Get ready to groove! David Byrne and DEVO have unearthed their decades-old gem, "Empire," for a special cause. This long-unheard collaboration is finally seeing the light of day as part of the charitable compilation album **NOISE FOR NOW VOL. 2**, supporting abortion access. The track, which melds Byrne's eclectic style with DEVO's signature energy, promises to be an auditory treat for fans old and new. Catch this legendary reunion and support a great cause by tuning in when the album drops on June 21st. See Press Release below for additional details!
On June 21st, 501(c)3 non-profit organization NOISE FOR NOW will release the second album on their recently launched label, NOISE FOR NOW VOL. 2. The release coincides with the two-year anniversary of the Supreme Court’s Dobbs decision, forever changing the landscape of reproductive rights in the United States. Continued attacks on abortion further overextend already under resourced independent clinics as they adapt, respond and challenge these bans. Set to benefit independent abortion providers throughout the nation via Keep Our Clinics, the album features exclusive versions of tracks by Faye Webster, The War On Drugs, Courtney Barnett, David Byrne and Devo, MC50 ft. Arrow De Wilde, Big Freedia, SOFIA ISELLA, Julia Jacklin, Becca Mancari, Claud and AJ Haynes (of Seratones). NOISE FOR NOW VOL. 2 will be available on vinyl at your local record store and digitally across all streaming platforms. Pre-save / pre-order the album here: https://lnk.to/kQzIoFAW.
Today, NOISE FOR NOW shares the latest release from the album, “Empire” from David Byrne and DEVO, following last month’s release of Faye Webster’s "Lifetime (Live)." The song was originally released via the 2022 digital-only benefit compilation, Good Music To Ensure Safe Abortion Access To All, which was available for only 24 hours via Bandcamp and, along with the t-shirt sales featuring the album’s Kim Gordon-created “Liberate Abortion” cover art, grossed over $230,000.
“Years ago, I did a record called Feelings in which I collaborated with different musicians on the songs,” notes Byrne. “I worked with members of DEVO on 2 songs, one of which is on the album. The other one, ‘Empire,’ is an ironic capitalist fascist anthem and, at the time, I thought our version was just too mean and caustic for release. Well, times change, and it certainly resonates now in ways it maybe didn't then. It was a joy to work with the DEVO guys, they knew exactly what the song is about.” DEVO’s Gerald Casale also says, “We were on board working with the dark satire of David Byrne’s ‘Empire’ over 30 years ago. The song was prescient and we got it. Now it can be heard!”
“Freedom of Choice is what you’ve got. Freedom from Choice is what you want. (DEVO 1980)” – “Unfortunately the forces of tyranny are striking with impunity now. These bad actors are not Pro-Life so much as they are Anti-Choice. They want women to live in a real life version of The Handmaid’s Tale,” adds Casale. “But there’s more of us who respect human rights than those who want to crush those rights. Freedom of Choice is a constant fight. DEVO salutes NOISE FOR NOW for their efforts to save a woman’s right to abortion.”
NOISE FOR NOW enables artists and entertainers to connect with and financially support grassroots organizations that work in the field of Reproductive Justice including abortion access. The organization believes that we all deserve accurate and consistent information, access to safe and dignified health care, and the ability to control our bodies and lives. The new compilation follows the release of NOISE FOR NOW Vol 1 – a special vinyl-only limited edition album featuring tracks from Maya Hawke, Amanda Shires and Jason Isbell, Bully, Wet Leg, My Morning Jacket, Fleet Foxes, and more. The LP was released in November 2023 and is available on clear vinyl via the NOISE FOR NOW store HERE. These songs were originally found on the Good Music To Ensure Safe Abortion Access To All benefit compilation.
‘NOISE FOR NOW: VOL. 2’ DIGITAL TRACK LISTING
01 - Julia Jacklin - “Dead From The Waist Down (Catatonia cover)”
02 - Courtney Barnett - “Boxing Day Blues (Demo)”
03 - Becca Mancari - “It's Too Late (Demo)”
04 - The War On Drugs - “Victim (Live)”
05 - MC50 feat. Arrow DeWilde - “High School (Live)”
06 - A.J. Haynes (of Seratones) - “Everything is Change”
07 - Claud - “Spare Tire (Demo)”
08 - Faye Webster - “Lifetime (Live)”
09 - SOFIA ISELLA - “Hot Gum (she version)”
10 - David Byrne and Devo - “Empire”
11 - Big Freedia - “Holatta”
Pre-save / pre-order here: https://lnk.to/kQzIoFAW
On this summer evening, LA’s finest, iconic, funky, grooving rock band, Red Hot Chili Peppers, are set to open the season at the Toyota Amphitheater in Wheatland, CA. The multi-generational crowd was ready to funk out to the kings of funk, groove, and rock. As the seats were filling up and packing in for a night to remember, the opening act, rapper Ken Carson, set the tone for the evening with his fervent performance, making his presence known with bumping bass tracks and intent to spit hot bars into the crowd with no avail. The fire was being launched and prepped the crowd for what’s to come next, the main event.
The Peppers are on their Unlimited Love tour which began in 2022 and continues into 2024, making multiple stops across North America. Supporting the band’s double releases of 2022 titled Unlimited Love and Return of the Dream Canteen, this is the first tour for the Peppers since 2019. These Grammy-winning Rock and Roll Hall of Fame inductees are giving it all to their fans on this lengthy tour, playing all the hits and some deep cuts alike with an introspective set list that spans 40 years of enduring passion and shows the reason for this band's longevity in the music industry.
And now on to the main attraction, The Red Hot Chili Peppers. As the band hit the stage, Flea strutted out in a full handstand in a skirt and the crowd leaps up on their feet for the funky intro song followed by their massive hit “Dani California.” The songs are as I remember, a signature blend of funk, punk, and catchy feel-good vibes. This band never disappoints, delivering their chart-topping songs with polarizing deliverance with a mastery of their instruments and enthusiasm on full display for the fans. The band continues the jams with more from the newer releases as well as classics like “The Other Side” and “Scar Tissue.” Flea’s funk flair and groovy melodies were enjoyed by all with his slap bass rituals, pulsating bass lines, and flying leaps. He was in perfect unison with Anthony Kiedis' martial arts moves. Even with a medical boot on one leg, Kiedis seems to keep up with the grasshopper stage antics while delivering the multiple vocal styles he is known for.
Back in the mix is guitarist John Frusciante, a thoughtful, melodic, emotional guitarist that lends a great flavor to the Peppers' songs about love, lost friendships, and personal struggles with addiction. His hiatus from The Peppers was surely missed. Chad Smith was his usual confident self, keeping perfect time on the skins, making the low-end groove magically with Flea. Longtime touring keyboardist, Chris Warren, is always a treat to watch. The visuals were stunning; gigantic LED screens with psychedelic imagery sprawled across the stage were mesmerizing and well-executed. The energy remained high from both the band and the audience as they showcased their best tracks while delivering a stellar performance. And, of course, a bass solo made an appearance, and the anticipated biggest hits upon the encore.
This was a night to remember for all in attendance. The RHCP have stood the test of time, making it through tube socks, drug addictions, a revolving door of guitarists, and 40 years of the seedy underbelly of the music industry, only to come out shining and magical. I can see that they are on a mission to give it all away to the fans, creating a lasting impression on old and new fans. They left the audience in awe; it was nothing short of epic, and it was a shame for the night to end. You can catch up with the tour as it plunders on across North America, concluding in St. Louis on July 30th.
Maggie Lindemann’s show on May 29th at The Troubadour, with support from Too Poor, was a night to remember. The venue was packed, and the crowd's excitement was palpable. Too Poor kicked off the night with an energetic DJ set, wearing a striking black and white striped leather jacket reminiscent of Beetlejuice. She skillfully hyped up the alternative crowd, filling the room with raised hands as she threw shirts into the audience while dancing and smiling.
The anticipation for Maggie Lindemann was high, with fans chanting her name even before she took the stage. Celebrating her album Headsplit, Maggie performed many songs from it, captivating the audience with her dynamic stage presence. She engaged closely with fans, often approaching the sides of the stage for memorable interactions.
A highlight was seeing Maggie and Siiickbrain perform together. Siiickbrain's screaming vocals contrasted powerfully with Maggie's, creating an intense and unforgettable performance. Their on-stage chemistry made the performance feel like a thrilling battle.
Jasiah joined Maggie briefly to perform "Taking Over Me," a moment that felt like an adrenaline rush. Iconic songs like "Loner," "Crash and Burn," and "She Knows It" were crowd favorites. "Loner" resonated deeply with many, while "She Knows It" was a celebration for many girls in the audience. A special moment unfolded when Maggie invited her fan, Lia, to sing on stage, showcasing Maggie’s genuine appreciation for her fans.
The crowd was fully immersed in the music, especially during "Hostage." As Maggie and her band exited the stage, the audience's desire for more was evident. The encore was electrifying, with Siiickbrain returning for an unforgettable finale. Even typically annoying aspects of shows were fun in this lively atmosphere.
Overall, Maggie Lindemann's show, supported by Too Poor was an experience that left everyone wanting more. If you missed it, it was truly a loss, as such electrifying performances are rare and irreplicable. This show undoubtedly sparked a desire to attend more of their live performances and you should too!
Ashley Kutcher kicked up an emotional storm of a night on her headlining show for her House On The Water Tour at the Troubadour, with support from Dead Like Disco and Caleb Hearn. The fans were already fully bringing in the energy, wearing shirts with their own signs for Ashley Kutcher and shirts with her name on them as well. People came from different states just for this show, and you could feel everyone’s excitement every time they cheered.
Dead Like Disco knew what they were doing from the moment they hit the stage. If they didn’t say it was their first tour, I’m sure anyone would have thought that they’ve been around for a long time. They have the confidence, smiles, and stage presence to shine a light on anyone who is watching. The band members would switch between instruments as well, but it still felt organic. Their setlist included songs such as "Validation," "I Don’t Wanna Go Out Tonight," "PSFOP," "Emotional Graffiti," "Hollywood is Burning," "Smells Like Teen Spirit," and "In Another Life."
Ashley’s drummer even came out to play wearing not one, but two pieces of Dead Like Disco’s merch for a song; it was a wholesome moment. The lyrics for "Emotional Graffiti" painted a picture in the mind, and "PSFOP" is a song that a lot of people who’ve dealt with a situationship or even just a complicated relationship can relate to. Plus, it’s catchy, and it wouldn’t surprise me if it blew up on TikTok. I’m strongly looking forward to seeing what this band does next.
When Caleb Hearn took the stage, he brought a boy-next-door charm that excited many in the audience. His setlist featured songs like "1000 Reasons," "Damage," "Half As Good," "Warm Body," "If It Wasn’t For You," "1200 Sq Ft," "Birthdays And Funerals," "Little Bit Better," and "Klonopin." "1000 Reasons" encourages perseverance, while "Damage" poignantly addresses life's transience. Before "Half As Good," Caleb shared a touching story about his Grandma, reminding us to cherish loved ones. "1200 Sq Ft" echoes this sentiment. "Klonopin" vividly captures his struggle with anxiety, and "Birthdays and Funerals" is a tear-jerking love song. The highlight was "Little Bit Better," where Rosie joined him, electrifying the room.
When Ashley Kutcher finally hit the stage, fans eagerly awaited her arrival. She wore a shirt signed by her fans and added songs to the setlist to please them. Her performance included tracks like "House On The Water," "Love You More," "Half Gone," "Matchbox," "Girl In The Mirror," "Trust Fall," "Sleepy," "If I Could," "The Night You Left," "Strangers," "Plead," "Man I Feel Like A Woman," "Favorite Color," "How's The Weather," "LYFAD," and "Boy From Carolina." Her guitarist from Dead Like Disco matched her energy. Ashley connected with fans through relatable stories and exuded the charisma of a headliner with the warmth of a friend. Sitting on the stage’s edge with her acoustic guitar created an intimate moment. "Love You More" explores lingering love, while "Girl In The Mirror" deals with self-conflict. A standout was Ashley and Dead Like Disco’s fun rendition of Shania Twain's "Man I Feel Like A Woman." Ashley’s ability to switch from emotional ballads to upbeat tunes left a lasting impact.
Bottom line, if you weren’t at the Troubadour that night, you missed out on a colorful, emotional rollercoaster of a good time. You could feel the appreciation and sense of family all of these artists had for each other, especially with Ashley Kutcher and Dead Like Disco. Caleb had his own unique charm as well. You could also see the strength the music has given to all the fans who listen to it. Regardless of who you are, this was a night anyone could appreciate.
Sometimes it can be annoying when a venue is supposedly to host a concert event, only for that said venue to bump the original artist to another spot in lieu of another artist/group. That is what happened at the Constellation Room at the Observatory in Santa Ana, CA in late April. It was supposed to be a night of horror metal and nu metal excitement with Doyle & Otep rocking out the Constellation Room. However, their show was replaced with a surprise performance by alternative rock Gods Weezer (that would have been a cool show too). As luck would have it, the Parish Room at the House of Blues in Anaheim became available. Along with modern hard rockers Red Devil Vortex, Doyle & Otep jumped at the chance to scream their bloody lungs out for Anaheim. Rabit and I headed on over to hear a bunch of love songs that fans could dance to.
First up for the night was Los Angeles’ Red Devil Vortex. I am familiar with this group’s hard rock style, devilish rock ‘n’ roll that is fun for all ages. Bassist and lead vocalist Gabriel Connor has this humbling voice that is commanding but flows in the air naturally. He also dominates the bass lines with sheer force. Guitarist Luis Kalil has an insane fingering technique that could rival Godsmack’s Tony Rombola and Rage Against the Machine’s Tom Morello. Let us not forget drummer Eduardo Baldo, who is a killing machine behind the kit. Swift and deadly, Baldo laid to waste each note that came his way. For their half hour set, Red Devil Vortex wetted the crowd’s appetite for metal with songs like “Open the Gates,” “More Luck Than Brains,” “Viper,” “The Devil’s Place,” “Disaster,” “Freak Show,” and “Something Has to Die.” Having just dropped their self-titled debut LP, this band is entering the vortex that should take them to heavy metal glory. Sinister to the last note, I am hungry for more Red Devil Vortex down the road.
Following up with that stellar performance is nu metal legend Otep. What is cool about seeing Otep again was that for Rabit and myself, she was the first headliner we ever covered together (Observatory, 2016). Eight years later, she comes back full circle. While I liked her performance in 2016, I felt this one was far superior. I do not know what it was, but she brought incredible energy to this tour that made me really feel the vibes in the music she creates. Maybe it is also because since latest album, The God Slayer, is set to be her last, she was not going to pull back her punches on stage. Along her touring partners that included a drummer, guitarist AJ Bartholomew, and bassist Tiaday Bell, Otep did waste any time slaying the audience with her unapologetic brashness and nu metal swagger. From “Battle Ready” to “Fillthee,” “My Confession,” “T.R.I.C.,” “Apex Predator,” and “Menocide,” the Parish Room was in mosh mode. My personal favorites were “Blood Pigs” and “Equal Rights, Equal Left” as they brought extra oomph to the set. All in all, Otep was the Anaheim slayer going out with a bang.
After a brief intermission to catch our breaths, out came the grand puma of the horror metal scene, Doyle. It still baffles my mind that this man is still razor sharp with his punk and metal licks, but he is still insanely ripped at 59. Dear God, Doyle Wolfgang von Frankenstein is not human! Along with his longtime frontman Alex Story, aka Wolfman, they were howling and terrorizing the Anaheim crowd. Wolfman is a werewolf of a singer, snarling and growling to the microphone, while reminding the crowd that each song was sort of like a love song and we could dance to it if we wanted to (hahaha, still gets me). During one the songs, he climbed to the top of the stacked amps and sang like a madman. Along with bassist Brandon Strate and newcomer drummer Luke Wright, who was sensational on the kit especially during his solo number, Doyle brought horror fun to the Parish Room, making it feel like Halloween in the Springtime. We all banged our heads to their classic hits like “Abominator,” “Beast Like Me,” “Cemeterysexxx,” “Valley of Shadows,” “Night of Sin,” “DreamingDeadGirls,” “Witchcraft,” “We Belong Dead,” “Drawing Down the Moon,” “Learn to Bleed,” and “Hope Hell is Warm.” Ending the evening with Doyle always brightens my next morning.
Though the show was meant for the Constellation Room, I preferred to be at the Parish Room because that night had great synergy at the venue. Sometimes an unexpected change in scenery can lead to even better evening. Doyle and Otep were weapons of mass metal destruction that leveled the Anaheim crowd, while Red Devil Vortex was the fuse that sparked the night. It is amazing to think that eight years ago with seeing Otep, Rabit and I became a dynamic duo in the rock/metal journalism scene. You know what, we are just getting started. To Doyle, Otep, and Red Devil Vortex, I salute you. Horns up!!!
(Photos by: Matt 'Rabit' Martinez)
Billy Sheehan, Eric Martin, and Paul Gilbert tore the house down in a big way on May 15th. (Hey that’s two puns for the price of one.) All jokes aside, Mr. Big took over the Coach House in San Juan Capistrano and rocked the OC. As good as they are and with all the years of touring under their collective belts, it would be easy for them to phone it in. But no, these are three of the absolute best at what they do in both musicianship and stage presence.
This is billed as the “Big Finish” tour. It’s a bit emotional, because not only is this the farewell tour for the band, but the main reason is the still raw loss of drummer, Pat Torpey. On this particular night, there wasn’t an opening act, so when the band tore into the first song, “Addicted to That Rush,” which also happens to be the first song on their debut album, the audience knew it was time to buckle their seat belts because Mr. Big was about to bring it in a big way.
Besides being a farewell, another draw for this tour was to see and hear the band’s sophomore album, Lean Into It, played in its entirety. Lean Into It was a smash breakthrough and yielded a number one hit with “To Be With You.” That happens to be the last song on the album and the album was played in order. So what happened before it? Virtuoso playing. Harmonies. And lots and lots of fun.
Paul Gilbert broke out the Makita drill for "Daddy, Brother, Lover, Little Boy (The Electric Drill Song)." Billy Sheehan made good use of his signature Yamaha double-neck bass. And even though Eric Martin has had some vocal issues of late, the harmonies of Sheehan, Gilbert, and drummer Nick D’Virgilio, more than aided Martin during the evening.
After finishing the Lean Into It segment of the evening, the band did a sweet cover of Cat Steven’s “Wild World.” And then it was time to once again strap in. Paul Gilbert took center stage and reminded everyone just what a guitar hero looks and sounds like. He tapped. He shredded. He played “Gonna Fly Now,” the theme from Rocky. Billy Sheehan also got a solo, as well he should. He takes the bass to places that many can only dream of. (Sheehan is also the king of the “Bass Face.”)
Mr. Big are masters of their craft and it’s obvious they love what they do. The final set of songs were covers, albeit “Shy Boy” may be a Talas song, but Talas was Sheehan’s band. The fun and musicianship were really evident when Sheehan took over on vocals, Martin moved to bass, D’Virgilio strapped on a guitar, and Gilbert went behind the drum kit for a rousing “Good Lovin’.”
The night finished with an anthemic “Baba O’Riley” and the evening came to an end with the audience knowing they’ve seen and hear really great music played by really great musicians.
SETLIST
I’ve been fortunate to see many metalcore legends live in concert, but one that has always eluded me was Asking Alexandria. They have come through Southern California countless number of times, but something has always come up and I missed them. The last opportunity I had was their co-headlining tour with Nothing More. Which, sadly Asking Alexandria had to drop out of due to Danny Worsnop dealing with a throat infection. Thankfully he was able to recover, and Asking Alexandria announced their next tour. The All My Friends North American Tour with support from Memphis May Fire, The Word Alive, and NERV. This incredible lineup came to the House of Blues in Anaheim, CA and I stepped into the venue ready to see a band that will no longer elude me.
Opening the night was a metalcore band known as NERV. I had heard of this band in passing, so I was excited to see what they had to offer. Starting the night off with their song “Bad Nature,” vocalist Dillon Jones gets the show started by screaming the lyrics “You and me are just bad nature!,” before guitarist Scott Buchanan and Jordan Grokett launch into a fiery riff. NERV were here to get the crowd pumped for the show. Drummer Tyler Clark was a groove master behind the kit, letting his playing flow with melody. One of the sweetest moments was when Dillon Jones young daughter could be seen rocking out on the side of the stage. Jones spotted her and picked her up to help sing the outro of “Blue.” You could see the joy in his eyes from getting to share his passion with her. Other songs NERV played included “Not the One,” “Demons,” “Fake,” “Low,” and ending with “Bad Habits.” The House of Blues was already packed before NERV went on, and the crowd fed them their energy to help heighten the performance.
Up next was band known as The Word Alive. I had the pleasure of seeing them once before back in 2018 in this same venue. But this was before I knew who they were. At the time, I thought they were good, but I wasn’t captivated yet. Over the last few years, I have been getting more and more into the band, and have regretted not properly appreciating the band the first time I saw them. So, when they were announced on this tour, I was happy to finally see the band live and appreciate them properly. Vocalist Telle Smith is very beloved in the metal community, and the fans made sure to show him their love, as they hung on every word he sang, and accompanying him by singing along with every song. Guitarist Jose DelRio was just as charismatic on stage, whipping his hair around and shredding right into the faces of the front row. While fellow guitarist Zach Hansen is a bit more subdued on stage, instead letting his instrument do the talking, while still backing Telle with powerful screams. Drummer Daniel Nelson slams on the kit with powerful double kick blasts that let the crowd rage. The Word Alive kept the energy up with songs like “2012,” “Nocturnal Future,” “Play the Victim,” “Hate Me,” “Slow Burn,” “New Reality,” “Life Cycles,” and ending with “One of Us.” For the final song Telle wanted to see anyone who had not crowd surf, get up in the air and get crowd surf to the front. This sent a barrage of bodies hurdling over the barricade for security to catch, and everyone was having the time of their life.
The next band up was Memphis May Fire. These Texas boys always bring a standout show to their loyal fans. However, something must have been in the air this night as Memphis seemed to be giving the crowd even more energy than I have seen in the past. Vocalist Matty Mullins couldn’t get rid of the smile on his face, as he just gleamed with excited from performing this night. The smile he radiated just elevated his performance and drew the fans in deeper into the songs. Guitarist Kellen McGregor drives the songs with his punchy riffs. While bassist Cory Elder and drummer Jake Garland handle the low end that sends the mosh into a frenzy. With songs like “Make Believe,” “Left for Dead,” “Bleed Me Dry,” “The Old Me,” “Somebody,” “The Sinner,” “Vices,” “Chaotic,” “Miles Away,” “No Ordinary Love,” “Misery,” and ending with “Blood & Water.” Memphis May Fire was giving us everything they had and could have been headlining this show from how much noise the fans were making for them.
Excitement grew throughout the crowd as the stage was cleared, and a new lighting rig was placed in position on the stage. Asking Alexandria started off the night with their song “Closure” and right out of the gate guitarist Cameron Liddell unleashed a fury of nasty chugs to build up the energy in the crowd. While bassist Sam Bettley was right there with him in melody, making the song sound even heavier. By the time vocalist Danny Worsnop came in with his screams, fans were already surfing over the barricade. All the while, drummer James Cassells layers his playing with quick and tight double kick patterns. Yet still throwing melody and groove in with his hands across the top of the kit. I’ve always heard that Asking Alexandria is a fun show to watch, but I was still taken back by just how much fun it was. Liddell and Bettley nearly steal the spotlight from Worsnop at every moment of the show. The two play with such massive energy that you can’t help but watch them. They also continually play at the foot of the stage as close as they can to the fans, giving them the very best that they have. We even got a special duet when Telle Smith came back out to help sing the fan favorites “Into the Fire” and “The Violence.” Seeing Smith and Worsnop exchange vocal lines was a power move for both men, as their voices complement each other. We were bestowed a glorious set that spanned Asking’s entire discography, with songs like “Alone Again,” “Bad Blood,” “Down to Hell,” “Where Did It Go?,” “Dark Void,” “Someone, Somewhere,” “Moving On,” “Let Go,” ‘To The Stage,” “A Prophecy,” “The Finale Episode (Let’s Change the Channel),” and ending with an encore performance of “Alone in a Room.”
The fans packed the House of Blues early before any band went on, and by the time the show was over we were on such a high that no one wanted to leave yet. The lights were on, the security was asking people to leave, and we were stuck in a state of ecstasy from what these four bands brought to the show. NERV are proving they are a band that needs more eyes on them with solid songs, and a powerful live show. The Word Alive hold my unending appreciation now that I finally know more about the band, and the love everyone has for them. Memphis May Fire continues to be one of the most consistent bands performing out there. And Asking Alexandria has finally been experienced live. It was a show worth waiting for and blew any expectations out of the water.
Roseville and the Sacramento area were treated to a special night of Classic Rock and Roll when Mr. Big rolled through town on their The Big Finish world tour. This special end-of-the-road tour began in 2023 with the band making stops around the globe including South East Asia, Japan, and Europe, and now, The United States. This Evening the band played to a sold-out crowd with a line that continued around the block. This was a special show as the capacity of the venue was only 600; Mr. Big usually has played to audiences three times the size on this tour. Fans were In for a treat this night in this intimate setting.
The Big Finish tour marks their farewell of over 35 years as a band together, spawning many studio and live albums, #1 hits, and countless tours all over the world. Beginning in January in Houston and sprawling across the US during April and May, this is a significant event for all Mr. Big fans as they will be playing their hugely successful 1991 album Lean Into It in its entirety as well as a loaded set list that encompassed their 35 years as a band and recording partners as well as sequences their musical storytelling.
After a stunning performance of their song “Addicted To That Rush” and a few other hits, the band got right into the full album of 11 songs, Lean Into It, which spawned their biggest US charting hit, “To Be With You” and “Just Take My Heart”. Mr. Big is fronted by Eric Martin, whom I have been a fan of since I was a teenager. Some of my very first concerts and records were of his Bay Area bands 415 and The Eric Martin Band; his place as a frontman in Mr. Big is well-earned as his charm and boyishness never seem to fade. His ability to connect with devoted fans is always genuine and flawlessly executed. His vocals are always on point, and tonight was no different. His endearing vocals and infectious stage presence were in full effect for the crowd. The setlist continued with hits like “Wild World”, a Cat Stevens cover. Next up; the almost expected guitar solo of every rock band, but tonight fans got a bass solo as well.
The Guitar duties were fulfilled by the guitar legend, Paul Gilbert; his extraordinary playing style and engaging stage presence were in full effect tonight. He is well known for being a Rock “shredder” yet lends some blues, soul, and pop vibes to his playing. The following Bass solo was handled by one of rock’s “main squeezes” of bass Legends, Billy Sheehan. He is known for his innovative bass techniques in Mr. Big and other bands such as The Winery Dogs. He and Gilbert are a huge part of Mr. Big's global success; their musicianship and complexity are second to none. Both are seasoned veterans of Rock, Prog, and soul influences. The solos and songs were met with great applause and enthusiastic audience participation.
The drums were masterfully held down by the new addition Nick D’Virgilio, who is carrying the torch for the dearly departed original member Pat Torpey, who lost his battle with Parkinson's Disease in 2018. D'Virgilio's musical capability matches the spirit of the dearly departed, Torpey. The harmonies and stellar drumming are the perfect fit for Mr. Big. His progressive groove keeps the sound intact, praised for his performances and ability to step in for the late Torpey adds to this amazing ensemble.
The thirst for nostalgia was quenched tonight as the band finished out their set with a few covers by Talas, Humble Pie, and The Who. Mr. Big proves to be an amazing live band celebrated for their nostalgic value and amazing hits, proving great music is timeless and holds no age limit. This set and performance by all members were amazing and posed a fitting farewell for the end of the road for such a timeless band. Mr. Big is set to finish their final goodbyes across the world and release a new album late summer of 2024. Be on the lookout for the new release, and maybe a “reunion tour” will commence sometime soon! Until then, we can listen to Mr. Big’s many recordings and hope for that reunion.
If you've been yearning for the swagger and raw power of 80's metal, Them Damn Kings have answered your call with their latest single, "Shown With A Fist." From the very first riff, it's like being catapulted back to a time when leather was plentiful, hair was big, and rock 'n' roll reigned supreme.
The overall sound quality of "Shown With A Fist" is impeccable. It's like Lemmy himself rose from the grave, kicked some amps, and declared this track worthy of any headbanger's playlist. The production is tight, allowing each instrument to shine in its full glory without losing an ounce of grit.
Guitarist, multi-instrumentalist, and vocalist Jef Rhodes channels his inner rock god with incendiary solos that would make even the most stoic air-guitarist break a sweat. His riffs are a masterclass in 80’s metal bravado, slicing through the mix with precision and fire. As if that wasn’t enough, Rhodes's vocal delivery is a potent cocktail of grit and melody, paying homage to the titans of metal while carving out his own niche.
Let's not forget Ryan Blake Folden, the drum wizard behind the kit. His thunderous beats and intricate patterns propel the song forward with relentless energy, evoking the spirit of iconic drummers like Phil "Philthy Animal" Taylor. Folden's performance is a high-octane blend of skill and ferocity, ensuring that every beat hits like a freight train.
"Shown With A Fist" isn't just a song; it's a battle cry for metal purists and modern rockers alike. For those new to Them Damn Kings, this track is your gateway drug. Dive headfirst into their discography with bangers like their Self-Titled EP Them Damn Kings and Rise Up where you'll find tracks like "Devils Dime" smashing through your speakers with the same intensity.
At the end of binder of Jack and Coke and multiple packs of Marlborough’s, Them Damn Kings have delivered a single that's as hard-hitting as a Motörhead gig in '85. With stellar musicianship, killer production, and an undeniable sense of fun, "Shown With A Fist" is a must-listen for anyone who likes their music loud, proud, and unapologetically metal. So, crank up the volume, throw on your best leather jacket, and let Them Damn Kings take you on a wild ride.
"This sponsored review is brought to you by TAG Publicity."
Falling in Reverse has always been known for pushing boundaries and delivering intense, hard-hitting music. Their latest, "Ronald," is no exception. Featuring the legendary Tech N9ne and the Slaughter To Prevail’s Alex Terrible, the song is an adrenaline-fueled anthem that showcases the band's evolution while at the same time highlighting the chaos that seemingly follows Ronnie Radke around every corner. For most, it’s a love/hate relationship with Ronnie with little wiggle room in between for debate. That said, I’m not reviewing Ronnie Radke today. Instead, I’m focusing in on Falling in Reverse's latest single and their accompanying video from a purely editorial point of view.
From the moment "Ronald" begins, the intensity of the track pegs at a '10'. The song kicks off with a fierce energy that sets the tone for what is undoubtedly one of Falling in Reverse's hardest-hitting tracks to date. Ronnie Radke's vocals are as powerful as ever, seamlessly blending with Tech N9ne's rapid-fire delivery and Alex Terrible's guttural growls. The collaboration between these three musicians' creates a dynamic and electrifying performance that captivates listeners from start to finish. And let’s not forget the other musicians in Falling in Reverse that brought “Ronald” to life in the studio. Max Georgiev and Christian Thompson on Guitar along with Tyler Burgess on Bass and Luke Holland on Drums were straight fire from start to finish and each gave 110% to to the track in uniquely innovative ways.
Lyrically, "Ronald" seems to be a call to arms. The song's message revolves around fighting for oneself and standing up against adversities. Understanding the unrelenting challenges that many face today, the song draws an inspiring theme that resonates deeply, especially in today's climate where self-empowerment and resilience are more important than ever. The lyrics are both raw and unadulterated, encouraging listeners to face their challenges head-on and emerge victorious. I can see this message resonating with many in a world that is ever-more polarized and isolating than ever before.
The music video for "Ronald" is a true visual spectacle. Directed by Jensen Noen (Motionless in White, Black Veil Brides, Bring Me The Horizon), it incorporates stunning special effects and CGI imagery that rivals most high-end science fiction movies of our generation. The video features dramatic lighting, explosive action sequences, and a dystopian setting that perfectly complements the song's aggressive tone. Ronnie Radke, Tech N9ne, and Alex Terrible (as the Devil) each bring their unique presence to the screen, making for a compelling and out-of-this world viewing experience. The special effects are particularly noteworthy, adding a layer of sophistication and excitement that keeps viewers fully engaged throughout.
While I’ve never been a huge Falling in Reverse OR Slaughter To Prevail fan, the collaboration with rap legend Tech N9ne on this track takes this song to a whole new level. The entire flow of “Ronald” changes when Tech emerges in his angelic presence and makes what I felt was a good song great in literal milliseconds.
“Yes, the hell is in front of you, side and behind, I can feel every sign of a human decline, I'm believing the time is upon us when all of our people are blind…”
And for those that feel Tech N9ne sold out here, think again. His metal collaborations with Corey Taylor (Slipknot), Serj Tankian (System of a Down), and others have been commonplace over the past few decades and highlight why Tech’s diversity and freedom from boundaries make him one of the best to ever pick up a mic. He’s a true artist and an even better person, and his presence on “Ronald” really helps to set this track ablaze sonically.
"Ronald" by Falling in Reverse is a testament to the band's ability to continually evolve and push the limits of their music. Featuring powerhouse performances from Tech N9ne and Alex Terrible, the song is a hard-hitting anthem of self-empowerment while the video is a visual tour de force that perfectly matches the song's unbridled intensity. With its mesmerizing special effects and dynamic performances, "Ronald" is not just a song but an experience—one that solidifies it’s place at the forefront of modern rock and metal videos. And with over 7M views on YouTube in just 14 days, that premise is confirmed in spades. If you haven't yet, do yourself a favor and watch this incredible video; it's a wild ride you won't soon forget.