Garbage may be one of the most commercially successful alternative rock bands of the '90s, but I feel they sometimes get forgotten about. They have been nominated for seven Grammys across their career, but you don’t hear many people talk about them in casual circles. Garbage has hit the road on their Happy Endings Tour in support of their latest album Let All That We Imagine Be the Light, and fans sold out the final stop of this tour as it came to the Hollywood Palladium in Los Angeles, CA. Fans packed into the Palladium, squeezing in tighter than I have ever seen before just for a chance to sing along with their '90s favorites.
Opening the night was LA natives Starcrawler. I was fortunate enough to catch these guys a few years ago in Las Vegas, and I was excited to see them again. Starcrawler brings a big, boisterous sound to the Palladium. Fronted by Arrow de Wilde, who is an enigma on stage, Arrow gets lost in her own world as she dances with herself like no one is watching, while singing the lyrics with a bite that you don’t want to mess with. It’s hard to pull attention off of a beautiful frontwoman, but guitarist Henri Cash was doing just that. Cash was flailing around like an anxious ball of energy, constantly whipping his guitar around his body and hardly ever looking at his guitar, yet never missing a lick. During their final song, “Bet My Brains,” Cash left the stage and ran up to the second floor of the Palladium to perform in the crowd. Fellow guitarist Bill Cash, bassist Tim Franco, and drummer Seth Carolina held down the rhythm of the band, being more stoic on the backline, allowing Arrow and Henri to unleash their inner beasts upon the fans. Starcrawler filled their set with some of their best work, like “Goodtime Girl,” “I Love LA,” “Stranded,” “If You’re Gonna Be Dumb, You Gotta Be Tough,” “Roadkill,” “It’s 3AM,” “Pet Sematary,” “She Said,” and “Different Angles.”
It was then time for our headliner, with Garbage taking the stage. As the band walked out for their opening song, “There’s No Future in Optimism,” the stage was illuminated in very specific overhead spotlights. As these lights bounced around the stage, they highlighted each band member almost as an introduction to the band. Moving into their second song, “Hold,” this was when vocalist Shirley Manson truly took control of the stage, stepping out from behind the mic stand and working the entire stage. Manson is a captivating singer, and it’s hard to take your eyes off her. It’s not just her powerful voice—you can feel her presence when she walks into a room, and you can’t look away. Manson always takes time in the set to talk about major political issues, and this night, she made a plea for equality in the world. It’s great to see someone with a stage like this speak on behalf of the betterment of the world.
Garbage has been a unique band by having a consistent lineup since its formation in 1993, with Duke Erikson and Steve Marker on guitar, and Butch Vig on drums. These men have been crafting iconic rhythms and melodies for generations now. Shirley never had a need to introduce a single song, as once one of these men started the opening to any song, the crowd immediately erupted into cheers as they knew the next classic they were going to get. From classics to even the songs from the new album, fans were along for the ride with hits like “I Think I’m Paranoid,” “Vow,” “Run Baby Run,” “The Trick Is to Keep Breathing,” “Not My Idea,” “Hammering in My Head,” “Wolves,” “#1 Crush,” “Bleed Like Me,” “Queer,” “Chinese Fire Horse,” “When I Grow Up,” “Cherry Lips (Go Baby Go!),” “Push It,” and “The Day That I Met God.” Garbage came back for a three-song encore that featured “Special,” “Stupid Girl,” and the final song being the fan favorite “Only Happy When It Rains.”
Growing up in the '90s, the songs of Garbage were part of my childhood. At least half the songs they performed unlocked a childhood memory I had forgotten about when hearing these songs. The music was a time capsule that transported me throughout my childhood. The venue was packed with fans of all ages who I know were going through the same existential experience with me. For a band I feel isn’t talked about enough, their music permeates pop culture and our lives. The next time Garbage announces a tour, please find yourself at one of the shows, as you will be blown away by a killer performance and music that you may not realize you have fond memories of.
For someone who came of age smack dab in the middle of the 2000s, A Day to Remember’s current Maximum Fun tour is about the best thing you could ask for. Featuring The Wonder Years, co-headliner Yellowcard, and of course A Day to Remember, the breakdowns are aplenty, and the sing-along choruses were throat-tearing.
This tour package is meant to feature four bands, actually, but unfortunately, English trio Dinosaur Pile-Up encountered some visa troubles and hadn’t yet made it to the tour package. Massive bummer for the fans of that band and really for everyone who came out to see this tour in the early days—but on the plus side, sort-of opener (sort-of because they had to start about 40 minutes later than anticipated) The Wonder Years got to play an extra five or so songs, and massive plus side, lots of them were from 2013’s The Greatest Generation.
The Wonder Years were a band that I had been meaning to see, but something always slipped through the cracks. I knew they had a reputation for a fiery live show, and I know that Dan “Soupy” Campbell had a reputation as an unforgettable live vocalist, but it just never worked out, you know? Well, 2013 me was absolutely thrilled because while the band played a ton from their various albums, there was nothing quite like hearing “Passing Through a Screen Door” following “There, There.” The hollow chords of the latter snapped me back to my past like a lightning bolt, Campbell’s soft crooning about repeated screwups exploding into raw vocal chords as he despairs about trying your best and still failing—it was everything I could have asked for. They filled that sold-out 8,000-cap room with a warmth and genuineness that is impossible to replicate. Dan had a moment where he spoke to the new listeners in the room—the new folks who were just now connecting with their music and feeling something stir. I wish I could have told him that he was still doing that for the longtime fans too.
Yellowcard was the surprise hit of the night for me. While I’ve never been what I could call a die-hard fan of theirs, there being some songs here and there that I appreciate (the obvious one being “Ocean Avenue”), their set kind of blew me away.
With a few breaks here and there, it’s easy to expect them to just kind of be cashing in on the wave of nostalgia bands making a return to form, but this is not the case with the string-studded pop punk of Ryan Key and company. What’s a little strange about the show is that Yellowcard is co-headlining with A Day to Remember, but from what I could tell, the 65 minutes of music that they put on was more or less a headliner experience front to back (which led to some kind of awkward momentum issues during ADTR’s set). But with that “full set experience” in mind—wow!
Flames, confetti, blasts of fog, a massive wall of LEDs, and a lighting director that certainly knew how to take advantage of a house rig—Yellowcard were not messing around, and the band members showed it. Each and every one of them occupied the maximum amount of space that they could use on the stage, with standout Sean Mackin spending time as if he had a step goal to get in by crossing back and forth the maximum amount of times. It was sincerely one of the better performances I have seen a band put on, with the energy of a group just starting out, and they are rounding out 28 years of existence!
Obvious closer “Ocean Avenue” had the cavernous Armory hopping along in fierce excitement. The baseball-shirt-studded 40-year-old near me as the set closed down absolutely lost his mind when the opening notes played—a reminder of how long the power of music can stick with us.
A Day to Remember’s massive stage was—I think—meant to be a massive, imposing presence as each member came out to enormous blasts of fog from the many jets lining the front of the stage. However, I think there was something lost in the planning between these co-headliners. Impressive in its own right, but following what Yellowcard put on, it felt a little scaled down. Either way, as McKinnon and co. took the stage, the opening du-du-dus of “The Downfall of Us All” came washing over the crowd, and that nagging thought was laid to rest—the party had begun again.
A huge wall of fans hung out on stage near the drum riser who got a very, very personal look out over the enormous crowd—a very cool and personal touch. The first things those folks probably saw as the halfway mark of “Downfall…” rolled through was what would more or less represent the rest of the night—wave after wave after wave of crowd surfers. While the rest of the photographers in the pit were only in there for about seven minutes, there had to be at least 20 people who security safely carried to the ground in that timeframe.
Song three jumped to Common Courtesy, and we had our first bang of confetti—the ADTR staple. Between that and the few songs off of Homesick, you were beginning to wonder when they’d cover their new material (this year’s Big Ole Album Vol. 1). Well—right afterward, in fact! They joked about not quite being Taylor Swift’s song, but their own little thing—and they played “Bad Blood” to raucous cheers. They danced around the corners of their discography the rest of the night (though made sure to give LeBron James a nice nod with a Space Jam clip prior to playing the song named after the NBA star). In all, a thunderous but standard night for the rock veterans, but really, what more could you ask for from one of rock’s most reliable bands?
The crowd at the State Farm Arena didn’t just get a concert Monday night. It got a living, breathing history lesson delivered by the man who helped write the soundtrack of the modern world. The second of two sold-out shows in Atlanta went nearly three hours, but no one checked their watch—not when you’re watching time itself walk across the stage holding a Höfner bass and smiling like he’s still the luckiest kid in Liverpool.
What’s astonishing about Paul McCartney in 2025 isn’t that he can still do this; it’s that he still loves doing it. You could see the passion is still there. He doesn’t need to be doing this, he surely doesn’t need to do it for three hours, but there is something about his legacy that he needs to show to the world, and it was a true gift to get to experience. The voice, more textured and human now, carries every decade inside it; behind him stands a band that isn’t just tight—they’re family. Paul “Wix” Wickens on keyboards, shaping the sound and steering the ship as musical director. Rusty Anderson firing off guitar lines like sparks from a welding torch. Brian Ray swapping seamlessly between guitar and bass, filling every corner of the mix. And Abe Laboriel Jr., pounding drums with joyful force, a locomotive in human form. Together, they don’t just back McCartney—they lift him, surprise him, and play these impossible, ageless songs in a way that still makes strangers throw their arms around each other without asking names.
McCartney didn’t draw neat borders between eras. Beatles classics slid into Wings swagger, which melted into solo tenderness. One minute the arena was thundering like a jet runway, the next you could hear people crying. The room swelled, shrank, and then swelled again, like lungs breathing in the last 65 years of music. The crowd skewed older, but a great mixture of younger fans were there, getting a chance to experience the legend as well. The night didn’t stay in the realm of nostalgia. McCartney is too aware, too present, too rooted in the idea that songs are only worth anything if they still mean something now.
Mid-show, after a run of Beatles crowd-pleasers, McCartney—always the great storyteller—told a story that hit the room like a lightning strike. He spoke about the Beatles’ first U.S. tour, their arrival in the South, and discovering, with shock and disgust, that their Alabama concert was segregated. “We’d never seen anything like it,” he said, shaking his head. “Black people on one side, white people on the other. And they told us, ‘That’s how it is here.’ And we said, ‘Well, that’s not how it’s going to be.’ So we refused to play. They integrated the audience. And after that, we put it into our rider: no segregation, anywhere.”
The arena went silent—not out of politeness, but reverence. Because it wasn’t a boast. It was a reminder: a band barely out of their teens, halfway around the world, insisted on human dignity and forced change with guitars and stubbornness. Power used the right way. Then he strummed the next chord, and the room erupted—not just with cheers, but with respect. Today, bands are shunned for their politics; the Beatles just did what was right.
There was another quiet devastation later in the set. The screens flickered with grainy footage of the 1969 rooftop concert, and McCartney began “I’ve Got a Feeling.” When the time came for John’s verse, Paul stepped back, let the music swell, and John Lennon’s voice, beamed in across decades, filled the arena. Paul watched the screen as he sang, and what was once film became resurrection. You could feel 20,000 people absorb the weight of it: friendship, grief, survival, art stronger than loss. When the song ended, McCartney looked out at the crowd and said softly, “I love doing that. It lets me sing with John again.” Not a line, just a truth.
Later came the tribute to George Harrison, delivered not with bombast but with tenderness. McCartney picked up a ukulele—one of George’s—and the room leaned in. He started small, plucking the melody of “Something” as if singing to an old friend. Halfway through, the band joined, the tempo lifted, and suddenly the arena was awash in George’s warmth: melodic, hopeful, unmistakably Harrison. You could see it on Paul’s face: not performance, but love. From there, the show took flight. Wings anthems turned the arena into a massive barroom choir. Beatles staples lifted people out of their seats. And when “Hey Jude” arrived—not sung, but shared—it felt less like a song and more like a collective heartbeat. Twenty thousand voices, strangers and families, arms thrown over shoulders, singing not because they were told to, but because it felt necessary.
McCartney’s show felt important. It had so much weight. In three hours, he reminded Atlanta of the humanity wired into his catalog. With every song, I could hear the impact it had on millions of people and how much change it inspired. As “Helter Skelter” and “Live and Let Die” blasted, I marveled at just how “metal” they seemed. Just as that thought touched my brain, explosions and flames erupted from the stage. McCartney was leaving it all on the stage. He didn’t ask the crowd to worship the past. He asked them to feel it, carry it, and maybe live it again. When the final chords of the Abbey Road suite rang out—“Golden Slumbers,” “Carry That Weight,” “The End”—it didn’t feel like closure. It felt like a handoff. Like he was giving the world back to us a little softer, a little kinder, a little more awake. And he walked off the Atlanta stage the same way he walked on: smiling, grateful, and somehow still searching for the next melody.
I will be honest, my knees were feeling it after standing for three hours, and the moment that thought hit me, I looked at Paul and saw the energy. I have no clue how he does it, but the sold-out crowd was truly blessed. A reminder of what music can do when someone refuses to shrink from the weight of it. This is surely the can’t-miss concert of the year.
Skillibeng has experienced a whirlwind of success since his 2019 single "Brik Pan Brik" took Jamaica by storm. From sold-out shows around the world to a steady stream of #1 hits on the dancehall charts, he has made a significant impact in the music scene. His follow-up hits, including "Badman," and the release of his debut album, Prodigy, have propelled him into the global spotlight. This success has led to collaborations with some of dancehall's biggest names and endorsements from internationally renowned artists such as Drake and Nicki Minaj.
Emwah Ryan Warmington, who hails from Saint Thomas Parish and grew up in the rural community of Lyssops, has built a solid discography with two previous EPs and three albums. His EP International is particularly notable for its diverse fusion of sounds and genres, further solidifying Skillibeng's position as a leader among the new generation of dancehall artists.
The EP begins with a remix of "New Gears" featuring Vybz Kartel, where both artists flow over a solid beat. It showcases the veteran artist working alongside a next-generation star. One standout track is "DADA," which features a sample from "Din Daa Daa" by George Kranz, along with a snippet from the 1966 "Bam Bam" by Byron Lee. Skillibeng shared, “The inspiration behind ‘DADA’ was the beat. It had the sound I was looking for. ‘DADA’ is the first track released from my highly anticipated EP titled International. This project essentially involves using different types of beats from various cultures and mixing them with Jamaican Patois as an experiment to showcase creativity and diversity.”
"Nipple Point" opens with a heavy beat, featuring electronic sounds that guide us through the song as Skillibeng delivers a strong and distinctive flow. Ghanaian pop sensation MOLIY joins Skillibeng on the track "Too Hot." This Afrobeat-inspired song highlights Skillibeng's immense confidence, emphasizing that his talent is so exceptional that he is "too hot to handle," making it difficult for other artists to compete with him.
The song "Anywhere" features a solid dancehall track with Ty Dolla $ign and Major Lazer. It speaks to the desire to escape a difficult or monotonous life and the longing for a change of scenery, often through money or travel, to achieve a better and more exciting existence. The lyrics convey a yearning to be in a place that is more glamorous, expensive, or exotic than the current reality. Skillibeng delivers a tight flow, while Ty Dolla $ign elevates the track even further.
On the other hand, "Bakaz," featuring Shaz, showcases a fusion of styles in its production, driven by a snare drum that guides the listener through the song. Skillibeng adopts a quicker flow here; however, I would have liked to hear more from Shaz.
"Big Strap," featuring Young Nudy, brings an old-school hip-hop vibe by sampling "Misdemeanor" by Foster Sylvers, which is also well-known from "It’s Funky Enough" by The D.O.C. Skillibeng delivers a fantastic rap flow, while Young Nudy sounds like he stepped straight out of the 90s for his verses.
Next is the "Tip Remix," featuring Ayetian and Nvtzz, who deliver a fast-paced flow with Skillibeng keeping up as they flow over this upbeat, Afro-Caribbean-inspired track.
"Ivany" refers to Jamaican TikToker and social media personality Ivany Wright. This track is a dancehall song dedicated to her and is produced by JWonder and Addy Prod. It’s a provocative song inspired by the viral spread of her explicit content, resulting in a bass-heavy dancehall banger.
The iconic Bam Bam riddim, famously known for Chaka Demus & Pliers’ hit "Murder She Wrote" in 1992, has been sampled by American producer Yeti for Skillibeng’s song, titled "Boom." The track features Dominican singer Tokischa, who delivers a rapid-fire verse that contrasts with Skillibeng’s slower, laid-back flow.
The EP concludes with the track "New Gears," which features a sample from the 1964 song "Mon amie la rose" by French singer Françoise Hardy. This sampling of Hardy's classic song brings a unique and unexpected element to the collaboration.
Skillibeng's latest project, International, marks a significant milestone in his career, solidifying his reputation as an artist who transcends genre and leads the new wave of dancehall. He skillfully blends contemporary styles with innovative and creative elements, while still paying homage to the past. Skillibeng's knack for merging raw, street-oriented lyrics with global musical influences and pulsating beats makes him capable of energizing dancefloors. His storytelling keeps fans engaged and captivated. This project celebrates the power of music to unite cultures and touch hearts around the world. Skillibeng invites listeners on a sonic journey, weaving together authentic street narratives with international sounds, and once again demonstrates why he is a voice for a new generation.
One Love – Todd M. Judd
Matisyahu has released his 8th studio album, Ancient Child, which not only features a soulful and energetic collection of new music but also pushes the boundaries of genre with his innovative approach. The album highlights his ability to explore new sounds and establish a truly unique presence in modern music. The title, Ancient Child, perfectly reflects the project’s themes of knowledge, curiosity, generational connection, and progression. It represents Matisyahu's personal journey, encompassing his spiritual beliefs, experiences of fatherhood, and aspirations for leading a better life.
The album opens with "Pro-Cess," a hip-hop-inspired track that features a minimalistic introduction before transitioning into an electronic beat reminiscent of reggaeton, enhanced by catchy synths. The song "Anxiety" delves into deeply personal themes, reflecting the artist's struggles with anxiety and his longing for hope and spiritual release. This track is another gem from Matisyahu, beautifully blending smooth textures, raw emotion, and energy, all accompanied by meaningful lyrics. It features simple, smooth drums and moody keys, complemented by a thoughtful rhyme from BLP Kosher.
"Sound Foundation" features an upbeat groove that takes fans back to Matisyahu’s roots while capturing his motivational spirit. The song emphasizes that healing begins with a solid foundation and is an anthem sure to have fans singing along at festivals and concerts. His vocals and songwriting truly shine in this track, delivering an inspiring hook and a positive energy throughout.
In "Crossroads," Matisyahu showcases an impressive lyrical flow, accompanied by a melody that includes layers and a charming Spanish-sounding guitar. The production quality is top-notch, perfectly complementing Matisyahu’s seamless flow.
Matisyahu brings us a powerful reminder of his fearless creativity with the next track, "Son Come Up." This infectious collaboration with his son Laivy features a unique blend of hip-hop and reggae fusion. Laivy adds heartfelt emotion to the song, which serves as a prayer – a father's plea for his children to rise "like the sun" and illuminate a fractured world. "Son Come Up" is the spark that ignited his project, Ancient Child. Matisyahu recently shared with AMFM Magazine, “It was the first song I wrote, and it felt like a prophecy. I have been exploring this idea for 20 years, ever since I dove into Kabbalah and Chassidut,” he explained, “hoping his children will shine brighter than he ever could.”
In "Rockets," Matisyahu navigates a blend of reggae, rap, and cross-genre collaborations, enhanced by a soothing piano and handclaps. His younger son, Duvbear, joins him on this reflective track, delivering a quick rap that beautifully complements Matisyahu’s fatherly flow. The next track, "Find A Way," seamlessly combines hip-hop, reggae, and soul with diverse influences such as Afro-pop. It features a pure sound, highlighted by silver bell samples and steel drums. Matisyahu's vocals are exceptional as he effortlessly rides the rhythm.
One of my favorite tracks is "Smoke & Mirrors," which features a reggae influence combined with a sweet hip-hop vibe. The song focuses on finding clarity and beauty through life’s struggles and challenges, with powerful emotions conveyed by Matisyahu. It has a laid-back, chill vibe, and the beat is just right, allowing Matisyahu to showcase one of his best vocal flows.
"Wake Up" is vibrant, filled with rich strings and a strong beat. Once again, Matisyahu impresses with his vocals, varying his styles and cadence to elevate the song to another level.
Continuing with the positive vibes, "Ritual" highlights Matisyahu's sharp vocals. He addresses internal conflicts, sets boundaries, and finds strength from within, delivering an unforgettable hook. This track has a slower, more meditative production that contrasts with the album's more upbeat songs, featuring smooth, layered production and melodies.
One of my favorites from the album, "Rockin Tempos," features Duvbear and has a strong, hard beat. Matisyahu flows methodically over the fresh, organic rhythm, pouring so much emotion into this song about staying steady and maintaining inner strength and peace amidst chaos, uncertainty, and life's ever-changing pace. The track has an almost garage-rock influence, blending classic rock and punk vibes with hip-hop elements. Duvbear adds a great lyrical flow that elevates the song to another level.
Matisyahu has evolved his musical style and explored new directions over the past few albums while maintaining a consistent focus on his songwriting, message, passion, and creativity. This latest album features thoughtful lyrics, innovative production, and a blend of genres that goes beyond his traditional reggae sound, resulting in music that is both personal and universally relatable. Long-time fans will resonate with the deeply spiritual songs that carry significant meaning, while newer listeners will be drawn in by the genre-blending and captivating creativity, as well as Matisyahu's engaging lyrics and flow. By combining meaningful lyrics, rhythms that inspire both thought and movement, and authentic messaging, this album showcases his love for family, faith, and exceptional creativity, ensuring that listeners will appreciate it.
One Love – Todd M. Judd
The ten-piece riddim collective Naya Rockers has released their new benefit album, Higher Education. This album was created to support youth music education at the Alpha School of Music, located in Kingston, Jamaica, a place that has significantly shaped reggae history. Higher Education serves as a fundraiser and features numerous artists, including Stephen Marley, Queen Omega, and Sister Nancy.
Critics have praised the album for its seamless blend of reggae with other genres such as New Orleans R&B, ska, and dub, resulting in a cohesive yet fresh sound. The high-quality production of the album enhances its ability to connect generations while supporting a worthy cause. It represents an international effort, having been recorded across five countries in fifteen studios, with contributions from a global network of musicians and engineers, including Grammy-winning artists.
The Alpha Boys’ School played a crucial role in the emergence of reggae music, particularly when Sister Mary Ignatius Davies began directing the music program there. She taught many students who went on to have influential roles in reggae and ska, including members of The Skatalites, Bob Marley and the Wailers, as well as dancehall star Yellowman.
Clinton Fearon joins the Rockers for the first track, “Come With Us.” It features a light and cheerful classic reggae riddim with sweet horns, a cool groove, skanking guitars, and charming brass accents. Clinton delivers beautifully with his vocals.
Next is the title track, “Higher Education,” featuring Ivan Neville (son of Aaron Neville), which brings a bluesy and jazzy vibe. This song fuses reggae with a New Orleans R&B influence, creating a captivating sound.
The album continues with the powerful anthem “Teach The Youths,” featuring the legendary Sister Nancy, who delivers a strong vocal performance filled with meaningful lyrics. With its ringing percussion and swaying riddim, Sister Nancy's lingering vocals elevate this track to a standout.
Hector Roots Lewis joins the Rockers on “Thanks,” which features a bouncy riddim. Hector brings a soulful and emotional tone to the song, emphasizing the importance of expressing gratitude for the miracle of life and love.
Another standout track featuring the album's biggest name, Stephen Marley, brings a haunting yet uplifting feel to “The Right Path.” With an upbeat and infectious bouncing riddim, Ragga delivers a conscious message in this song about morality, highlighting the album beautifully. He sings, “I say we learn from the past, make our futures last, choose the Earth first.”
Mad Professor adds depth with his track “Dub With Us,” which features lush layers of jarring brass and sonic textures infused with a psychedelic feel. Clinton Fearon provides chilling vocals on this dub track, singing over a thick, rolling bassline.
Mike Love brings a fun, joyous, and uplifting vibe in “Long Way Down.” This ska-infused groove elevates the energy of the album, making it impossible not to get up, dance, and smile! The high energy continues in “The Brotherhood,” where Angelo Moore from Fishbone delivers gentle and charismatic vocals. The mighty Tamlins provide lovely backing harmonies, creating a delightful melody with a tasty, sliding sensation that’s captivating. This track delivers an old-school R&B feel with its retro vibes.
Queen Omega delivers a truly fantastic performance on “Words of Wisdom,” taking us on a soulful and brilliant journey through the song. The track features a sweet reggae riddim, with the bass guiding us throughout. However, it's Queen Omega's dominating vocals that truly take center stage and elevate the track—and potentially the entire album.
Micah Shemaiah contributes his soulful and unique sound to “Same Lessons to Learn,” which carries a powerful message of unity and upliftment. He delivers a beautiful message over a classic yet fresh reggae riddim, creating a blend that feels both timeless and new.
In the closing track, “Thanks Dub,” Mad Professor showcases syncopated percussion, bringing it to the forefront. This is accompanied by bright brass and shimmering guitar riffs. This instrumental dub version of “Thanks” serves as the perfect wind-down for the album and the journey that Naya Rockers have crafted for us.
With flawless production, Higher Education is a success on every level. It fulfills its mission of raising funds for an important school, showcases the collaborative nature of the album, and features beautiful songs. The assembly of such immense talent has resulted in a complete triumph. This isn’t just another reggae album; it is a masterpiece of music, message, and collaboration. I encourage you to check out this album, not only to support the Alpha Boys’ School but also to enjoy a timeless collection of beautiful music that demonstrates reggae’s power as a force for good.
One Love – Todd M. Judd
Saint Avangeline with support from Karissa Love and Max Madly turned The Roxy into an ethereal, magical realm on October 19th. It was a very poetic night that took you somewhere else for a bit. For me, I went in blind and ended up being pleasantly surprised. Each artist had a similar mystical feeling to them but was distinctly different. Meanwhile, everyone in the crowd appeared to be completely captivated and mesmerized.
Karissa Love brought us into the night with her deeply moving poetry while also elegantly moving on the stage. I loved how her outfit reminded me of the beautiful fairytale outfits you see at a renaissance fair. A lot of her poetry was unreleased, which made the experience feel more special.
She even had Saint Avangeline come on as a surprise guest to perform her poem "Strange." Karissa's deeply cutting words and Saint Avangeline’s beautifully haunting vocals felt like being trapped in a dream. Karissa's last line, “the cautionary tale of a sacred, tragic, beautiful thing,” was haunting—the kind of haunting that stays with you.
Now, Max Madly came out in an iconic goth fit with a presence that even Wednesday Addams would respect. Listening to her music makes me feel as if I’m walking through a haunted forest at night—scary, beautiful, and unpredictable. Be it when she was on guitar or just moving around on stage, she graced it with a confidence that anyone could see.
She blessed the audience with a lot of unreleased music and her songs "Delusion," "The Death of Edwina," "Morrow," and "Bones of Ours." We also got to hear her own take on the Persian song "The Seed That Dreamed of Its Own Creation." For me, her music is easy to relate to, and I’m sure the same can be said for the fans as well. If I were to put it in a category, I couldn't—her sound is unique and raw. Labeling it under a genre wouldn't do the songs justice. Her music and powerful vocals leave a chill down your spine with a desire for more.
Saint Avangeline was glowing as she entered the stage. She looked like a fairytale princess and a renaissance painting at the same time. When the lights went blue, pink, and purple, it perfectly captured the depth of her sadness as she sang. When the lights were warmer colors, you could feel her strength and courage. Each move she made on stage felt like it had purpose to it. Her range was also impressive—she went from soft and gentle to screams that would impress any metal artist out there. She even got the crowd headbanging, and you could see the whole band was getting into it too.
She’s not afraid to talk about heavy topics that need to be addressed, such as her experience coming to terms with being sexually assaulted by a partner she trusted. This is, unfortunately, a reality for many people but still gets swept under the rug. I admire her bravery in coming forward about it. "Lilith" is a song that has given me strength even with my own experiences.
Even sitting down on a chair that looked like it was from a Victorian mansion, she still carried the same amount of power and presence in her songs. Her performance was something you couldn't look away from, and it was quite literally her first show.
Saint Avangeline captured the hearts of everyone around her during her first-ever performance. I can’t even imagine how she’s going to change the world from here—not to mention having hauntingly memorable openers like Karissa Love and Max Madly. I’m excited to catch these artists the next chance I get.
October 14th felt like stepping into a time machine to the early 2000s. The Troubadour was packed with smiles and fans from all over the world. It was a night of nostalgia that brought people together. It marked The Click Five’s epic return to Southern California since their last show here in the early 2000s. Alongside them, their opener, Buddha Trixie, kept the energy alive throughout the night.
Buddha Trixie got the crowd ready and energized for the night ahead. They brought a comedic flair to their music, paired with relatable lyrics. From the hand motions to the lead singer jumping around on stage, you could see the joy they have for performing.
Their setlist for the night included “R U DOWN?”, “Made in Heaven,” “Sexless Virgins,” “Shmoopie,” “Telekinesis,” “MUST BE FUN,” “Stay,” “7-ELEVEN,” and “Pitbull Goes to the Club.”
If you’re a fan of bands like The Wrecks, Beach Boys, and The Wombats, you’ll love Buddha Trixie. Their groovy rock sound makes you want to dance.
The anticipation reached its peak when the members of The Click Five walked onto the stage. You could feel the excitement in the room, filled with fans who had been waiting years for this moment. They kicked off their set with one of my personal favorites, “Catch Your Wave.” If you’ve ever watched edits of early 2000s teen movies, you’ve most definitely heard this nostalgic hit.
One of the most notable aspects of their performance was the constant smiles on the faces of every band member. They knew how to connect with the audience, bringing laughter and joy. Even their speeches between songs made the set more memorable and special.
In addition to “Catch Your Wave,” their setlist included “All I Need Is You,” “Happy Birthday,” “Addicted to Me,” “Time Machine,” “I Think We're Alone Now,” “Mary Jane,” “Say Goodnight,” “Don't Let Me Go,” “Empty,” “Pop Princess,” “Throwback,” “Jenny,” “Flipside,” and, for the encore, “Good Day” and their iconic hit, “Just the Girl.”
During “Empty,” they seamlessly transitioned from acoustic to electric midway through the song. It felt natural and was a first for me to witness at a live show.
The way they introduced their songs built anticipation, and the crowd responded with hands in the air, jumping and singing every lyric. They even shared how they were initially unsure about coming back, but despite the years away, they sold out The Troubadour.
It was a show you’d want to last forever—and in the memories of everyone there, it will. Even after the show ended, both bands took the time to talk to their fans, showing genuine appreciation for everyone who came out. This night felt like the start of an exciting new chapter for The Click Five and Buddha Trixie.
Keznamdi has released his highly anticipated sophomore album, BLXXD & FYAH, to critical acclaim, debuting at #1 on the iTunes Reggae albums chart. The 13-track project solidifies Keznamdi’s position as one of reggae’s most innovative artists, blending roots and modern influences into a sound that is both timeless and contemporary. Featuring collaborations with Kelissa, Mavado, Marlon Asher, and Masicka, the album is a powerful exploration of resilience, identity, and social commentary.
Keznamdi’s decision to step away from touring last year allowed him to reflect on life experiences and channel them into this deeply introspective album. “When I step into the studio to create a body of work, it’s about discovery,” he shared in a recent interview. “This album wasn’t just about clever rhymes or interesting flows; it was about the message. What am I really saying? How do I want people to feel?”
The album opens with “I Am,” a collaboration with Kelissa that sets the tone with a chilled-out riddim and introspective lyrics. The track invites listeners to reflect on their memories and limitless potential. Another standout, “Colonial Bondage,” fuses Nyabinghi drums with a one-drop beat as Keznamdi delivers impactful lyrics critiquing systemic oppression. He described the recording process as a live jam session that allowed the music to breathe, resulting in one of his favorite tracks on the album.
“River Jordan” brings a gospel-infused roots vibe, showcasing Keznamdi’s vocal prowess over acoustic guitar. The spiritual groove continues with “Natty Dreadlocks (Live Roots Version),” inspired by an incident where a young girl was barred from school because of her locks. Keznamdi’s heartfelt lyrics address the ongoing discrimination against Rastafarian culture, making the song both timely and powerful.
Keznamdi also pays homage to reggae legends with a reimagined version of Toots and the Maytals’ “Pomp and Pride,” staying true to the original message while adding his unique touch. “Serious Times” reflects on the challenges of the global pandemic, pairing an upbeat rhythm with Keznamdi’s sharp lyricism.
“Identity Crisis” carries a profound message of resilience in the digital age, urging listeners to reclaim their sense of self amidst social media pressures. The track’s simple melody allows Keznamdi’s flow and emotion to take center stage. Similarly, “Pressure” delivers a rootsy Dancehall vibe, encouraging perseverance through life’s obstacles.
The album also explores themes of love and family. “Somebody” is a heartfelt love song dedicated to someone special, while “Bread and Butta” highlights the grind and hard work needed to provide for loved ones. Set to a Hip-Hop beat, the track captures the essence of everyday sustenance and resilience.
The anthemic “Bun Di Ganja (Roots Version)” features Mavado and Marlon Asher, blending soothing melodies with powerful social commentary. Mavado’s classic flow complements Keznamdi’s lyrics, creating a hypnotic and meditative ganja tribute. “Forever Grateful,” featuring Masicka, celebrates life’s accomplishments and lessons learned. Keznamdi praised Masicka as “the voice of the streets,” whose uplifting presence adds depth to the track.
The album concludes with “Time,” a poignant reflection on cherishing life’s essential moments. Blending traditional reggae with elements of Dancehall, Afrobeats, and Soul, the track encapsulates Keznamdi’s ability to create music that is both deeply personal and universally resonant.
BLXXD & FYAH is more than just an album—it’s a call to action. Keznamdi blends genres effortlessly, nodding to his reggae roots while delivering a sound that is global and urgent. The title itself embodies his message: “Blood” symbolizes sacrifice and struggle, while “Fyah” represents transformation and resistance. Together, they strike a balance between the weight of oppression and the passion needed to push back.
“As Nina Simone once said, ‘An artist’s duty… is to reflect the times,’” Keznamdi shared. “Through every beat, every lyric, and every note on this album, I wasn’t just making music—I was telling stories. Stories of struggle, resilience, and resistance. Stories of the third world, of the unheard, of those fighting against the weight of oppression.”
With BLXXD & FYAH, Keznamdi delivers one of the top reggae albums of 2025, proving that reggae’s mission to inspire, comfort, and challenge the status quo remains as vital as ever.
One Love – Todd M. Judd
After the abrupt cancellation of the 2025 edition, Sick New World (SNW) is back and not just in one city. In 2026 the festival returns with two major one-day events, in Las Vegas and Fort Worth, Texas, re-asserting itself as one of the boldest heavy/alt-rock festivals in the U.S. Here’s your early look at what to expect.
Debuting in 2023 with a successful lineup, Sick New World quickly built a reputation for its heavy-rock, nu-metal, industrial and gothic-leaning lineup. With the cancellation behind them, organizers are now rebooting in 2026, with a bifurcated strategy: the original Vegas event plus a brand-new Texas debut.
2026 Dates & Locations
Las Vegas, NV: Scheduled for April 25, 2026 at the Las Vegas Festival Grounds.
Fort Worth, TX: Inaugural Texas edition set for October 24, 2026 at the Texas Motor Speedway.
The 2026 editions lean into the festival’s core: heavy, alternative and genre-crossing rock.
Las Vegas, NV (April 25, 2026)
Headlined by System of a Down, with major support from Korn. The bill also features Bring Me the Horizon, Marilyn Manson, Evanescence, Ministry, AFI, Cypress Hill, Acid Bath (notably), and more.
Fort Worth, TX (October 24, 2026)
A standout heavy-metal lineup featuring System of a Down again, plus Slayer (celebrating 40 years of Reign in Blood), Deftones, Evanescence (again), Ministry, AFI, Mastodon, and others.
Signup for the official Sick New World mailing list for presale codes!
https://www.sicknewworldfest.com/vegas
Las Vegas presale begins this Friday, October 23rd.
For fans of heavy, alternative and genre-hybrid rock festivals, 2026 is shaping up to be a comeback year for Sick New World. With a strong lineup anchored by System of a Down and a savvy dual-city format, the festival is making a statement: it’s not just back, it’s expanding. Whether you’ve been to Sick New World before or this is your first rodeo, now’s the time to get ahead of tickets, travel, and planning