Hailing from Seaview Gardens, Kingston, Jamaica, O’Neil Bryan, better known as Elephant Man, has been a mainstay in dancehall since 1995, when he burst onto the scene as part of the group Scare Dem Crew. Over the years, he has become known for his low, raspy, grumbling singing voice with a slight lisp, his trademark dyed yellow-orange hair, and his super-hyped stage performances. Alongside a few others, he has carried the dancehall torch for 30 years, staying true to the style that got him started while also evolving and adapting to the times. This ability has allowed him to retain his longtime listeners while bringing in new, younger fans.
The album kicks off with the previously released title track, “Dancing to the Max.” Using the Fiesta Riddim, Elephant Man sets the tone for the album with one clear goal: to get people dancing and having a good time. It’s the perfect song to start this dance party, and he’s already accomplishing his mission.
Next up is “God Is Good,” which samples James Cleveland and the Southern California Community Choir’s “God Is” from Cleveland’s 1979 album It’s a New Day. Elephant Man delivers a slower flow over the beat and riddim, creating a reflective yet uplifting vibe.
“Turn & Twist” follows, a reinterpretation of Chubby Checker’s original song. Rather than sampling a snippet, Elephant Man reimagines the tune with a chill riddim and a solid beat, offering a fresh take on a classic.
The energy ramps up with “Gimmi Rum,” a fun and energizing track that demands you get up and dance. The production is top-notch, featuring an infectious beat and exciting sounds throughout.
Next is “Dancing School,” which samples Diana Ross’s “I’m Coming Out.” This rousing track celebrates both old-school and new-school dances, once again compelling listeners to hit the dance floor.
“Work Out” keeps the party going with another great sample. This time, Elephant Man incorporates R. Kelly’s “Fiesta,” which itself sampled Pavlo Simtikdis’s “Fantasia.” His flow and vocals shine on this track, making it another must-dance-to anthem.
The party atmosphere continues with “Party Anthem,” featuring Busy Signal. Their styles and flows complement each other perfectly, creating a fantastic, high-energy track. It’s a collaboration that leaves you wanting more from the duo.
The album closes with a bang on “Yah Smaddy,” a track done in collaboration with Damage Musiq. This energetic finale pays respect to the communities and people in Jamaica who set the standard, while also calling out the fakes. The Montego Bay slang term “yah smaddy” inspired Elephant Man to do a roll call for the realest people in Jamaica, warning listeners to be cautious of frauds and their potential consequences.
With summer approaching, Elephant Man delivers the perfect collection of party songs that deserve a spot on every playlist. The album was brought together by an impressive lineup of producers, including Energy God Productions, DJ Mac, Damage Musiq, and Silent Addy, who crafted a series of party singles that don’t miss. Elephant Man brings his infectious energy, dope vocals, and signature style, keeping us dancing from start to finish.
One Love – Todd M. Judd
On May 29, 2025, the entire Regent Theater came to life with jumping, clapping, laughter, balloons, and boundless energy. It was the final night of Cheekface’s North America headline tour, with support from Pacing. Both artists brought a whimsical energy to the stage, each unique in their own way. It was clear that both bands have a lot of respect for one another. Together, they created a night that brought people together. The crowd was incredibly friendly and excited for the show—one fan even came dressed in a hotdog costume.
When Pacing took the stage, they immediately charmed the audience with their comedic spirit. They opened with a joke bit about chips, which had the whole crowd cheering. Lead singer Katie McTigue radiated confidence and charisma, performing with a constant smile and expressive hand gestures that added even more personality to the set. It was refreshing to see the rest of the band smiling and having fun as well.
Pacing’s setlist included songs such as “Chips,” “The Family,” “Sunny,” “Nothing! (I Wanna Do),” “Bite Me,” “Have You Tried Meditation,” “I Want to Go Outside,” “Annoying Email,” “Plnet Ftness,” “Boyfriends,” and “Live/Laugh/Laugh.” Fans of artists like Ricky Montgomery, Cavetown, and mxmtoon would love Pacing. Their songs are deeply relatable, even covering everyday struggles like canceling subscriptions. At one point, they shared a story about having to cancel subscriptions for a deceased relative, connecting with the audience in a heartfelt yet humorous way.
One of the best moments during their set was during “Boyfriends,” when they got the entire crowd to play pat-a-cake with each other. The room filled with joyful clapping and the sound of new friendships forming. Pacing is definitely an underrated artist, but their relatable music is sure to reach many more people.
Cheekface began energizing the crowd even before stepping on stage. Cardboard pigeons and a chipmunk plushie were placed around the set—a fun preview of the kind of energy they bring. Watching Cheekface live felt like being in a movie. Everyone danced like they didn’t have a care in the world. The crowd was so kind that people literally went out of their way to offer me their spot.
It was so easy to move around that I got to see the show from all perspectives of the audience, which only made the experience that much more exciting. At one point, balloons were being tossed into the air, and you could see the glow in the eyes of the crowd. Their guitarist brought rockstar energy with dramatic hair flips, while another band member performed with sassy, bouncy movements. Cheekface even got us to sing about cup noodles—over and over again. Their music offers a comedic yet pointed commentary on the state of society, including themes like social media. If you like Rare Americans, you’ll definitely enjoy Cheekface.
Their setlist included “Popular 2,” “Best Life,” “Flies,” “Featured Singer” (with a Cha-Cha Slide break), “We Need a Bigger Dumpster” (mashup with “Pink Pony Club”), “Rude World,” “Life in a Bag,” “Growth Sux,” “I Only Say I’m Sorry When I’m Wrong Now,” “Wind Is Gone,” “Noodles,” “When Life Hands You Problems,” “Military Gum” (mashup with “Give It Away”), “Eternity Leave,” “Art House,” “Yo Guy,” “Content Baby,” “You Always Want to Bomb the Middle East,” “Dry Heat,” “Hard Mode,” “Listen to Your Heart.” “No.,” and “Living Lo-Fi.”
One of the most epic moments of the night was when they got the entire audience to do the Cha-Cha Slide. Toward the end of the show, they took a moment to honor Stubbs, the band’s iconic dog mascot, who passed away during the tour. In their own way, Stubbs will continue to live on in the band’s art and in the hearts of fans. Hearing the lead singer’s speech was a poignant reminder to keep going, no matter how hard life gets—that there are things worth staying alive for. Cheekface is definitely a band the world needs right now.
I also want to give a special shoutout to my friend Tre, who told me about the show and has been running lights for the entire tour. Straight-up legendary work—the lighting that night was top-notch and the reason I was able to capture so many cool shots. The crew is a huge part of what makes a show like this happen, and the entire night was flawless.
I’m so glad I went and will now be playing Pacing and Cheekface on repeat. These are artists you definitely want to check out.
When the metal gods roll into Atlanta, you expect the sky to crack open, stadium foundations to quake, and enough raw, volcanic energy to power the entire South. Metallica’s June 3rd, 2025, spectacle at Mercedes-Benz Stadium delivered on that promise—blasting eardrums and scorching retinas.
Suicidal Tendencies kicked off the evening, though no press was allowed. Having seen them live before, I can confirm they’re legends, and braving the traffic to catch their set early is highly advised. The floor area was still filling up, so fans could easily get front and center for their performance.
Pantera was the first band I caught, delivering a fierce yet somewhat disjointed set. Their formidable power was diluted by the round-stage setup, which spread the band out and lacked the cohesion of the tight unit I’ve seen before. Phil Anselmo’s voice was incredible, and he prowled the stage, giving everyone a few moments of his intensity. If you ever get the chance to see Zakk Wylde and his Black Label Society, don’t miss it—he’s always amazing to watch. While Pantera remains an explosive band, this performance felt more like four individuals playing alone rather than a unified group.
Finally, the time came for Metallica to rage. Nearly sold out and rabid, the Atlanta crowd came ready to riot—loud, raucous, and shockingly youthful. When James Hetfield took a poll, half the hands shot up as Metallica virgins, a testament to the viral surge "Master of Puppets" received after its feature in Stranger Things. Hell, my first Metallica gig in 1986 had fewer fans in attendance than tonight’s merch line—a comparison that’s both depressing and glorious in equal measure.
Metallica barreled in with "Creeping Death," igniting the arena with thrash-punk pyrotechnics. Lars Ulrich’s drum kit setup was a cool trick. Never one to stay buried in the back, he had several kits embedded in the floor around the giant round stage, moving from kit to kit and giving fans a closer look. It added a manic delight to the showmanship, offering everyone glimpses of his sneering intensity.
But let’s be brutally honest about the circular stage gimmick: it’s a feast-or-famine gamble. One moment, you’re eye-to-eye with Hetfield, snarling out lyrics like a preacher possessed; the next twenty minutes, you’re stuck staring at empty microphones and vacant space. Even the towering screens, which leaned heavily on psychedelic visuals over practical live feeds, occasionally left fans gazing into abstract oblivion. I get it—they’re playing to a football stadium and want everyone to have the best experience, but I’d rethink those expensive floor seats.
Still, when Metallica hit their stride, the logistical grievances vanished into the vortex of sheer sonic catharsis. The savage churn of "For Whom the Bell Tolls" was gloriously brutal, and newer tracks like "If Darkness Had a Son" blazed with youthful venom. These aren’t aging rockers grasping at relevance—they’re primal beasts who’ve only sharpened their claws with age.
Robert Trujillo and Kirk Hammett’s mid-show doodle was a quirky highlight. Their spontaneous cover of "No Remorse" merged bizarrely and brilliantly into The Allman Brothers Band’s "One Way Out," a playful nod to the Southern setting that the crowd devoured like barbecue on a Sunday.
"Nothing Else Matters" offered a much-needed moment of communal vulnerability, with thousands of glowing smartphones illuminating faces and transforming the stadium into a cathedral of metal balladry. But sentimentality was fleeting, obliterated by the joyous chaos of that riff that set the metal world on fire in 1982: "Seek & Destroy."
As an old-school fan, I wanted to see a massive mosh pit encircling the round stage—thrashing rage, stage divers going over the railings, blood, and pandemonium. Instead, we got beach balls. I get it—that’s not who the band or the audience is anymore. Still, the only rage I felt was my own, watching everyone have fun with those massive beach balls.
Ultimately, Atlanta bore witness to Metallica’s defiant insistence on blending primal chaos with reflective melody, sentimental nostalgia with raw aggression, and quirky imperfections with breathtaking showmanship. Was it flawless? Never. Was it magnificent, absurd, and genuinely unforgettable? Absolutely. Because rock and roll at its best is never clean or tidy—it’s messy, loud, exhilarating, and undeniably alive. Metallica, even decades on, embodies that beautifully.
As bands grow, their music almost always evolves and changes. For some bands, this evolution can be a great thing, with fans staying along for the ride and enjoying the journey. For others, it can be divisive, with fans taking sides—only liking certain periods of a band’s career and feeling upset when bands choose to focus on specific eras of their music during live performances. Aesthetic Perfection can sometimes fall into this category, as their music has evolved and changed significantly over the years. However, Daniel Graves decided to give back to his fans with an Old School Electronic Tour, featuring songs released only before 2011. The tour ended with a hometown show at The Paramount in Los Angeles, CA, with support from Nyxx and genCAB. Fans lined up around the block, eager to hear some of Aesthetic Perfection’s classics.
Opening the show was genCAB (short for Generation Cable). I first saw them a couple of years ago, opening for Aesthetic Perfection on their last U.S. tour. The band is comprised of former Aesthetic Perfection members, with David Dutton on vocals and keyboards and Tim Van Horn filling in on drums for this show. This was my second time seeing Dutton as the frontman of his own band, and I could see how much his stage presence has evolved. He played up to the audience more, strutting around the stage when not tied to his keyboard. Dutton puts his whole body into his performance, and Van Horn matches that energy on drums. Using a smaller electronic kit with a drum pad, Van Horn programmed powerful hits and sounds, adding flair and intensity to the music.
genCAB captivated the crowd, even those unfamiliar with their music, with songs like “Of Love & Death,” “Cake,” “Six Hits,” “Seafoam Cemetery,” “Siren Song,” “Another Glass Eye,” and “Channel the Past.” They’ve been gaining traction in the industrial scene, and I highly recommend checking them out when they come to a venue near you.
Up next was Nyxx, a solo artist I first discovered when I saw Aesthetic Perfection live in 2017. I became an instant fan, and it’s been a pleasure watching her music evolve over the years—from her industrial pop beginnings to the heavy, hard-hitting songs she’s releasing now. Her set showcased the best of both styles.
Kicking off with “Gun,” Nyxx set the tone for the rest of her performance. The song fused a dance beat with a haunting melody, and her seductive vocals carried a false sense of security, masking a more sinister message. She also performed duet songs like “Body Count” and “Voodoo,” handling them perfectly without her co-singer. Many fans, myself included, were hoping Daniel Graves would join her for “Voodoo,” but alas, it didn’t happen.
Nyxx maintained her seductive energy throughout the set, dancing and performing for the crowd while singing about female empowerment with songs like “Nightmare,” “FERAL,” “Salt,” “Pussy Liquor,” and ending with “Crown.” Having covered her first headlining tour last year, I can’t wait to see her return to the stage as a headliner again, especially as she continues to build her fan base with new, hard-hitting tracks.
Finally, it was time for the old-school electronic set with a classic Aesthetic Perfection lineup. Daniel Graves hit the stage in a more traditional industrial goth look, complete with his signature dripping football eye black. This was the Daniel many fans, including myself, first discovered, and while I’ve enjoyed the evolution of his stage persona, seeing this version of him again felt nostalgic and comforting.
Kicking off with “The Great Depression,” Daniel was a ball of energy, running and jumping across the stage as the crowd fed that energy right back to him. The Paramount transformed into a late-night goth club, with fans dancing in the back of the room. You could see in Daniel’s eyes how much he enjoyed seeing the crowd’s excitement as they heard these songs live again.
The setlist was packed with fan favorites, including “Schadenfreude,” “Fix,” “Architect,” “Pale,” “The Siren,” “Beautiful,” “I Belong to You,” “My Master,” “Blood Runs Cold,” and “Coward.”
For this special old-school set, Daniel was joined by his former bandmate David Dutton on keyboards. Unlike his energetic performance with genCAB, Dutton was more reserved, letting Daniel shine as the star of the show. As a surprise, Tim Van Horn joined the band for the encore, adding even more nostalgia and joy to the night. With Tim on drums, the final songs—“The Dark Half,” “Inhuman,” and “Spit It Out”—were electrifying, even sparking a mosh pit.
As the final song ended, Daniel looked out at the crowd, seeing fans singing, cheering, dancing, and moshing. He couldn’t help but get choked up as he thanked everyone for coming to this special hometown show.
Thank you to Aesthetic Perfection for being willing to do a throwback set. It transported so many of us back to our younger days, when we were just discovering the industrial and gothic scenes, and these songs were staples in every club. Talking with Daniel after the show, it’s clear this tour has revitalized his passion for making music. I can’t wait to see where this renewed love for his older material takes him creatively with his new songs. Whatever comes next, I’m confident Aesthetic Perfection will continue to deliver industrial pop greatness.
“Just be Jason, and John will come naturally.” This is what someone told Jason Bonham when he felt he was struggling to handle his legendary father’s drum parts as Led Zeppelin was practicing for their 2007 performance at the O2 Arena in London. (If you haven’t seen the film Celebration Day, go watch it.) Jason shared this anecdote and many others during a stellar performance of Jason Bonham’s Led Zeppelin Evening (JBLZE) at the Greek Theatre in Los Angeles. It was a warm night, but Jason and the band brought the full thunder of Led Zeppelin.
2025 marks the 50th anniversary of Physical Graffiti, Led Zeppelin’s sixth album. It was the first album to ever ship platinum (one million copies) and has sold over 13 million worldwide to date. The double album features an incredible range of styles, including Middle Eastern rhythms, funk, blues, heavy rock, and acoustic music. It showcases what Jimmy Page called the “Light and Shade” of Led Zeppelin.
Jason Bonham has been performing Led Zeppelin music on tour for over a decade. On this tour, he and his band played Physical Graffiti in its entirety. From the very opening riff of “Custard Pie,” the audience roared. When Bonham started the drums for “The Rover,” the crowd screamed. And when the pummeling guitar riff of “The Wanton Song” kicked in, the realization that Led Zeppelin’s music—now part of our collective DNA—was being performed to near perfection was complete. (A special note: “The Wanton Song” is not third on the Physical Graffiti tracklist. While the album was played in its entirety, it was not performed in order. Bonham even joked about audience members not being able to plan drink or bathroom breaks.)
This edition of JBLZE has the power, groove, and range of Led Zeppelin down to a science. Starting with Bonham’s not-so-secret weapon: Mr. Jimmy on guitar. A once-unknown guitarist in Japan, Akio Sakurai has dedicated his life to honoring Led Zeppelin guitarist and founder Jimmy Page. His moves and looks are reminiscent of the iconic guitarist, but most importantly, if you close your eyes, his playing is spot on. There’s even a documentary about Sakurai’s journey that’s well worth watching.
The rest of the band is equally talented and serves Jason and the music well. James Dylan on vocals has the unenviable task of taking on Robert Plant’s frontman/lead singer role. Unlike Sakurai, he doesn’t try to mimic Plant’s look or style. Instead, he relies on his voice, which handles everything from the howls of “Custard Pie” to the softer, almost humorous phrasings in “Black Country Woman.”
John Paul Jones was an incredible bass player, and JBLZE’s Dorian Heartsong is an accomplished artist and musician in his own right. His playing anchored the entire night, and he added mandolin to the acoustic part of the set. Rounding out the band was Alex Howland on keyboards and guitar.
If you’re a fan of Physical Graffiti, the band made every song feel like a highlight. They gathered in front of Jason’s drums for a three-song acoustic set featuring “Bron-Yr-Aur,” “Boogie with Stu,” and “Black Country Woman.” Alex Howland brought the funk to the keyboards, getting the audience moving and grooving during “Trampled Under Foot.” The final song from the album was the epic “Kashmir.” Jason explained how his father earned songwriting credits on the track by singing the iconic riff to Jimmy Page.
The two encore songs, not from Physical Graffiti, were “Whole Lotta Love” and “Rock and Roll.”
May 31 is John Bonham’s birthday, and he would have been 77 this year. Jason asked the audience to turn on their flashlights, raise them high, and give Bonzo a giant birthday cake. Bonzo’s presence was felt throughout the night in every drum hit and bass drum kick. His playing was so influential that it became the blueprint for much of rock music. (Many consider John Bonham the greatest drummer of all time, not just in rock.) Jason’s anecdotes were touching—like recalling the night his mom first saw Bonzo perform on stage—and funny, such as a young Jason asking his dad why the song “Houses of the Holy” isn’t on the album Houses of the Holy. The answer: “Because it’s Jimmy’s band.”
Jason Bonham’s Led Zeppelin Evening is not a tribute band. It’s an incredible tribute to the music, the album Physical Graffiti, the band Led Zeppelin, and the father and drummer, John Bonham. Jason Bonham may have had the hardest job of the evening, but his talent, passion, and love came through the entire night. He does his father’s legacy proud.
Keeping it all in the family, the opening act was Jager Henry, Jason Bonham’s son. He’s the singer and frontman of a band featuring Cash Lane on bass, Cameron Nino on guitar, and Michael Rose on drums. Jager has a ton of talent, and his eight-song set featured most of the tracks from his debut EP, Heart of Thorns. As he writes his own songs and makes his mark in the music world, Jager is definitely worth listening to and seeing in the future.
Born and raised in St. Catherine, Jamaica, Hector Roots Lewis developed a deep love for music early on, influenced by his mother, the legendary reggae songbird Barbara Jones. Her impact continues to shape his approach to music and the performing arts, enhancing his talent and blending classic influences with modern sounds. The Grammy-nominated artist showcases versatile talents that cross genres beyond reggae, including dancehall, calypso, Latin, Afrobeats, Haitian kompa, and bouyon from Dominica. By melding these genres, Hector has created a unique vibe and style, blending roots, soul, and conscious energy.
Over the years, Hector has played and toured with the likes of Collie Buddz, Chronixx, Mike Love, and Tribal Seeds. It was two years ago, while touring with Tribal Seeds, that movie casting director Avey Kaufman reached out to his management team, inviting him to audition for the role of the late drummer Carlton ‘Carly’ Barrett of The Wailers in the upcoming Bob Marley: One Love biopic.
“I was at the end of the tour when I submitted the audition video electronically in October 2022,” Hector recalled to Loop Entertainment, “then they told me I was shortlisted… about a month later, we got an email confirming I had got the role.” Reflecting on the opportunity, he added, “It was very surreal. I felt a range of emotions—excited, nervous, honored, humbled, happy, and ready to do my best.”
For his latest album, Hector teamed up with producer, artist, multi-instrumentalist, and longtime member of Stick Figure, Johnny Cosmic. A contributor to a Grammy Award-winning album, Johnny Cosmic is one of the most underrated producers in reggae music and an all-around talent. Together, they set out to create an album that is not only great but also meaningful and adventurous.
The album kicks off with “Peace of Mind,” a sweet reggae riddim that sets the tone for the cosmic journey ahead. Hector’s smooth vocals perfectly complement the classic reggae beat, making it an ideal opener. Next is “Strength,” which starts with a California-esque reggae groove and some great guitar work. Hector delivers powerful lyrics that flow seamlessly into a catchy chorus.
Busy Signal and The Movement join Hector and Johnny Cosmic on this upbeat track, with Busy Signal’s signature flow dominating the verses. Josh Swain of The Movement adds a dynamic lyrical flow, changing tempos and taking the song to another level. While Hector shines on the chorus, Busy Signal and Josh undeniably steal the show.
“Battle Cry” features KA$E and brings an '80s vibe to the album. Hector leads the track with a military-like cadence, while KA$E’s unique vocal tone, reminiscent of 1980s Jamaican music, immediately grabs attention. The hypnotic production, with a slight Latin influence, enhances the song’s captivating energy.
“Possibility” follows with a modern-roots riddim, delivering a powerful anthem of hope and determination. The soulful tune “Fire” pays homage to music and the passion it ignites within us. With a rocksteady/lovers rock mood, this track is impossible not to dance and sing along to. J. Boog joins Hector on this jam, bringing a fantastic flow and elevating the song, especially when he picks up the tempo. It’s one of the album’s standout tracks.
The rocksteady/lovers rock vibe continues with “Where I Belong,” a feel-good groove that keeps your head bobbing. Hector captures the joy of music, saying, “What’s life without music to celebrate our festive moments?” The album only gets stronger as it progresses.
“Sound a Beat” delivers another sweet, chill, rootsy groove. Hector mixes up his sound, cadence, and flow, keeping the track fresh and engaging. The album concludes with “Celebration,” a perfect closer featuring a classic roots reggae riddim. Hector’s vocal range shines here, and the classic keyboard in the background takes the song to another level.
What do you get when you combine an amazing reggae artist with one of the top reggae producers? You get Cosmic Roots—possibly the best album of the year so far. Each song offers a fresh sound, an upbeat positive vibe, and incredible lyrical flow. As the album progresses, it becomes more meaningful and adventurous, taking listeners on an unforgettable journey.
Do yourself a favor and check out this strong collection of songs. Find out why it’s the top album of the year.
One Love – Todd M. Judd
For all the downsides that may come with Spotify and how it treats artists, there’s no denying that it has helped thousands of bands reach millions of people they might never have otherwise. I’ve discovered some of my newest music obsessions through the app, and one of those happens to be Honey Revenge. Even though they’re a local Los Angeles band, I’ve somehow never managed to catch them live—until now. They’ve set off on their own headlining tour, The Loving and Losing Tour, making a hometown stop at the famous Glass House in Pomona, CA. The line wrapped around the block before the doors opened, with fans eager to see Honey Revenge, supported by Daisy Grenade, Vana, and Nightlife.
Opening the show was Baltimore soul-punk trio Nightlife. Normally a quartet featuring a guitarist and bassist, they switched up their lineup for this tour. The performance featured Hansel Romero on vocals, Isaiah Walker on drums, and Allan Rafael Romero as the group’s sexy sax man. Kicking off their set with “nightlifetypebeat,” the band strutted onto the stage oozing sex appeal and charisma. Hansel’s smooth, jazzy voice felt like he was singing directly to each person in the crowd. Isaiah kept the beat flowing and danceable, while Allan’s saxophone added an infectious groove that made their sound truly stand out. The audience couldn’t help but grind and sway to the music. At one point, Hansel called for a pit to open up but encouraged fans to turn it into a dancing pit. He even joined the crowd, dancing and singing right in the faces of fans. Nightlife kept the momentum going with songs like “fallback,” “you know,” “fool me once,” “better,” “i/o,” and ended with “new low.” Their sound can only be described as modern baby-making music—put this on in the bedroom, and things are bound to happen.
Next up was Vana, an artist hailing from New Zealand. Vana brought a standout sound to the tour, blending dark pop with the heaviness of metalcore. When she stepped in front of the crowd, all eyes were locked on her alluring presence. Her performance seamlessly alternated between clean, melodic vocals and harsh screams. Her clean vocals carried a hypnotic quality, pulling the audience into a trance before her ferocious roars unleashed chaos. The crowd mirrored her energy, shifting from seductive dancing to raging bodies as the mosh pit opened up. She even called for a wall of death, which the fans at the Glass House eagerly obliged. Vana delivered the heaviest set of the night with songs like “NOXIOUS,” “HARLEQUIN!,” “PLEASER,” “Serpentine,” “BITE BACK,” “BEG!,” and ended with “Clandestine.” For fans of Poppy, who blends pop, metal, and electronic, Vana is a must-listen as she carves her own path in a similar vein.
The penultimate act was Daisy Grenade, featuring the dynamic duo of vocalist Keaton Whittaker and Dani Nigro, who also handled acoustic guitar duties. Their bubbly, playful aesthetic contrasted with the serious themes in their lyrics, which tackled issues like heartbreak, the male gaze, societal pressures, and reclaiming power. Their upbeat singing style often masked the depth of their lyrics, but once you caught the meaning, it opened your eyes to their powerful messages. This realization hit me during “Guts,” when Keaton locked eyes with me while singing about the struggles of being a woman. Daisy Grenade kept these themes flowing with songs like “So Happy,” “Cult Classic,” “How to Hide a Body,” “Are You Scared of Me Yet?,” “Don’t Sweat It,” “Taste,” “Liquor and Kerosene,” “Riot,” “Hypocrite,” and ended with “Sick.” Fresh off the Pierce the Veil arena tour, Daisy Grenade is clearly on the rise, and I can’t wait to see them headline their own tour in the future.
Finally, it was time for the headliner, Honey Revenge, who were thrilled to perform for their hometown crowd. They kicked off their set with their latest song, “Risk.” Though the track had only been out for about a week, the crowd sang along with vocalist Devin Papadol, word for word. Guitarist Donovan Lloyd backed up Devin with grooving guitar lines that created an irresistible beat, sparking a dance session in the crowd. Devin danced between vocal breaks, adding a fun, breezy energy to the show, while Donovan played with a huge smile, clearly enjoying every moment on stage. The joy was infectious, as the crowd sang every song with smiles on their faces and emotions flowing as they connected with the band.
The setlist included fan favorites like “Seeing Negative (Disappointment),” “Recipe for Disaster,” “Sensitive,” “Distracted,” “Favorite Song,” “Rerun,” “Fight or Flight,” “Scapegoat,” “Habitual,” “Medicine,” “Ride,” “Murphy’s Law,” “Worst Apology,” “Are You Impressed?,” and “Airhead.” Honey Revenge even played three unreleased tracks—“Jealousy Monster,” “Loving and Losing,” and “Concentrate”—to fill out the setlist. After playing every song they knew, there was no encore. Instead, Devin shared a quick story about how sound-checking to a hardcore song sparked the meme name “Heavy Revenge.” The band then surprised the crowd with a cover of Knocked Loose’s “Counting Worms.” For a few moments, the dance pit turned into a chaotic mosh pit, with fists and kicks flying.
Tours often try to stack the lineup with complementary bands to maintain a flow throughout the night, but not every tour succeeds. That wasn’t the case for The Loving and Losing Tour. Honey Revenge curated the perfect support acts, with Nightlife, Vana, and Daisy Grenade connecting with the fans just as strongly as the headliner. Each band gave their all, and you could argue that any of them stole the show. This is the kind of tour people will place on a pedestal for how perfectly it was put together. With five weeks left and a show almost every night, do yourself a favor and make sure you’re in the crowd. You’ll regret missing this one.
Testament has quite a legacy in heavy metal. As one of the OG thrash metal bands out of the San Francisco Bay Area, they have not only survived in the music scene since 1983 but thrived, releasing some of the best music of their career in recent years. With 42 years in the business and 13 studio albums under their belt, they remain a touring juggernaut. In 2025, they decided to do something special to celebrate the 35th anniversary of their Practice What You Preach album. Not only did they re-release the album on limited-edition colored vinyl, but they also hit the road for “An Evening with Testament,” featuring no opening act and a setlist that included Practice What You Preach in its entirety, a couple of acoustic songs, and some deeper cuts to close out the night.
On Sunday, May 25, Testament played the final night of this 16-date run at House of Blues in San Diego, and it was an absolute banger. The venue, which holds about 800 people, was either sold out or as close to capacity as it could get. At 8:00 PM, the band hit the stage: the hulking Chuck Billy on vocals, Eric Peterson and Alex Skolnick on guitars, Steve Di Giorgio on bass, and Chris Dovas on drums. They kicked off two hours of thrash madness with the title track, “Practice What You Preach,” and immediately the Testament diehards began moshing and crowd-surfing, creating a chaotic frenzy. The energy only intensified as they launched into “Sins of Omission,” with the band seeming larger than life on the small House of Blues stage.
Billy addressed the crowd next, welcoming everyone to this unique show. Between songs, he and the other band members shared background stories about each track, offering insights into the writing process, lyrical content, and their state of mind back in 1988/89. For example, they discussed the political tone of “Perilous Nation” and the environmental themes in “Greenhouse Effect.” It was fascinating to hear these behind-the-scenes details about how the songs were created.
Practice What You Preach is a strong but underrated Testament album, and it was incredible to hear so many deep cuts from it live. They slowed things down for “The Ballad” before ramping up the heaviness with “Envy Life.” This was likely the last time some of these songs will ever be played live, making it an unforgettable experience.
After finishing the Practice What You Preach set, chairs were brought onstage, and the band switched to acoustic instruments. They performed “Musical Death (A Dirge)” followed by Billy joining in for “The Legacy.” These two songs alone were worth the price of admission.
The band then dove into additional deep cuts, starting with the heavy-hitting “Rise Up” and “Low,” followed by the mid-tempo rocker “City of Angels.” Things slowed down again for “Return to Serenity,” a top-tier thrash ballad. Dovas even treated the crowd to a short drum solo.
The night concluded on a fast, heavy note with the crowd-chosen “D.N.R. (Do Not Resuscitate)” and, of course, “Into the Pit.” The latter ignited a massive mosh pit as the audience caught a second wind, ending the night with a final blast of extreme energy.
Throughout the evening, Chuck Billy sounded phenomenal. His voice remains a unique instrument, effortlessly hitting deep growls and clean notes with razor-sharp precision. Alex Skolnick proved once again that he’s a guitar wizard, delivering blistering leads, while he and Eric Peterson reaffirmed their status as one of the top-tier thrash guitar duos. It was also cool to see Peterson playing a Gibson Les Paul for much of the night, as he typically uses his signature Dean guitars onstage.
The rhythm section was equally impressive. Steve Di Giorgio is one of the most technical bass players in existence, slamming on his fretless bass with unmatched skill. Meanwhile, the young Chris Dovas absolutely slayed on drums—an impressive feat, considering he wasn’t even born when Practice What You Preach was released.
This was a unique live experience that will never be duplicated. Keep those ticket stubs—this was one to remember. Testament is a force to be reckoned with, and we all eagerly await their next masterpiece.
There’s a moment—mid-pit, shirt torn, knees buckling, soul teetering between religious awakening and blunt force trauma—when you realize this isn’t just a show. This is what music was invented for. Last night at The Eastern in downtown Atlanta, Amyl and the Sniffers didn’t play a concert; they detonated one. Three jam-packed balconies and a ground floor that moved like tectonic plates in a bar fight. Punk is alive, well, and sporting hot pants.
Sheer Mag kicked things off, igniting rather than merely opening. Christina Halladay’s voice rearranged ribcages with its hurricane rasp. Their gritty, vintage sound was time-travel punk incarnate. By their closing number, the room was nearing full combustion.
Then came Amyl and the Sniffers, like feral punks tumbling out of a stolen van, launching straight into chaos with "Control." The floorboards groaned under 1,200 people losing their collective minds. Amy Taylor, punk’s prophet, hit the mic like a Molotov cocktail in hot pants and go-go boots. "Security" came next, a pub-rock grenade delivered with a sneer, turning the crowd into a furious chorus railing against modernity.
"Freaks to the Front" transformed the pit into a wave of misfits surging toward their sweaty savior, Taylor. "Doing It in Me Head" followed, a feedback-riddled panic attack driven by Declan Mehrtens’ relentless guitar and Bryce Wilson’s furious drums. Taylor prowled, flexed, and smeared sweat like war paint, launching into the lust-driven "Got You," and somehow the pit grew even more frenzied.
I almost caught a boot to the head as "Do It Do It" landed like a dare. "Chewing Gum" swaggered in next, like peer pressure from a demonic cheer squad. "Some Mutts (Can’t Be Muzzled)" felt like Taylor had carved the lyrics into a bathroom stall with broken glass.
"Balaclava Lover Boogie" shifted gears—slinky and sleazy—followed by the scorching "Starfire 500," where Gus Romer’s bass hit like a trampoline collision. The relentless pace continued with "Guided by Angels," an anthem that transformed the audience into one screaming, unified entity.
Taylor paused briefly before unleashing "Knifey," a gut-wrenching survival story that hurt in all the right ways. Then came a joyous reunion: Sheer Mag joined for "Me and the Girls," turning the night into a punk family celebration.
"Jerkin’" arrived next, joyously flipping off critics, exes, and authority figures. "Tiny Bikini" followed like a tanning-salon brawl—catchy, filthy, and full of heat. Closing in on the finale, "Facts" delivered a fierce punk reckoning, while "U Should Not Be Doing That" erupted like a fire alarm in a boxing ring—bodies airborne, rules defied.
"Hertz," the main-set closer, hit hard—every chorus a riot, every riff a lifeline. It felt apocalyptic in the best possible way.
The encore exploded with "Big Dreams," a defiant anthem for misfits and dreamers. Finally, the blistering "GFY" delivered a final middle finger to conformity.
If you want solid music and an epic experience, skip the overpriced stadium nostalgia tours. Go see Amyl and the Sniffers now—while tickets cost less than your car payment, while rooms still shake, and sweat still rains from ceilings. Because this isn’t just punk’s future—it’s the present. And it’s a bloody, beautiful mess.
Ari Pent is a producer, songwriter, multi-instrumentalist, engineer, and composer originally from Minneapolis. Now based in Los Angeles, Ari brings over a decade of experience across a wide range of modern genres, along with a formal education from Berklee College of Music, all by the age of 24.
Ari has worked with notable names such as Kam Kalloway, Anthony Resta, Ken Valdez, STICKGONBANG, Pritesh Walia, Mohammed Khodadadi, and Travis Marsh, steadily building a strong presence in the world of popular music and earning growing recognition in both the creative and commercial sides of the industry.
Known as a “producer’s producer” and a “songwriter’s songwriter,” Ari brings unmatched value to any session. With fluency on seven instruments and the ability to step into any role from concept to final release, Ari has a rare versatility that makes them a key contributor in any creative setting. Their sharp ear for the bold, the intimate, and the evocative often results in the hook you can’t stop humming.
For music supervisors and creatives looking for fresh, distinctive sounds with commercial appeal, Ari Pent is a rising voice worth watching and bringing into any project.
