squidly for about ten years, he is the greatest reggae drummer out there today and a musical genius, so I knew the album must be good. I reached out to Squid to tell him I was writing the review and he said, “this is dedicated to all musicians worldwide.” After the concert I had a four-hour drive home, so I put the album on, three times. To be honest the first time through I still had The Marley Brothers show going through my mind and thoughts about what I was going to put in my concert review. So I put it on a second time and took it in. Since I still had three hours left, I put it on a third time and really started to listen to the lyrics. I was really liking what I was hearing. This album was a long time coming, Kenny technically started recording the album in 2019 with a single called “Fikkle Likkle Tree” and then the rest would be done in 2020, but this thing called Covid hit and shut down the album creation. He wanted a fresh start and the first actual sessions at Tuff Gong Studio in Kingston, Jamaica were in November 2022, where “Fikkle” was actually left off the album.
The album starts off with one of my favorites, and I think a great way to start this off, “Platinum Lion.” Just starts this off with a nice upbeat tune, great lyrics and some nice horns to carry us through. It sets the tone for this journey Kenny and Squidly are about to take us on. “Carbon Paper” is next up, another great groove and some soulful singing from Kenny. Great reggae riddim to this one. Maybe my favorite song is next, “Surveillance.” I just love the rhythm and beat, and once again that soulful voice flowing through the song. Kenny said of this song;
“I wrote the song Surveillance in 2015 after coming back home to Wilmington, DE from a long stay in Kingston where I met Squid for the first time. I needed work…and I ended getting a job operating the CCTV cameras in downtown Wilmington. Well, without getting into too much detail…the surveillance practices of this company at the time were ethically/morally questionable and I kept thinking about the Bob Marley lyric…Rasta don’t work for no CIA…so I had to get out of there. One night before I’m about to quit…I smoke a bunch of herb…and I’m listening to the Mighty Diamonds classic tune “Right Time.” I grab my guitar and start playing the chords and sing surveillance in the city, getting shitty, surveillance in the city, a nitty gritty. And I write the tune. Fast forward to 2022, we are at Tuff Gong for the first sessions recording Revival of the Spirit. I start playing “Surveillance”…and Squidly comes out of the drum room and he’s rubbing his head and he’s like this song man it’s something man…I love it. And tell him I wrote it after listening to “Right Time.” Squidly yells…yes that’s it Kenny oh my lord yes…he says you know Tabby Diamond is my uncle…my mother’s brother. And Tabby had just been killed just a few months prior to this. So Squidly was very emotional about hearing this song. That emotion turned to joy and he directed Llamar “Riff Raff” Brown to play that descending piano lick very similar to “Right Time”…so “Surveillance” is an ode and tribute to Tabby and The Mighty Diamonds.”
He has Kumar join him on “I Fly A Flag” another great riddim and flow to this one. Kumar and Kenny flow so nicely together in this, would love to hear them do some more songs together. They really complement each other. “Rastafari Love” is next with a real nice upbeat groove. Kind of song that puts a big smile on your face. A song that will uplift you when you are down. A song for the people of the world! Another one of my favorites, “Fortress” comes in next. With Squidly Cole and Alex Wasily from the New Orleans group Dumpstaphunk, this comes in with a force. This song is about Squidly’s beat and Alex’s trombone play, but Kenny once again hits us with great lyrics and vocals. “World Is Turning” hits us next, another song I love, with the great riddim and horns. Kenny has a nice flow in this changing up his flow and bringing us that sweet voice once again. The music arrangement is amazing.
Wilmington’s Richard Raw joins Kenny on “All Day,” a little more chill sound to this, with a great message. The rap flow from Richard is awesome and fits in perfectly with this song. Loving this one. “Our Love” is next, again a little more chill and slower groove, I love the background singers in this one, the way they work off of Kenny is sweet. You can really hear how great Kenny’s range and voice is. The album is finished off with “Compassionate People” featuring Andrew Tosh. A sweet slow song, Kenny said of the song;
“Ok so Compassionate People. Back in like 2011 maybe 12…I’m puffing some herb and listening to Peter Tosh. “Lessons In My Life” comes on…and I’m listening to it and these lines and verses start really hitting me…”I’m an upful man and I like upful people…I’m an intelligent man and I like intelligent people…I’m an honest man and I love honest people”…and so on. I pick up my guitar and start playing some chords and I think to myself…I’m a compassionate man and I love compassionate people. So I write the tune. Now…it’s fall 2019 and I get the calling to finally start the journey to record the album. At the time I’m working at a medical cannabis dispensary, and I had this song from a few years prior I wrote called “Fikkle Likkle Tree.” I figure let me go down to Kingston…link with Squidly…record this one track…shoot a video for it and release it on 4/20..2020..with the idea that right after, in the spring of 2020 I’ll head back and cut the rest of the songs for the album. Well, Covid postponed all that. Anyhow, back to 2019…I plan my trip to coincide with Peter Tosh Birthday on October 2019. I figure there will be some celebrations and I can make the most of the trip. And I start looking for places to stay and I see that Pulse Rooms is a hotel in the same complex as the Peter Tosh Museum on Lady Musgrave Rd. I book a room there having no idea that the stage for birthday celebration concert would be built right in front of the hotel. As it turns out the security guard at the complex, who became my friend, introduces me to Andrew Tosh at sound check. How cool right? So now after meeting him, the idea comes to mind…how wonderful would it be if I could have Andrew join me on “Compassionate People”....to have that spirit and approval of the Tosh family on a song written in Peter’s honor. And almost 4 years later we were able to make that a reality.”
This album is a well thought out project, the production is excellent, the music just flows great and the lyrics and vocals are amazing. Kenny has a wonderful voice. Kenny’s take on this album and journey sums it up perfectly: “This whole journey and process has been absolutely incredible and I get the chills thinking about it right now. I’m from Wilmington Delaware where Bob Marley’s mothers family, The Malcolm’s live. Bob and his family spent a great deal of time here and like millions of people, I have been so completely inspired by him. My proximity here has led me to build a loving relationship to the Malcolm’s since 1999 through Sister Ivy, David, and Cisco. I am a disciple of Bob Marley…and there was no other option than to record this album at Tuff Gong. The amount of gratitude and honor and reverence I have cannot be put into words. The very first lyric in the tune “World Is Turning” says, “I never had a choice, so I came just as Jah made me.” That is taken directly from the Bob interview…when the white reporter asks him…do you have to be black to be a Rastafarian? Can I be Rasta? And Bob asks him…do you have a choice? If you have a choice, you should be black…but if not…just come as God made you.” I really enjoyed this album, it makes you think, but at the same time entertains. It may have taken a few years for it to come together, but it is well worth the wait. He was able to include a great cast of Jamaican musicisians as well as several Delaware artists to help with this project. “The record is 100% rockers,” says Squidly Cole in a recent interview. “You can put it on and leave it on. Kenny has great lyrics, so the album just flows. Kenny is totally sincere in his love of roots rock reggae and his commitment to Rastafari. It has nothing to do with color. Kenny has a great future in the music business.”It is up for consideration for a Grammy in 2025, I wish Kenny and Squidly all the best, this album is for all people.
One Love – Todd Judd
The Hu's music video for their cover of Iron Maiden's "The Trooper" is a captivating fusion of cultures and sounds, marrying the raw power of heavy metal with the profound depth of traditional Mongolian music. From the onset, the band sets the tone with Gala's signature throat singing and the rich, resonant sounds of the Morin Khuur, a horsehead fiddle that instantly transports listeners to the vast steppes of Mongolia. These elements blend seamlessly with the electric guitar riffs and pounding drums, crafting a version of "The Trooper" that is both familiar and refreshingly novel. Visually, the music video is simple, yet a feast for the eyes. The cinematography (all captured in Black & White) pulls out the wild intensity of the song, while the band's members command the screen with a rocking yet regal presence.
This cover has a broad appeal that transcends musical boundaries. Iron Maiden fans will appreciate the respectful nod to the original's energy and spirit, while new listeners might find themselves drawn to The Hu's innovative soundscape that bridges the past and present. The Hu's rendition of "The Trooper" is not just a cover; it's a cultural reimagining that showcases the band's ability to honor iconic music while carving out their unique artistic path. This blend of musical traditions and visual storytelling makes the video a standout piece in the realm of cross-cultural musical expression. And for those lucky enough to catch Iron Maiden on their Future Past Tour this October and November, you may run into The Hu and all their madness as they are opening the majority of shows in the US and Canada.
- Matthew Belter