“Welcome to the Wiltern!” was the first greeting I heard upon arriving at The Belasco. Just kidding. From undersold arena tours to waves of downgraded shows, artists have been struggling to balance intimacy with fans and limited budgets—especially in major cities like Los Angeles, where the entertainment scene is both saturated and expensive. And yet, Australian psychedelic rock band POND was completely unfazed by the change, delivering an electric performance from start to finish that left me thinking half the time, “He’s still got some juice, huh?”
Playing at a smaller venue meant only one thing for singer and performer Nick Allbrook—better interactions with fans. While his talking was kept to a minimum, Nick communicated through his movements, inviting the audience to dance, lose themselves in the music, and fall into a trance induced by the magnetic psychedelic riffs and synths. The only time he truly addressed the crowd was to encourage them to move their “bums without shame.”
And Nick had no trouble moving his. The upbeat, almost pop-driven moments gave Tame Impala’s former bassist the freedom to dance around, delivering a full-on performance with his mic and stand. From swinging the mic in circles to kicking the stand up, he rocked out with those two ferociously whenever he wasn’t on the guitar.
Drawing from their extensive career spanning ten full-length albums, POND delivered a mix of long-time hits from their 2013 album Hobo Rocket (“Aloneaflameaflower,” “Giant Tortoise”) and more recent projects, including fan-favorite tracks from 2021’s The Weather (“Sweep Me Off My Feet,” “Fire In The Water,” “Paint Me Silver”). The well-balanced setlist proved to be an excellent choice, showcasing the band’s musical evolution over the 16 years since their inception.
But you didn’t need to have followed them from the beginning to lose yourself in their entrancing melodies, powerful vocals, and electrifying riffs. The crowd was constantly clapping (even without prompting) or throwing up the horns during the heavier songs. The energy was palpable, as if the entire room was caught in a shared psychedelic groove.
You know you’ve got the right crowd when they can carry you effortlessly through the Belasco’s pit. Crowd surfing—often a dream for many singers—felt completely natural for the Australian frontman. I couldn’t help but envy all the lucky fans who got to shake his hand, both mid-flight and at the front of the stage.
There is, however, one thing I was fortunate enough to experience: standing at the front of the stage, camera in hand, gave me a perspective I’ll never forget. The performance felt so personal and immersive that I often found myself lowering my camera just to shyly dance along, soaking in the moment. Every riff, every melody, every movement felt like it was meant just for us. The way they commanded the stage made it impossible not to pause, vibe to their songs, and absorb the raw, magnetic energy they delivered with every note.
It was a reminder of the magic of live music—the connection, the energy, and the moments that stay with you long after the final note. I can’t wait to see them again. Thanks, POND!
- Lio
Well, Hunnypot readers, the Holiday season is upon us once again. Around this time, not many bands are touring as they would rather be in their homes enjoying time with their families. However, there are a handful of groups that are willing to continue the spread of autumn’s dark pleasures and metal debauchery. One of which is the unholy King Diamond. Known for putting black metal into the mainstream fold, King Diamond decided to take his band of misfits, and metastasize their wickedness before Santa Claus takes flight. Dubbed the Saint Lucifer’s Hospital 1920 tour, the head priest of Mercyful Fate joined forces with the likes of Overkill and Night Demon. Wanting to get one last ride in before we say goodbye to 2024, Rabit and I headed to the YouTube Theater in Inglewood to endure Abigail’s insanity straight out of the asylum.
Getting the night started was Ventura’s own Night Demon. It has been a while since I saw the trio, but I did enjoy hearing them play those classic metal riffs that were reminiscent to the 70s and 80s that we all loved listening to. Frontman and bassist Jarvis Leatherby was smooth & rough with his vocals, and razor-sharp on his musical weapon. Guitarist Armand John Anthony cranked out stellar licks that could rival riffs that KK Downing and Glenn Tipton created in Judas Priest. This is the first time checking out their newest drummer, Brian Wilson. I have to say I was really impressed with the way he handled those crunchy beats that his predecessor Dusty Squires created, while also showing off his own skills. On the heels of their latest album, Outsider, Night Demon performed like demons. With the crowd still coming in, they took the opportunity to give those that came early their best show LA had ever seen. From “Outsider” to “Screams in the Night,” “Dawn Rider,” “The Howling Man,” “Ritual,” “The Chalice,” and “Night Demon,” the heavy trio did their part and woke the crowd up.
More of the faithful metalheads of LA filled the floor just as Overkill took the stage. Celebrating their 20th release, Scorched, the hell raising thrash metal legends of New Jersey were just as bad as the last time I saw them in Anaheim. Starting with “Scorched,” frontman Bobby Blitz showcased his infamous guttural voice that still packs a punch that goes straight for the throat. Blitz’s partner in crime, bassist DD Verni, sparked intense bass riffs that helped Overkill’s loyalist followers get in the head-banging spirit. The guitar duo showmanship of lead player Dave Linsk and rhythm player Derek Tailer was a lethal combination of volume and fierceness. Linsk especially was a tsunami of sheer persistence that fans were yearning to hear. Each solo was terrifying, as it made Blitz’s screams even tougher. The passion they love to bring to the masses was very strong. This performance also marked the shortest we’ve ever seen from Overkill, but they still created an explosive set. With songs like “Rotten to the Core,” “Bring Me the Night,” “Hello From the Gutter,” “The Surgeon,” “Ironbound,” “Elimination,” and the Subhumans cover, “Fuck You,” Overkill overcharged our senses and helped set the mood for what was about to come our way. It is always a fun night for Overkill.
After a near 30 minutes set change, us metalheads were ready to return to the Asylum as King Diamond graced us with his presence. Beginning their set with “Arrival,” King Diamond belted out his iconic falsetto voice that was heard throughout the theater. It still amazes me how high this man’s voice can go, and you can feel the wickedness as well as the terrifying joy he brings to the masses. Helping the high priest with backing vocals as well as offering keyboard delight was special guest Amalie Bruun, aka Myrkur. Her presence on stage gave the show a dark folk feel that really helped make the mood even more sinister. Lead guitarist Mike Wead was an electrifying nightmare as he churned out ghoulish solos that gave me goosebumps that was truly what I needed that night. Along with rhythm guitarist Andy LaRocque, drummer Matt Thompson, and bassist Pontus Egberg, St. Lucifer’s hospital staff was prepped and gunning for our souls with their killer rhythmic beats. King Diamond was truly king of the YouTube Theater.
Their whole stage set up was a demented mental hospital, where grandma sat in her chair, waiting for the right moment to prop up and horrify us. King Diamond overall had an eclectic setlist, primarily with songs coming from Abigail and Others. No matter what kind of song they performed, Rabit and I were constantly riffing & headbanging to those devilishly sweet songs. There was not one moment where we were sitting down. From “A Mansion in Darkness” to “Halloween,” “Voodoo,” “Spider Lily,” “Sleepless Nights,” “The Invisible Guests,” “The Candle,” “Masquerade of Madness,” and “Eye of the Witch,” the king did not show us any mercy, for our fates were sealed. The song that did it for me though was the iconic “Welcome Home.” Of course, no King Diamond show is complete without the encore that is “Abigail.”
At the YouTube Theater, we went to the holiday side, and it was glorious. King Diamond brought last minute Halloween style yuletide excitement to LA. Overkill was a thrashing machine that showed no signs of slowing down, while Night Demon brought a classic revival sound any true metalhead would love to embrace. Five years ago, King Diamond was the first group I saw after the passing of my father. Back then, I was obviously an emotional wreck for I was in pain of losing him. So, seeing this group along with Overkill and Night Demon help provide me with nothing but good memories of him. I honored him the way he would want me to, live my life the way I know how, surrounded by my Metal brothers and sisters. I love you, Dad. As for King Diamond, I look forward to hearing their newest record next year, The Institute, and by then, grandma will know what it’s like to be on the holiday side. To King Diamond, Overkill, and Night Demon, I salute you. Horns up!!!
PHHOTOS BY MATT 'RABIT' MARTINEZ
The metal community can be a bunch of gatekeepers at times, and if you are not “true metal,” people can shun what’s new. One of the most divisive bands to come into the metal scene in the last decade must be Babymetal. When they broke into the scene with their hit single “Gimme Chocolate!!,” it set the metal community on fire with fans and detractors. Since then, Babymetal has been welcomed into the community with open arms by some of the biggest names in the scene, and by millions of fans worldwide. They embarked on a 2024 World Tour culminating with a final show at the House of Blues in Anaheim, CA. That show sold out in minutes! Due to the overwhelming support from fans, two additional show days were added at the House of Blues in Anaheim. I was fortunate to be able to make it out to Night 2, where fans came dressed in Lolita dresses, anime apparel, or anything kawaii ready to rock out with Babymetal.
Opening the night was an artist known as Scene Queen, who has originated the music genre now known as Bimbocore. Many of Scene Queen’s songs revolve around feminism and how women are treated unfairly in the music scene, and just in the world in general. Specifically, her song “18+” calls out the constant news cycle of emo and pop punk bands getting caught flirting or being with underage fans. Even her song “Mutual Masturbation” talks about how established women in the music scene get ignored by guys who think they’re just the band’s girlfriend. Scene Queen contrasts this harsh lyrical content with a Malibu Barbie attire and cheerleader perky attitude. It almost comes off as a false sense of security to lure scumbag guys into her trap just to rip them to shreds and call them out for their sexism. Looking into the crowd you could see fans eating up Scene Queen’s aesthetic and intentions. She even took a moment to jump into the crowd and give high fives to everyone she could. Scene Queen kept this love up with other empowering songs like “Pink Push-up Bra,” “MILF,” “Pink G-String,” “Pink Panther,” “Pink Rover,” and ending with “Barbie & Ken.” Scene Queen even made a speech about how she always dreamed about touring with Babymetal, and this tour has been everything she hoped it would be. Scene Queen is worth keeping an eye on as it’s only up from here.
Once it was time for Babymetal to take the stage, the fans cheered with excitement. Babymetal even has their own version of the classic metal devil horns, where you touch your thumb to your extended middle and ring finger, in turn making a fox head. These fox heads infested the House of Blues as the band came out for their opening song “BABYMETAL DEATH.” What makes this band so unique is that the instrumental section is playing Slipknot-esque material. Music that has you headbanging and the mosh pit roaring. While the vocal duties are handled by J-Pop idols known as Su-metal, Moametal, and Momometal singing with clean high pitch cutesy style vocals. Because the singers are idols, they are dressed in matching gothic/metal Lolita dresses and perform with choreographed dance moves. This combination sounds like it should not work, but Babymetal has found the right way to create a new form of heavy metal that fans love. The band even has interactive moments with the song “PA PA YA!!” where fans are constantly twirling small flags or handkerchiefs above their head. Other songs even have choreographed dance moves that the crowd can join in on with the band. One of the biggest sing-along moments occurred when Babymetal performed their latest song “RATATATA” which features Electric Call Boy. As the featured band could not be there to help perform, the music video was projected onto a giant LED screen behind the band, with their vocals being backing tracks that Babymetal could sing with. However, the crowd was singing louder than the speakers filling in for the live co-vocals. All of this excitement was kept up for their whole set which also featured “Distortion,” “BxMxC,” “METAL!!,” “Monochrome,” “Light and Darkness,” “Megistune,” “Gimme Chocolate!!,” “Headbangeeeeerrrr!!!!!,” and ending with “Road of Resistance.”
I still see people online that try and take away any credibility from Babymetal, and all I can say is that they need to experience one of their concerts for themselves. The band clearly has a love and dedication for metal music, and the fans can see it and feed their love right back to the band. Scene Queen is forcibly creating a path for herself in the music industry, and these two bands combined are fighting metal stereotypes and gatekeepers to prove they deserve to be here. Babymetal has wrapped up their 2024 touring with these shows in Anaheim, CA, but when they undoubtedly come back in 2025, stop being a hater and go see one of the most fun shows you can in metal.
It’s always sad to see bands retiring when the members are still in their prime. Whether it's from exhaustion from touring, loss of a key band member, or sometimes even fighting among the members. Whatever the cause, fans are always sad to know they will never see some of their favorite bands perform again. However, a silver lining that can sometimes happen is members from previously established bands will come together to create a new supergroup. One of the latest in the hardcore scene combines members from Dillinger Escape Plan, Every Time I Die, and Fit For an Autopsy now known as Better Lovers. They just released their debut album Highly Irresponsible, and they are playing three days in Southern California to promote the album. The third show took place at the Regent Theatre in Los Angeles, CA with Full of Hell, Spy, and Cloakroom joining them for support. As the fans started to fill in the theatre, you could tell people were ready to unleash some chaotic energy.
Getting the night started was shoegaze artist Cloakroom. Right from the start, Cloakroom unleashed a droning sludge filled sound. Vocalist and guitarist Doyle Martin weaved between mumbling atmospheric singing and more clear intelligible melodic vocals. Bassist Bobby Markos has his tone soaking in the fuzz pedal effect as he jammed on stage. While drummer Tim Remis held the pocket for the band, keeping them in time while allowing the crowd to bob with the music. Cloakroom played a short set of songs like “The Pilot,” “Story Of the Egg,” “Lost meaning,” “Light Up,” and “Dissembler.” Cloakroom was a moody atmospheric sound wave of a band to start the show. But it could only get more chaotic from here.
Up next was a band ready to get the pit moving and people to unleash in the crowd. San Jose, CA natives Spy kicked the night off with hardcore energy that let the crowd killer’s roar. Vocalist Peter Pawlak’s tenacious screams carried emotion and anger in them that could be felt in the soul of the crowd. Guitarists Drew Satterlund and Cody Kryst added crunch and distortion to their tone that carried chaos and malice. Bassist Thomas Sherry was probably the most animated person on stage, constantly jumping and pounding his fist into his axe. Drummer Josh Mendoza kept the punk beats strong with blasts that let the crowd go hectic. This was the band that first got the pit moving for the night. Spy played a set of many quick and fast paced songs like “Running Out of Space,” “Koniec,” “Surveilled,” “Mob,” “Do What I Can,” “Exceptional American,” “Bootlicker,” “Carceral Attitude,” “Violent Majority,” “Big Man,” and ending with “Afraid of Everything.” This was the energy that was to be carried through the rest of the night.
The penultimate band for the night was known as Full of Hell. This grindcore band helms from Ocean City, Maryland, and Central Pennsylvania and was here to unleash chaos upon Southern California. Vocalist Dylan Walker nearly burst his forehead veins with how much force he puts into his screaming technique. Guitarist Gabe Solomon used his guitar as more of an experimental art piece creating sounds and effects along with chugging away at the strings. Bassist Sam DiGristine was locked in with drummer Dave Bland whose blast beats were face melting. The speed and energy that Bland plays with sent the moshers into a frenzy that could barely be stopped. Full of Hell made the most of their set time with songs like “Deluminate,” “Asphyxiate Blessing,” “Doors to Mental Agony,” “Transmuting Chemical Burns,” “Crawling Back to God,” “Amber Mote,” “Schizoid Rupture,” “Bone Coral and Brine,” “Gelding of Men,” “Reeking Tunnels,” “Coagulated Bliss,” and ending with “Guided Blight.”
The crowd had been sufficiently warmed up, and still had plenty of energy to give our headliners, Better Lovers. As soon as their first song started “Lie Between the Lines,” the crowd rushed the stage. Better Lovers truly brought out the animals in the crowd, as all hell was breaking loose. Fans were crowd surfing and stage diving over each other. The mosh pit was a chaotic frenzy of crowd killers throwing windmill kicks, and we couldn’t get enough of the energy. Vocalist Greg Puciato was nearly in the crowd as he was constantly screaming into the faces of the front row. Fans rushed to the front for a chance to sing into the mic with Greg. Guitarist Jordan Buckley was a ball of energy constantly jumping in the air and off the monitors and amps, while fellow guitarist Will Putney traded off lead lines with Buckley. Bassist Steve Micciche and drummer Clayton “Goose” Holyoak were the dynamic duo keeping the low end heavy and the beat steady. Better Lovers kept up the energy and the crowds ferocity for songs like “Sacrificial Participant,” “Your Misplaced Self,” “Become So Small,” “Superman Died Paralyzed,” “A White Horse Covered in Blood,” “Drowning in a Burning World,” “The Flowering,” “Two Alive Amongst the Dead,” “Future Myopia,” “AT All Times,” “God Made Me an Animal,” “Love as an Act of Rebellion,” “Rusty Cage,” and ending with “30 Under 13.” With the final song, Greg Puciato took the show to a whole new level when he walked out with a flaming torch. As fans gathered around the front of the stage, Greg unleashed a huge fireball over the crowd multiple times. Even handing the flaming torch to a fan, to fire breath while the crowd held the flame. Truly lighting the place up like no other band has before.
Better Lovers is carving out a place for themselves quickly. People that have already discovered the band have become hardcore dedicated fans and come to these live shows ready to share their passion for the music. I can only imagine how much more quickly they will grow in fanbase as they get out in front of more eyes. Better Lovers has already announced their next tour where they will be supporting Poison the Well across North America for all of April 2025. If you are looking for a band with passionate fans and to unleash your inner madman, I highly recommend making it out to the next Better Lovers show that comes near you.
Hunnypot and Sky Cries Mary invites you to a journey into the heart of psychedelic grooves with "Storm Any Weather". A poignant blend of introspection and hope, this track weaves a tapestry of haunting vocals from Roderick Wolgamott and Debra Reese, underscored by hypnotic rhythms and atmospheric layers. Channeling the raw poetry of The Doors and the gritty elegance of The Velvet Underground, it's a modern anthem for navigating life's storms with resilience and connection. "Storm Any Weather" is not just a song—it’s a sonic experience. Tune in, and let it transport you. Recorded by Jack Endino (Nirvana, Soundgarden) Production by Indy-Legend Gordon Raphael (The Strokes, Regina Spektor) and Roderick Wolamott. Instrumentation by Ben Ireland, Guitars by Kevin Whitworth (Love Battery)
"WHEN WE ARE TOGETHER WE CAN STORM ANY WEATHER"
As a young music music publisher, I came across the Seattle band Sky Cries Mary back in 1991. Around the time SCM released the EP Exit At The Access. The moment I heard Roderick Wolgamott and his forever-evolving cast of incredibly talented creators and musicians, well, I instantly fell in love and have been a lifelong fan and supporter. Their blend of space rock mysticism, psychedelic tribal jam band mixed with ethereal vocals has always been profound.
There's a deep affection for the group in the Film Music Supervisor community. "The Elephant Song" was featured on the soundtrack for the movie The Harvest. "Shipwrecked" was featured on the soundtrack for the movie Tank Girl and their song "Cornerman" was featured in the film Higher Learning.
"Storm Any Weather", is the 1st single from their upcoming album IMMORTAL JELLYFISH. Stay tuned for more from this talented group!
-John Anderson a.k.a. Hot Tub Johnnie
Thunder Valley Casino was Buzzing with excitement waiting for Pop icons, Air Supply and The Little River Band (LRB) to take the stage. For their Lost In Love Experience tour. The “Australian Invasion”, as I Lovingly call it, was about to start with The Little River Band up first. Despite several line up changes over the years LRB’s sound and vibe hasn’t changed at all. Fronted since 1980 by long time member Wayne Nelson, he along with an amazing ensemble take us through those nostalgic eras we all love so much.
LRB gets right down to business with “Man On Your Mind”, a big hit we all knew the words to. Next up was one of my favorites, “Happy Anniversary”. A classic sing a long song for sure, LRB made sure that everyone joined in on the song and the infectious, upbeat standard got everyone out of their seats. In every case, LRB handles songs with ease, rocking the nostalgic melodies with dynamic energy few can imitate. Throughout the evening, LRB provided us with an evening of classic ballads and songs we all know and love. As they continued their set, we are treated to superb musicianship, incredible stage presence, and smiles from ear to ear all night long. I was impressed that every member of the band shared on vocals, making the performance even more enjoyable.
Award winning producer and keyboardist Chris Marion took us to a special place with a beautiful prelude into LRB’s massive hit “Cool Change”. Drummer Ryan Ricks and bassist Wayne Nelson held down the low end with ease and precision. I was super impressed with the bands camaraderie and musical prowess. Even though the band is known for ballads and romantic love songs, the guitars are not missed in this band with solos are handled by Bruce Wallace and Colin Whinnery (who also is the producer of LRB’s new album). Window To The World is set to be released March 2024.
After a brief intermission, Air Supply was set to take the stage, and I could feel the excitement and energy in the air. As I scanned the venue, I could see that people were already out of their seats in anticipation. As lights dimmed, legendary duo, Russell Hitchcock and Graham Russell wasted no time getting into the Heartfelt ballads. Opening with “Sweet Dreams” and then right into “Even The Nights Are Better, Air Supply captivated the audience who were now mesmerized and taken back to the ease of the 1970’s and 1980’s.
Throughout the night , it was amazing to watch Hitchcock still hitting those flawless high notes on those enchanting, emotional ballads - this was was unforgettable. Graham Russell lent us his emotional side with a heartfelt, personal poem from his book, Turn Left at Greenland. Air Supply may be known for their softer side of Rock, but tonight proved that to be all wrong with guitarist (and Musical Director) Aaron Mc Clain providing stunning guitar solos - proving himself a virtuoso. The rhythm section was handled by bass player Doug Gild and the drums were hit extra hard by the jovial drummer, Pavel Valdman. The performance was filled with powerful arrangements and allowed for a deep connection to the audience. I was also impressed with the keyboard player Mirko Tessandori. Air Supply took attendees on a nostalgic journey as the hits keep rolling out. Graham’s story telling and acoustic solos were truly a soulful experience. The evening was filled with intricate classic harmonies and a contagious energy, and I found myself arm and arm singing along with complete strangers. The evening provided an engaging experience for all generations.
Air Supply continues on their 2024 /2025 tour across the world treating fans to majestic ballads and succession of hits, and it is a timeless experience. No wonder they are still a mainstay in pop music, proving romance and love is never out of style. Despite their age, Air Supply constantly tours, and if you want to enjoy a classic time traveling performance, I suggest catching this tour. This band is definitely not “All out of Love”, as they have tons to spread around. I was firtunate to have caught some this evening and give the entire show a 10 out of 10.
The Tesla and Fuel concert at Thunder Valley Casino on November 9th was an electrifying night of rock 'n' roll that left fans of all ages buzzing with excitement. Both bands brought their fiery energy to the stage, delivering passionate performances that showcased their enduring appeal and musical prowess. From start to finish, the night was a celebration of timeless hits, new material, and the sheer power of live music.
Fuel opened the show with "Last Time" and set the tone with their typical high-octane performance. Their abbreviated setlist delivered fan favorites along with some newer tracks, keeping the crowd completely captivated throughout their 45 minutes on stage. The band’s chemistry, led by vocalist Aaron Scott, was simply infectious, and the interactions with fans—whether through heartfelt shout-outs or powerful sing-along moments—created a sense of unity in the room. My favorite from the set was their final track of the evening, "Hemorrhage (in My Hands)". The power of that song was amazing and a great one to transition to the mighty Tesla.
Tesla, veterans of the rock scene, lit up the night with their signature sound. As hometown heroes in this area, they brought a seamless blend of classic hits and fresh tracks to their Thunder Valley faithful, giving fans a perfect mix of nostalgia and excitement. Favorites from the evening included "Modern Day Cowboy", "Heaven's Train (No Way Out)", and the Five Man Acoustical Jam Version of "Paradise". The band’s connection with the audience was incredible, with Jeff Keith's lead vocals soaring through the crowd while Frank Hannon's guitar solos that brought bursts of energy to every corner of the venue. Their stage presence proved that they’re still as fiery and engaging as they were in their heyday.
Thunder Valley itself was the perfect backdrop for the show, offering great sound quality and a welcoming atmosphere that amplified the experience. The crowd’s energy never faded; fans were on their feet, cheering, clapping, and soaking in every second of the performances. From grooving to iconic anthems to discovering new favorites, it was a night that truly celebrated rock music. The show ended in a high-octane fashion with another Five Man Acoustical Jam Version of "Signs". Just wow! It was overall a stellar performance packed with passion and talent—a night fans won’t forget anytime soon, and the perfect exclamation point on a show that proved to all in attendance that rock' and roll' is alive in well in Northern California.
November 21st was the most alive I’ve ever seen El Cid. After all, a legendary band known for putting on a show was headlining that night. This band, known as Qbomb, filled up El Cid, and you could tell how excited fans were just by looking at the merch table.
Qbomb had the crowd hooked from the very beginning of their set. There were smiles everywhere you looked and an audience constantly in motion. The kind of cheers you’d expect at the end of a set were already present at the start. Multiple times, Qbomb's lead singer, Gene, jumped into the crowd, getting everyone moving and dialing up the energy.
Their setlist included "Ignition", "Exhaustion Engine", "Afterburn", "Everything Is Fine", "Soften the Grave", "LWYMMD" (a Taylor Swift cover), "1,000,000AD", "Fall Apart", and "Terminal Patience". Their music blends various genres like punk, rap, and pop, while also weaving in pop culture influences such as anime and video games. If you grew up alt, watched cartoons, and are self-aware about today’s societal problems, you’ll love Qbomb.
I thought it was really cool that one of the band members dressed as Mothman, and another played a keyboard guitar. Everyone on stage looked like they were having so much fun. During "Look What You Made Me Do", they brought out a special guest who played the accordion, even giving them a casual shoutout by swapping a lyric in the song—a fun detail to catch. It was one of the best Taylor Swift covers I’ve ever seen.
Qbomb also has a great sense of humor, making them a band that will have you laughing too. One moment that stuck with me was when Gene spoke about being outraged by the current state of the world—a sentiment many of us can relate to—but also reminded us that there’s still a lot of hope out there. That moment filled me with strength and the resolve to keep fighting, a feeling I’m sure others in the crowd shared.
Every Qbomb song paints a vivid story. The lyrics are powerful and hit hard. We even got to hear music from Qbomb that they hadn’t ever performed yet until that moment. "Soften the Grave" and their unreleased music resonated with me the most. It’s also cool that multiple band members sing; their sound wouldn’t be the same without each member’s contribution. You never know what to expect from a Qbomb set, which is why it’s impossible not to have a good time. Even when El Cid had to cut the set short, the crowd cheered for an encore and stayed long after the venue tried to usher everyone out.
It was one of those unforgettable nights, surrounded by one of the friendliest communities I’ve seen in the music scene. I’m sure the fanbase would have stayed even if the set had lasted two hours. It’s also a great place to meet people who love animation—some of us even struck JoJo poses outside! If you haven’t checked out Qbomb yet, there’s no better time than now. I’m excited to see them rise to greater heights and the impact they’ll continue to have on their community.
YES . . . they can Still Rock in America and they rock harder and with more passion than any band from their era! Night Ranger performed to a capacity crowd at City National Grove in Anaheim, CA on Thursday night November 21 with no opening act – an evening with Night Ranger as they played a full set of nothing but hits and fan favorites.
At 8:00 the lights went down and although there were seats setup on this night at The Grove – most did not stay seated for long as the band hit the stage and took the crowd through a ROCKIN journey of their hit filled catalogue of songs. The band wasted no time in getting this party started as they opened with the high energy ROCKER “(You Can Still) Rock in America” which was the perfect song to kick off what was to be a memorable night of rock n roll. The first thing you notice when you see Night Ranger live aside from how great they sound is how much fun these guys are having onstage together. Lots of smiles, band interactions, and choreographed stage moves coupled with the music results in the ultimate performance.
Vocalist/bassist Jack Blades has the same onstage flair he demonstrated in the late 80’s but more impressive is his voice remains totally on point as he belts out the lyrics. This band is just so full of talent and energy . . . It goes without saying how great of a guitar player Brad Gillis is but seeing and hearing him play live just takes it to another level – one of the best guitarists to come out of the eighties without a doubt – he is a whammy bar master and makes that red Fender Stratocaster scream!
Somewhat of a hometown show for guitarist Keri Kelli (originally from Orange County) he has quite a pedigree himself having played with Alice Cooper and Slash just to name a few, Kelli and Gillis shredded up the stage all night long trading riffs. And then there is Kelly Keagy, drummer extraordinaire and lead vocals on many songs and like Blades, Keagy’s voice remains strong and powerful as ever. Rounding out the band but no less important is the killer keyboards from “E”, Eric Levy.
Damn Yankees was a “supergroup” Blades played in with Ted Nugent, Tommy Shaw and Michael Cartellone back in the early 90’s and Night Ranger treated Anaheim to a couple Damn Yankees smash hits – “Coming of Age” and “High Enough” which was just incredible to hear since Damn Yankees is no longer active. It was banger after banger, hit after hit – all killer, no filler with “Sing Me Away”, “Sentimental Street” and “When You Close Your Eyes”. For the rocking song “Night Ranger” during Keagy’s drum solo the entire band grabbed some drumsticks and joined in on pounding the drums and symbols – again another example of these guys having genuine fun onstage.
The night ended with two of Night Ranger’s biggest hits, first the sensational “Don't Tell Me You Love Me“, then one of the greatest power ballads of the 80s/90s, “Sister Christian” with Keagy on vocals WOW, just a really incredible performance that had the band sounding absolutely fantastic all night long.
Night Ranger remains one of - if not THE - premier live acts from the 80’s era and their music stands the test of time and rocks as hard today as it did 35 yrs ago.
Set List:
(You Can Still) Rock in America) | Four In the Morning | Seven Wishes | Sing Me Away | Coming of Age (Damn Yankees) | Sentimental Street | Rumors in the Air | Eddie’s Coming Out Tonight | High Road | Night Ranger (Drum Solo) | High Enough | (Damn Yankees) | Goodbye | When You Close Your Eyes | Don’t Tell Me You Love Me | Sister Christian
The 55-year-old O’Shea Jackson, better known as Ice Cube, is an accomplished rapper, songwriter, actor, film producer, and founder of BIG3 basketball league and CubeVision. He first hit the scene in 1986 with the rap trio C.I.A. but soon after hooked up with Easy-E and Dr. Dre to join N.W.A. And from that point on, there was no stopping Cube. He had the talent, smarts, energy and drive to not only make him one of the top rappers of all-time, but also a movie star, and much more. While growing up in the 80’s in white suburbia I gravitated towards hip hop. Such an amazing sound, and the message was so real, so raw, so true. When I first heard N.W.A. and Straight Outta Compton, I was pulled into this amazing music. The stories, no truths, they told in their music was so eye opening.
While Dre was my favorite in the group, Cube had that raw, rough, angry flow, his lyrics just stayed with you. So, when he left N.W.A., and not being in a time of social media, I didn’t understand and Cube became Benedict Arnold to me. I didn’t listen to AmeriKKKa’s Most Wanted and Death Certificate when they were first released. I was all about N.W.A. and Dre and Snoop and Warren G. But when The Predator came out, I heard a couple songs and had to listen. It was dope, it was raw, it was angry, it was amazing. With Dre creating and popularizing the G-Funk era, Cube’s next album, Lethal Injection, was amazing. It was an almost perfect album to me and by this point I had no choice but to admit I was a huge Cube fan. So, when I heard Cube was releasing this latest album, six years after his last release, and honestly after a handful of just Ok albums, I was intrigued but also wondering why? How will this sound?
During the late 80’s and early 90’s my go to was West Coast hip hop, to this day The Chronic is my #1 album ever. My 25-year-old son, Janak, takes after me in those days, in 2024 pretty much all he listens to is Dre, N.W.A., Tupac, Cube, Easy, Warren G, Snoop, etc. All that West Coast gangsta music. We were in the car Friday, and I asked if he listened to the new Ice Cube album yet, he said no, so I put it on. His first reaction was “he sounds old, he just doesn’t sound like that angry Ice Cube with that strong message, strong lyrics and that same flow.” It made me think, I had already listened to the album twice and I thought he sounded good. I thought, for the most part, his flow was solid, and the lyrical flow was good. But was I wrong? Because to me, what had always made Cube so great was the lyrics, his deliverance, and his beats.
The album starts off really strong with “Rollin’ At Twighlight” a nice chill beat and rhythm with that solid flow from Cube we are so used to. Followed up with a G-Funk flow with “It’s My Ego,” another chill rhythm and flow. He keeps up with that funk groove with another solid song in “So Sensitive.” Three really good solid songs to start this off. Snoop Dogg, E-40, Too $hort & October London join Cube on “She’s Sanctified.’ This funk, pop song has a nice beat and the hook by October London is sweet, but it kind of falls a little short, considering the star power on this joint. It’s not bad, I would have expected more from this crew. He stays with that old school funky feel with “Not Like Them’ but this is one of those tracks that I get what my son said about his sound and lyrics, just sounding kind of old and just a little flat. But he comes back strong on “5150” with some hard beats and Cube sounds crisp and intense and you have a sense of purpose behind his delivery. One of the better tracks on the album. K-Major delivers on “No Cap” but it’s another one of the songs that falls a little short for Cube and his lyrics. IshaDon doesn’t add much to the song, with a limited appearance, could have been more involved and not sure why Mike Epps was on this.
“3 Lil Piggies” is next up, while the beat isn’t bad, not getting into this one. It almost feels forced; the lyrics, the flow, the style. When you feel let down by a track or two, he comes back with a strong one, and “Ghetto Story” is just that, another lyrically strong song. It’s stripped down with no drums, just a nice groove with Cube flowing over like we love to hear. Cube has J-Dee of the Lynch Mob join him on “Facts.” These two reunite to give us a rundown on their lives, diving into their shared experiences, painting that graphic picture of their friendship and life of street drama over a shifty, infectious beat. We get a nice soul sample featuring Kurupt on “Fighting for My Life in Paradise.” This is a celebration to the life they are living, a good life. “Let’s Get Money Together” has Cube and B-Real going back and forth on this dope jam, a solid song with these two working well together after all these years. “I’mma Burn Rubber” gives us Cube with some hard and tough lyrics over a hard beat. Not a bad song, but doesn’t really fit as well on the album.
“Especially You” takes us back to his days of working with Dre and the World Class Weckin’ Cru with a major dance flow with the synthesizer taking us to the dance floor. Not sure many Cube fans will like this one, but I actually really like it. Such a different vibe, it just works. We get a true West Coast beat and feel with “Break the Mirror” featuring Xzibit. This hits hard, gives us that rawness from Cube we love so much. Zxibit comes in just as hard as Cube and has that raw flow. Great song. Cube takes a hit at these whack ass MCs on “Talkin’ Bout These Rappers” another hard beat and raw flow from Cube. Cube changing up his cadence which works so well. After a couple of strong songs we get “Scary Movie” another one that just falls a little short. Beat is nothing special and repetitive and the lyrics are not as strong. “Take Me To Your Leader” has a good vibe and feel to it, but there is something holding it back from being a really good tune. We finish off with track number 19, a song featuring Busta Rhymes and Killer Mike, “Ego Maniacs.” Great song to finish this album off with, great beat and G-Funk flow. Ice Cube has some nice lyrics, a great flow and he let’s us know, he’s the man. I have never been a huge Killer Mike fan, but he really hits nicely on this one and when Busta comes in, BOOM, he just gives us that strong Busta flow.
Man Down is really split into two groups, that old-school West Coast flow and G-Funk era stylin’ but the other half that just falls a little flat, weather it’s the production and beats or the lyrics. Maybe this should have been a shorter album. The good old-school grooves are going to really hit with the old-school Ice Cube fans. The early 90’s Cube fan, but probably not hit with the new, younger hip hop crowd. Which is fine. With 50 years of hip hop, you are going to have all types of styles and all types of fans. Is this on the level of The Predator or Lethal Injection (my two favorite Cube albums)? No, but it is a solid album, an album I will keep listening to, while skipping over a few of the songs. It is a little frustrating, the lyrics and energy is so good on some songs, but then really drops on others. Cube, at times brings us that rawness, attitude and emotion we love, but other times it is a letdown, you are left waiting for more. Overall, it is a solid album, for a guy that has been doing music for close to 40 years, he still has it. For a guy that doesn’t need to prove anything it’s nice to see him still wanting to put out music, and good music at that. He still brings those strong lyrics, that angry and strong flow.
Oh, and one final shout here - to our brother Steven Lashbrook. Lash is one amazing photographer and the genius behind the epic album art on Man Down. His shots are killer and bring to life Cube's stories throughout this amazing album - well done!
One Love – Todd Judd
