What is the most random way you’ve ever discovered an artist? For me, it was reading a review of Cal Jam 2018, an event I didn’t even attend. Among the major artists that performed that year, one up-and-coming artist stood out to me. The photos showed a young man with red, manic-styled hair, bright-colored shorts, and a crop top shirt, running around the stage and flailing like a madman. These images captivated me, and I had to know more. That curiosity led me down the rabbit hole of discovering Yungblud, and his music turned me into an instant fan. Ever since that day, I’ve been anxiously awaiting the chance to see him live. That opportunity finally came when Yungblud hit the road on his Idols World Tour, with the second stop bringing him to the Observatory North Park in San Diego.

Opening the show was Sawyer Hill, an artist hailing from Fayetteville, AR. I hadn’t heard of him before, but within moments, I was blown away by his sound. Hill’s warm baritone voice crept into my ears, commanding my body to start bopping and moving with the music. While Hill describes his music as alternative rock with a progressive twist, to me, it carried a 1950s crooner aesthetic, as if he were whispering soft nothings to each of us.

Hill’s energy was infectious, and his ability to connect with the crowd was undeniable. Playing guitar while delivering his smooth vocals, he exuded a bit of early Elvis mojo, enticing the screaming women in the audience to go wild. His setlist included songs like “Firestarters,” “For the Hell of It,” “Need Me Now,” “Aiming at My Head,” “Folsom Prison Blues,” “Masochistic Lover,” “Nothing Matters When I’m With You,” “Look at the Time,” and “High on My Lows.” Sawyer Hill was the perfect foreplay to warm everyone up for the electrifying experience we were about to have.

As we eagerly awaited the headliner, the front row of the venue was overtaken by screaming fans. When Yungblud finally took the stage, opening with “Hello Heaven, Hello,” the energy in the room exploded. The surge of excitement was reminiscent of Beatlemania, with fans screaming so loudly that it overpowered the music coming from the speakers.

Yungblud started the set wearing lowrider pants, a vest, and sunglasses, but within moments, the vest and glasses were gone, leaving him shirtless and exuding raw sexual magnetism. Even with earplugs, the deafening screams of joy, excitement, and hysteria rattled your eardrums. Fans were crying, overwhelmed by the chance to see him live.

Yungblud wasn’t just a performer; he was a magnetic, sexual fiend, gyrating and thrusting on stage. Channeling the energy of Iggy Pop and iconic English performers like Robert Plant and Mick Jagger, he teased the crowd, knowing they wanted him but couldn’t have him. During “Fleabag,” he gave himself over to the audience, walking over the crowd as fans held him up, basking in their cheers. He had us wrapped around his finger, and we were ready to follow him wherever he wanted to take us.

A poignant moment came when Yungblud paused to talk about the passing of Ozzy Osbourne. Over the past few years, the two had cultivated a strong friendship, and Yungblud had even performed at Ozzy’s farewell show. Acknowledging that many fans may have discovered him through that performance, Yungblud expressed his eternal gratitude to Ozzy.

It was clear how deeply the loss affected him, as he struggled to hold back tears while giving his speech. To honor Ozzy, Yungblud performed a heartfelt cover of Black Sabbath’s “Changes.” The entire crowd joined in, singing with him as tears streamed down his face. Looking around, many fans were crying too. It was a beautiful, unifying moment, allowing everyone to grieve together while celebrating Ozzy’s legacy.

After the emotional tribute, Yungblud kicked the show back into high gear, returning to his enigmatic, sexual stage presence. The palpable tension between him and his fans fueled the energy in the room. The setlist kept the crowd on their toes, featuring songs like “The Funeral,” “Idols Pt. 1,” “Lovesick Lullaby,” “Strawberry Lipstick,” “Lowlife,” “Fire,” “Tin Pan Boy,” “Braindead!,” and “Loner.”

For the encore, Yungblud returned with two final songs: “Ghosts” and “Zombie.” The crowd erupted, giving every ounce of energy they had left.

When the music finally ended and the lights came on, the entire venue was drenched in sweat, as if we had just experienced the wildest one-night stand of our lives. Where Sawyer Hill was the clean-cut nice guy we arrived at the bar with, Yungblud was the charismatic, dark, and sexual being we went home with.

This was the type of musical high that every concertgoer chases—a one-night stand with an artist that will never be forgotten. You’ll go to other concerts, and you’ll have a great time. But you’ll always reminisce about your night with Yungblud and wish to experience it just one more time.

Dancehall artist Jahmiel has released his latest six-track EP, Sound of Greatness. This courageous and melodious collection reflects themes of resilience, love, and personal growth, showcasing his unique creativity and versatility. The EP features a mix of motivational tracks alongside heartfelt love songs that honor women, creating a well-rounded offering for both longtime fans and newcomers. Jahmiel’s music effortlessly blends dancehall with elements of hip-hop, R&B, and authentic island rhythms, making Sound of Greatness a standout project in his discography.

The production, led by Minto Play Da Riddim, combines sharp beats and riddims that enhance the depth and sonic appeal of the songs. Drawing from his life experiences—emphasizing fortitude, validation, and self-assertion—Jahmiel’s lyrical storytelling remains personal and relatable. Minto’s smooth and polished production style provides the perfect backdrop for Jahmiel’s vocals, allowing the themes of the EP to shine through.

The EP opens with “Can’t Fail,” an inspirational tune set to a sweet riddim. Jahmiel delivers incredible lyrics right from the start, encouraging listeners to persevere and believe in themselves. The song’s message is impossible to ignore, leaving listeners feeling uplifted and motivated.

In his previously released track, “Self Worth,” Jahmiel addresses overcoming challenges, recognizing who is genuine and who is not, and promoting love over conflict. The lyrics remind us that time continues to pass, whether we come first or last, so it’s essential to love ourselves. Once again, Minto’s production brings a smooth and relaxing vibe, perfectly complementing Jahmiel’s reflective lyrics.

The love song “Girl It’s You” features a collaboration with Projexx, where Jahmiel showcases his lyrical flow over a captivating beat. Projexx complements Jahmiel perfectly, smoothly flowing over the riddim and adding depth to the track. The chemistry between the two artists is undeniable, making this song a standout on the EP.

“Leave Me Alone” takes a slightly different approach, featuring a stronger riddim and beat. The guitar guides Jahmiel as he delivers emotionally intense and imaginative vocals, creating a track that is both powerful and deeply personal.

One of the most heartfelt tracks on the EP is “2025,” a plea for a better year. Jahmiel’s lyrics are raw and honest, reflecting on past struggles while holding onto hope for the future:

“Dear 2025, We passed Di Past. Been Through a lot, and I’m alive. A worse, but me out here. A survive, and is a true fight. All me see, when me look pon me lyff. Dear 2025, Yo Patriots. A nuff me go through, ina me past years. Me hope this year better than last year.”

The vulnerability in Jahmiel’s delivery makes this track a deeply moving highlight of the EP.

The project concludes with “Jeezam Peez,” a track featuring a smooth, engaging rhythm that allows Jahmiel to flow effortlessly with the beat. The phrase “Poverty Is A Disease, Success Is The Cure” encapsulates the song’s message, leaving listeners with a sense of hope and determination.

Jahmiel’s talent for combining inspiration, creativity, and educational entertainment has firmly established him as a key figure in the revitalization of modern dancehall. His ability to seamlessly blend meaningful content with captivating sound sets him apart from his peers. In Sound of Greatness, Jahmiel continues to redefine what it means to be a dancehall artist, showcasing a productivity that is both symbolic and expressive.

The themes of resilience, love, and personal growth explored in this EP reinforce Jahmiel’s position as a trailblazer in the genre. His music not only entertains but also inspires, making Sound of Greatness a must-listen for fans of dancehall and beyond.

Jahmiel’s Sound of Greatness is a courageous and melodic exploration of life’s challenges and triumphs. With its blend of motivational anthems and heartfelt love songs, the EP offers something for everyone. Whether you’re a longtime fan or new to Jahmiel’s music, this project is sure to leave a lasting impression.

If you haven’t already, take the time to listen to Sound of Greatness. Jahmiel’s ability to inspire and connect through his music is unmatched, and this EP is a testament to his growth as an artist. Don’t miss out on this incredible collection of songs—stream it today and experience the greatness for yourself.

One Love – Todd M. Judd

When you think of 80s metal singers, a handful of names immediately come to mind: Ozzy Osbourne (RIP), Rob Halford, Ronnie James Dio, and Bruce Dickinson. These legends have defined the genre with their iconic voices and larger-than-life personas. Among them, Bruce Dickinson stands out as one of the most influential figures in heavy metal history. His powerful vocals and commanding stage presence have been instrumental in Iron Maiden’s enduring popularity, captivating fans across generations.

When Iron Maiden takes a break, Bruce doesn’t rest. Instead, he carves out time to explore his solo career, experimenting with diverse musical styles that go beyond Maiden’s signature sound. His latest release, The Mandrake Project, has taken him on a global tour, and now he’s back in the U.S. for the second leg of his journey. On Friday, August 15th, Bruce kicked off his American tour with a show at the House of Blues in Anaheim, CA. The venue was packed with fans donning Maiden shirts, ready to witness one of metal’s greatest frontmen in action.

Opening the night was Combustion 96, a supergroup featuring members of Warbringer, Soulfly, Threat Signal, and Carnifex. Their mission was clear: to get the crowd fired up with some heavy metal mayhem. Vocalist Jon Howard brought a gritty, 2000s metal edge to the performance, delivering clean yet aggressive vocals that resonated with the audience.

The band’s triple-guitar attack, featuring Niklas Rubensson, Ben Lechuga, and Neal Tieman, created a wall of sound that was both powerful and dynamic. Each guitarist had their moment to shine, trading solos and leads while the others held down the rhythm. Meanwhile, bassist Chase and drummer Yoyo Bianchi anchored the performance with a thunderous backline that kept the crowd headbanging. Combustion 96 was the perfect warm-up act, setting the tone for what would be an unforgettable night.

Having seen Iron Maiden live a few times, I’ve always been impressed by Bruce Dickinson’s theatricality—costume changes, elaborate stage setups, and larger-than-life performances. Naturally, I was curious to see how his solo show would compare. Bruce’s solo performance strips back the theatrics, putting the focus squarely on the music. But make no mistake: Bruce is still every bit the showman.

From the moment he stepped on stage, Bruce was a whirlwind of energy. He worked every inch of the stage, locking eyes with fans, striking Tai Chi-inspired poses, and delivering a performance that was as visually captivating as it was musically impressive. Even without the elaborate production of a Maiden show, Bruce’s charisma and stage presence were more than enough to hold the audience’s attention.

With the spotlight on the music, Bruce’s incredible vocal talents took center stage. From high-energy tracks like “Chemical Wedding” to the softer, more introspective “Shadow of the Gods,” Bruce’s voice was nothing short of awe-inspiring. His powerful high notes and emotional delivery brought tears of joy to even the most hardened metal fans. It’s no exaggeration to say that Bruce’s voice could part the clouds and make angels weep.

Of course, Bruce wouldn’t be able to deliver such a stellar performance without his talented band. Guitarists Chris Declercq and Philip Naslund, bassist Tanya O’Callaghan, keyboardist Mistheria, and drummer Dave Moreno provided the perfect foundation for Bruce’s vocals. Each band member had their moment to shine, particularly during a cover of The Edgar Winter Group’s “Frankenstein.”

Declercq and Naslund traded blistering solos, O’Callaghan headbanged with her dreads flying, and Mistheria shredded on his keytar. Meanwhile, Bruce alternated between keeping rhythm on a stripped-down drum kit and going wild on the theremin. It was a moment of pure musical joy, and the audience responded with thunderous applause.

Bruce treated fans to a two-hour set that spanned his solo career, featuring songs like “Accident at Birth,” “Abduction,” “Laughing in the Hiding Bush,” “Resurrection Man,” “Rain on the Graves,” “The Alchemist,” “Book of Thel,” and “Road to Hell.” A special highlight was the inclusion of an Iron Maiden deep cut, “Flash of the Blade.” The crowd erupted in excitement, as many were hearing this rare gem live for the first time.

The show concluded with a three-song encore: “Tears of the Dragon,” “Gods of War,” and “Starchildren.” Each song was delivered with the passion and intensity that only Bruce Dickinson can bring, leaving the audience in awe.

Whether performing with Iron Maiden or as a solo artist, Bruce Dickinson proves time and time again why he’s one of the greatest heavy metal frontmen of all time. At 67 years old, he outperforms many younger stars in the scene, delivering a show that is both musically and emotionally powerful.

This was just the first stop on his U.S. tour, which runs through September and October, including a few festival appearances. If you’re a fan of metal—or just great live music—don’t miss your chance to see Bruce Dickinson in action. His voice, energy, and stage presence are unmatched, and once you see him live, you’ll understand why he’s a true legend.

Hot off the release of their new album, I Love You So F**ing Much*, Oxfordian pop-rockers Glass Animals have been traveling the globe, sharing their bouncy, anthemic hits with as many arena-sized venues as they can. The aptly named Tour of Earth took a break from insane festival appearances and headlining moments at Madison Square Garden to stop at Minneapolis’ wonderful Armory, bringing Irish sensation Orla Gartland along for the ride.

Orla’s opening set was—borrowing the pastiche of reviews—absolutely electric. There’s an immediacy and intrinsic charisma to Orla’s give-it-all performance that makes it irresistible. Featuring a delightful, star-studded stage with just enough negative space for Orla to prance about and strum her guitar with elbow-driven emphaticness, she and her backing band quickly took the little space available to them and made it feel as grand as possible.

Through a brief 7-song, 30-minute set, including one particularly daring and arresting Chappell Roan cover (“Red Wine Supernova”), Gartland and company left an unforgettable impression. This is something she’s apparently been an ace at ever since dropping Everybody Needs a Hero last year. Someone to keep an eye on, Orla Gartland will certainly be back soon and bigger than ever.

Ever ones for spectacle, Glass Animals’ arrival on stage was preceded by a celebration of a pineapple—as is tradition—before the massive I Love You So F**ing Much* banner dropped, and they launched into “Life Itself.” Retrowave patterns in impeccable blues created a scene of neo-futurism, contrasting beautifully with the surreal song content. It felt like a crossroads between a small, intimate show and a massive production, which is the fine line Glass Animals have been walking ever since ZABA catapulted them to meteoric success.

The Tour of Earth tour (a fun sentence to say) showcases the band’s dedication to bringing their sound to as many places as possible. The setlist mirrored this journey, offering a tour through their discography. Each time Dave Bayley made his way into the crowd for an up-close and personal rendition of “Gooey,” you could feel the connection they strive to create—and Minneapolis was no exception.

Some might say that Bayley wearing a Vikings jersey that evening was lazy pandering, but I think it’s a testament to how much these fellas from England genuinely love and care for their fans. Despite their meteoric rise, they’ve managed to maintain a sense of humility and connection.

Certainly, Glass Animals don’t have to put as much effort into their live shows as they do, but every performance is an absolute treat for the eyes. This tour’s charming focal point was a giant Tesla-coil-style glass sphere at the center of the stage, customized to display whatever the band desired—starting the night off by displaying “Minneapolis.” The synchronicity between sound and sight was a masterclass in precision. More than just boastful and explosive, the lighting design was thoughtfully crafted to complement the chosen setlist.

The group ended their night with a necessary rendition of “Heat Waves” for their encore, elevating the already rapturous crowd to previously unimagined levels of excitement and screaming.

The next time Glass Animals visit the Twin Cities, I expect they’ll be playing at Xcel Energy Center or Target Center. Fans should hold on to the memories of this show fondly, as it’s going to become harder and harder for the group to maintain the intimate connection they’re angling for.

In late 2023, Creed surprised the world by reuniting after over a decade-long hiatus. This was a reunion that many people never saw coming. In 2024, they hit the road on their Summer of ’99 Tour across North America, bringing back the classic sound that made them legends in the music scene. The tour was so successful that they announced a second Summer of ’99 Tour for 2025. This time, they aimed to hit new venues and cities they missed last time, including a stop at the North Island Credit Union Amphitheatre in San Diego, CA. Their Southern California stop featured hard rockers Daughtry and the legendary Wolfgang Van Halen with his band Mammoth as openers. Fans packed the outdoor venue for a night of dad rock classics.

Opening the night was the musical prodigy Wolfgang Van Halen with his band Mammoth. Wolfgang has been carrying on the legacy of his namesake with pride and determination. He’s set out to make a name for himself, refusing to play any Van Halen music and only performing songs he writes with Mammoth. This is incredibly commendable, and he doesn’t need the gimmick of playing his father and uncle’s music. Instead, Wolfgang infuses the spirit of Van Halen into his own music, creating the next evolution of the Van Halen legacy.

From catchy choruses to driving guitar lines and finger-blistering solos, Wolfgang delivers everything a rock fan could want. He’s essentially a one-man wrecking machine of a musician, who would play every instrument on stage if it were physically possible. Backing him is a stellar band featuring Frank Sidoris on guitar, Jonathan Jourdan on guitar, Ronnie Ficarro on bass, and Garrett Whitlock on drums. Together, they brought Wolfgang’s music to life with songs like “Another Celebration at the End of the World,” “The Spell,” “Epiphany,” “Take a Bow,” “Don’t Back Down,” and “The End.”

Wolfgang is set to hit the road on his own headlining tour later this year, supporting his upcoming third album, The End. If you love Van Halen or just rock music in general, Mammoth is worth the price of admission.

As the sun set behind the stage of the amphitheater, fog and lights filled the space as Daughtry took the stage. Led by vocalist Chris Daughtry, his energy was palpable, and fans screamed as the band launched into their opening song, “The Reckoning.”

One of Daughtry’s strengths is crafting big, catchy choruses that had the entire crowd singing along. Guitarist Brian Craddock wrote melodies that perfectly complemented Chris’s vocal lines, elevating them to a majestic tenor. Bassist Marty O’Brien was the biggest performer of the band, dancing and posing across the stage while plucking his instrument and playing up to every fan in the theater. Keyboardist Elvio Fernandes locked in with the melodies, adding brightness to the songs when needed. Meanwhile, newest drummer Anthony Ghazel easily found his footing, keeping the music rocking and staying in the pocket.

Daughtry had the crowd rocking out, swaying, and even shedding a few tears with songs like “The Day I Die,” “Separate Ways (Worlds Apart),” “Pieces,” “It’s Not Over,” “Waiting for Superman,” “Home,” “The Dam,” “Over You,” “Heavy Is the Crown,” and ending with “Artificial.” Daughtry has proven to be a standout support act for some of the biggest rock tours every year, but it feels like we’re overdue for a Daughtry headlining tour.

When Creed went on hiatus back in 2012, many fans weren’t sure if they’d ever get the chance to cheer for them again. Over a decade later, in San Diego, the name Creed was emblazoned on 30-foot-tall LCD screens as fans rhythmically chanted the band’s name. The anticipation was palpable as fans who had waited so long finally got to see these generational artists.

Opening their set with “Bullets,” vocalist Scott Stapp began with a somber build at the center of the stage before stepping to the foot of the stage as the chorus kicked in. Fifteen-foot pyro blasts ignited along the backline, signaling that Creed had officially returned to San Diego.

Hearing Stapp’s signature baritone voice live carries a presence that doesn’t fully come across on record. Fueled by the live crowd, Stapp is the perfect frontman, consistently playing up to the audience as a larger-than-life entity while frequently interacting with his bandmates to draw them into the show.

Guitarist Mark Tremonti has written some of the most iconic post-grunge riffs of the ’90s, and he still performs them night after night with passion and energy. His smiles and snarls on stage show just how much he enjoys performing this music again. Bassist Brian Marshall is calm and collected, delivering basslines filled with groove and feel that the crowd unknowingly locks into. Drummer Scott Phillips adds texture and nuance to his beats while staying in the pocket.

These four men have been performing together for three decades, and their tenure shows. They are locked in tight, knowing when to take the limelight and when to pull back to let others shine. Creed was in top form, performing all their classics, including “Ode,” “Torn,” “Are You Ready?,” “Never Die” (dedicated to Brad Arnold of 3 Doors Down, who is currently battling stage four cancer), “My Own Prison,” “Freedom Fighter,” “Say I,” “What If,” “One,” “What’s This Life For,” “With Arms Wide Open,” “Higher,” and closing with a two-song encore of “One Last Breath” and “My Sacrifice.”

During their heyday, Creed often found themselves the butt of jokes from hard rock gatekeepers. But there’s something you can’t deny: the longevity of their music. Fans turned out in droves to sing along with the band and experience one of the best live shows touring this summer.

If Creed really were a joke, there’s no way they’d be performing to massive amphitheaters and arenas on the second leg of this comeback tour. I can guarantee that even those old gatekeepers have been in the crowd, singing with their arms wide open

In recent years, we’ve seen some old-school Hip Hop acts release albums, bringing a resurgence to the classic era of Hip Hop. These albums have received mixed reviews; longtime fans and enthusiasts tend to rate them highly, while others have a more varied perspective. A few months after Wu-Tang Clan released Black Sampson, The Bastard Swordsman, the 55-year-old MC from Staten Island, NY, Raekwon launched his eighth album, The Emperor’s New Clothes.

This isn’t a case of an artist returning after a long hiatus and going through the motions or losing their edge. Instead, the album strikes a perfect balance between freshness and old-school authenticity. It’s impressive how Raekwon has managed to age gracefully within the Hip Hop industry, creating streetwise boom-bap tracks that feel contemporary rather than outdated.

After a brief introduction, Raekwon delivers a powerful boom-bap beat in “Bear Hill.” The sound is fresh and crisp, with Rae skillfully working the lyrics to provide us with a classic ’90s hook.

In “Pomegranate,” featuring Inspectah Deck and Carleton Fisk, we experience more boom-bap production as the trio exchanges impressive lyrics in a song that emphasizes the idea of the Dons never being compromised.

After the “Veterans Only Billionaire Rehab” skit, we are introduced to a soulful boom-bap track titled “Wild Corsicans,” featuring Conway the Machine, Benny the Butcher, and Westside Gunn alongside Raekwon. While the trio delivers impressive bars, Raekwon ultimately dominates the song.

Next is “1 Life,” which features Stacey Barthe and is produced by J.U.S.T.I.C.E. League. This track is a soulful exploration of how Hip Hop is often exploited for profit. Stacey provides beautiful vocals, while Raekwon once again delivers powerful verses.

The “Barber Shop Bullies” skit introduces the track “Open Doors,” featuring Tommy Nova. This song captures the essence of the classic Wu-Tang sound, with lively horns and a fast-paced beat. Raekwon delivers sharp and impressive lyrics while Tommy Nova handles the chorus.

In “600 School,” produced by Swizz Beatz, the track has an orchestral vibe that brings the original crew together. Ghostface Killah and Method Man trade verses filled with classic gangsta rap alongside Raekwon. This is undoubtedly one of the top lyrical tracks on the album.

“The Guy That Plans It” brings us back to the boom-bap beat, featuring a sample of Marvin Gaye’s “I’ll Never Stop Loving You.” This track delivers a concise and vivid crime narrative centered around a street fight, showcasing Raekwon’s storytelling skills.

On “Da Heavies,” Raekwon reminisces about the past, delivering more excellent storytelling over classic ’90s production, characterized by powerful drums.

Another skit, “Officer Full Beard,” leads us into one of the standout tracks, “The Omerta,” featuring Nas. The two artists trade verses over a beat by Nottz, discussing the importance of living up to their promises. This track may be the only one where Raekwon is somewhat overshadowed, as Nas delivers an outstanding performance with his flow and lyrics.

“Get Outta Here,” featuring Ghostface Killah, showcases Raekwon’s signature glamorous portrayal of crime while presenting more compelling storytelling from the duo.

After the skit “The Sober Dose Gift,” we are treated to Marsha Ambrosius delivering beautiful vocals over a soulful, old-school Mary J. Blige-inspired groove from the ’90s with the track “Debra Night Wine.” In this song, Raekwon guides us through his soulful and introspective lyrics.

The album concludes with Ghostface Killah joining Raekwon on “Mac & Lobster.” This track discusses their lives, successes, and possibly hints at sexual innuendo. With another slower R&B beat, it provides a fitting conclusion to the album.

Raekwon continues to showcase his ability to weave together images of glamour, crime, life, and death through his textured and intense lyrics. His well-crafted and unique verses are complemented by contributions from fellow Wu-Tang members, who bring their own distinct vibes that mesh perfectly with Raekwon’s style.

The inclusion of Griselda artists—Conway the Machine, Benny the Butcher, and Westside Gunn—and Nas adds an extra layer of depth and street credibility. As someone who appreciates the classics, I can confidently say that Raekwon has delivered an album that is fresh while still capturing that old-school essence and vibe.

One Love – Todd M. Judd

One of the best feelings is discovering a band and watching them evolve and blow up over time. Whether they start as a small club band or you first see them in a mid-sized venue, the next thing you know, they’re headlining major arenas around the world. This has been the case for me with Shinedown. I first saw them headlining the House of Blues, which was already after they had achieved commercial success. But it has still been amazing to see their music grow and their show evolve over the years since I discovered them. Now, they’re on a national tour, making a stop at the world-famous Kia Forum in Los Angeles, CA. Bringing along Bush and Morgan Wade, fans packed the legendary venue to experience the Dance, Kid, Dance Tour.

Opening the show was country music singer Morgan Wade. While this may seem like a surprising choice for a rock tour, Wade’s harder edge to her country style fit right into the tour package. Starting off with her song “High in Your Apartment,” Wade donned a guitar to play alongside her backing band. This kept her mostly behind the mic stand, though she stepped out to interact with her band when she could.

It was during her song “Meet Somebody” that Wade truly shined. The stage setup featured a long catwalk extending into the crowd, and Wade took the opportunity to run down the catwalk, getting face-to-face with the audience. This was when the crowd really started to connect with her performance. Wade made the most of her time with songs like “Roses,” “Meet Somebody,” “The Night,” “The Party is Over,” “Creep,” and ending with “Wilder Days.”

Shinedown is known for taking out artists they see as having major potential to become the next big thing. I can only imagine where Morgan Wade will go next after this tour.

Next up was the UK’s post-grunge outfit, Bush. I’ve always heard great things about them but somehow had never seen them live—until now. What followed was an hour of high-energy performance I wasn’t expecting.

Lead singer Gavin Rossdale was an uncontrollable ball of energy. Despite touring for over three decades, he performed with the vigor of a 20-year-old, jumping all over the stage and running down the catwalk at every opportunity. At the foot of the catwalk, Rossdale danced and moved as if the music was trying to escape his body, and the crowd loved every second of it. During “Flowers on a Grave,” Rossdale took it a step further, jumping the barricade and walking through the seats of the Forum, giving even those in the nosebleeds a chance to experience his brilliance up close.

Rossdale was backed by the rest of Bush, featuring Chris Traynor on guitar, Corey Britz on bass, and Nik Hughes on drums. Their high-energy set included classics like “Scars,” “Machinehead,” “60 Ways to Forget People,” “Everything Zen,” “The Land of Milk and Honey,” “I Beat Loneliness,” “Swallowed,” “More Than Machines,” “Glycerine,” and ending with “Comedown.”

On any other tour, Bush would have stolen the show. I’d love to see how much wilder Rossdale gets on a headlining tour.

As we eagerly awaited the headliner, a man wearing a TV as a head hyped up the crowd as the mascot for the night. When Shinedown finally took the stage, they stood at the foot of the catwalk, as close to the crowd as possible, to kick things off with “Dance, Kid, Dance.” Pyro blasted from the back of the stage, illuminating the entire Forum with some of the biggest pyro effects I’ve ever seen at this venue. The crowd was sufficiently woken up and ready to rock.

Vocalist Brent Smith oozes charisma and charm on stage, with a commanding presence that makes it impossible to look away. Guitarist Zach Myers has written some of the catchiest riffs that Shinedown fans cherish, and he plays them with precision and heart. Bassist Eric Bass brings a hard edge to the band’s look, getting lost in his playing while adding depth to the music. Drummer Barry Kerch, though stationed at the back, makes his performance as big as possible, with his long dreadlocks flying as he slams into his kit.

Throughout the set, Shinedown delivered some of the most creative lighting and pyro effects I’ve seen, with bursts of fire and fireworks enhancing big chorus moments and even accentuating Kerch’s drum fills. Despite the massive production, the band took a short break to move to the front of the catwalk for an acoustic set. This intimate moment allowed them to play songs they don’t normally include in their setlist, such as “Call Me,” “Misfits,” “I’ll Follow You,” and “If You Only Knew.” The emotional connection in the room was palpable, with many fans shedding happy tears.

After the acoustic set, Shinedown quickly picked up the pace, bringing back the fireworks, pyro, and lighting that made them feel larger than life. The emotional set featured highs and tear-jerking moments with songs like “Devour,” “Cut the Cord,” “How Did You Love,” “Devil,” “Three Six Five,” “Enemies,” “Diamond Eyes (Boom-Lay Boom-Lay Boom),” “A Symptom of Being Human,” “Planet Zero,” “Purple Rain,” “Simple Man,” “Monsters,” “Sound of Madness,” and finally ending with “Second Chance.”

It was incredible to see Shinedown in such a large venue, bringing a stage show that filled the space of the Forum. Brent Smith made a heartfelt speech about how this was their first time playing the venue and how much of an honor it was to perform in such a legendary place. But truly, it was our honor to support this band and help them reach these heights.

Bush nearly stole the show and deserves to return to the Forum as a headliner next time. Meanwhile, Morgan Wade is just getting started, and I’m excited to see how she evolves.

This tour is still making its rounds until the end of the month, and it would be a disservice to miss it. If they’ve already played your city, keep an eye out for the next time they come to town—you won’t regret it.

There are bands you see live one time, and you fall in love with their music. The first time you see them, you may not know their songs, or you may only know a couple. Then you get home, deep dive into their entire discography, and realize how amazing their music truly is. You eagerly await their return to your city so you can see them again and experience the greatness of their show for what it truly is. This happened to me when I saw Architects six years ago. Unfortunately, due to COVID and visa issues, it has taken them six years to make their way back to California on a headlining tour. They are finally back on their 2025 North American tour, and the first date to sell out was the House of Blues in Anaheim, CA. Bodies were smashing into each other to squeeze all the screaming fans into the venue for the chance to see Architects again.

Opening the night was Los Angeles-based alternative metal band Holywatr. Architects have a habit of bringing quality bands on tour with them, and they made a strong choice in selecting Holywatr to open this show. Holywatr blends multiple genres to create their unique sound. With guitarists mixing progressive styles and heavy riffs, they got the audience headbanging and grooving in the crowd.

The dynamic singing, alternating between harsh deep screams and clean melodic brightness, felt like the angel and devil on your shoulders both speaking into your ears—and it sounded brilliant. Holywatr’s sound was creating new fans with each song they played, including “Lip Service,” “Hiding in Plain Sight,” “Ashes,” “My Mom’s In There!,” “Fade,” “Without You,” “Give Me A Show,” “nail polish,” and ending with “loose ends.” If Architects see potential in Holywatr, then we can expect to see them doing even bigger things in the near future.

Up next were Erra, widely considered pioneers of the progressive metalcore scene. They kicked their set into high gear with their opening song, “Snowblood,” immediately getting the fans’ blood boiling. Lead vocalist J.T. Cavey delivered tenacious screams that riled everyone up, while clean vocalist Jesse Cash created a push-and-pull dynamic in their vocal melodies that had the crowd bouncing.

Instrumentally, Erra truly shined. Cash, pulling double duty as lead guitarist, teamed up with rhythm guitarist Clint Tustin to craft not just melodies and heavy chugs but also unconventional guitar noises and tricks that added an electronic flair to the band’s sound. Bassist Conor Hesse and drummer Alex Ballow didn’t just hold down the low end—they added layers of rhythm that elevated Erra’s progressive style.

Erra had fans spinning the mosh pit with songs like “Crawl Backwards Out of Heaven,” “Pale Iris,” “Blue Reverie,” “Scorpion Hymn,” “Cure,” “Gore of Being,” “Skyline,” and ending with “Gungrave.” They sufficiently marinated the crowd, getting them ready to be cooked by Architects.

As fans pushed their way into the House of Blues stage area, you could feel electricity surging through the venue as everyone awaited Architects to take the stage. Starting their set with “Elegy,” vocalist Sam Carter stood alone on stage, singing the softer opening verses under a spotlight. You could feel the energy boiling up inside him as the rest of the band joined in on the second verse, with Carter letting out a vicious roar that echoed across the room. This was the signal for the crowd to open up the mosh pit as wide as possible and for crowd surfers to start crashing over the barricade.

When Sam Carter sings, it’s not the usual growl or scream you expect from metal bands. Instead, it feels like he’s yelling the lyrics at you with raw emotion, adding an extra layer of aggression to his performance. Guitarist Adam Christianson attacked his guitar with a tone that ripped through the mix, shredding eardrums in the best way possible. Despite the high-paced ferocity of Architects’ songs, bassist Alex Dean added so much groove and feeling to his playing that you couldn’t help but dance to the music. Drummer Dan Searle tied everything together with finesse, delivering double-kick goodness for faster-paced songs and pulling back to stay in the pocket when the beat required it.

Architects were in top form, delivering a high-energy set that never let up. Their setlist included “Whiplash,” “when we were young,” “Black Lungs,” “Curse,” “deep fake,” “Impermanence,” “Brain Dead,” “Meteor,” “Everything Ends,” “Royal Beggars,” “Doomsday,” and “Blackhole.”

When Architects returned for their encore, the crowd realized they still had so much energy left to release. For the final two songs, “Seeing Red” and “Animals,” fans truly unleashed chaos upon the House of Blues. Crowd surfers barreled over the barricade three or four at a time, while the mosh pit expanded even wider as fans stomped around, carving footprints into the floor. By the time the final notes rang out, everyone was drenched in sweat, wearing the biggest smiles from finally experiencing Architects in California again.

I was at the 2019 Holy Hell Tour and have been patiently waiting six years for this show to return, and it surpassed every expectation I had. But what truly made this show magical was an eight-year-old boy sitting on the barricade, singing every single lyric to every single song Architects played that night. Seeing this kid radiating happiness while watching one of his favorite bands live gave me hope for the next generation of music lovers.

No matter how long a band has been around or how infrequently they tour certain areas, their music continues to be discovered and cherished by fans of all ages. This is why bands put out music and perform live—to see how their art impacts people’s lives. And though we have their records to keep us satiated in the meantime, Architects better not take another six years to return to California. We need another helping of their live energy.

One of the greatest things about the music world is that it is ever-evolving, with bands hitting the scene with new genres and musical styles. These artists take inspiration from multiple sources and create something fresh and exciting for the public. One band that has carved out a unique niche for themselves is Volbeat. For over two decades, they’ve been mixing metal, hard rock, and rockabilly styles to great success. With the release of their latest album, God of Angels Trust, they’ve hit the road again on their Greatest of All Tours to show why they are the GOATs of what they do. This multi-month tour sees Volbeat bringing different support bands with them, and when they came to the world-famous Kia Forum, the patrons of Los Angeles were ecstatic to see Halestorm and The Ghost Inside perform alongside them.

Opening the night were hometown heroes The Ghost Inside. Vocalist Jonathan Vigil made a point to let the crowd know that he had been attending basketball games and concerts with his dad at this venue since he was a little kid, and it was a surreal experience to now be performing on the Kia Forum stage. You could see Vigil taking in every moment of this milestone.

People were still trickling in for the start of the show, but Vigil performed as if they were headlining a sold-out arena. The dual guitar work of Zach Johnson and Chris Davis was an assault on the audience, delivering heavy riffs and chugs that got the crowd bouncing right from the start. Meanwhile, bassist Jim Riley pulled double duty as the band’s hype man, shouting at the crowd and pushing them to give more energy. All the while, drummer Andrew Tkaczyk pounded away on the kit, giving fans a beat to mosh to.

The Ghost Inside only had a short 30-minute set but made every second count, pouring their energy into songs like “Going Under,” “Dear Youth (Day 52),” “Earn It,” “Death Grip,” “Wash It Away,” and closing with “Aftermath.” This was just a taste of what The Ghost Inside can bring, and I’d love to see the kind of energy they deliver in a headlining set.

There are certain people who can enter a room and instantly captivate everyone in it. Lzzy Hale is one of those people. When Halestorm took the stage, the reaction Lzzy received shook the entire arena. As beloved as she is by fans, Halestorm is still a band, and every member gets their time to shine.

Lead guitarist Joe Hottinger writes driving guitar lines that amplify the intensity of Lzzy’s vocals but also takes moments to stand at the foot of the stage and dazzle with his iconic solos. Bassist Josh Smith is more reserved, holding down the low end and keeping the bassline fat and full. But it’s drummer Arejay Hale who often feels like he’s putting in the most work behind the kit. Along with keeping the rhythm flowing and contributing backing vocals, Arejay throws in stick tricks and wild antics, ensuring the audience never forgets he’s back there.

The band was in top form, delivering a setlist that included “Fallen Star,” “I Miss the Misery,” “Love Bites (And So Do I),” “WATCH OUT!,” “Amen,” “Darkness Always Wins,” “Freak Like Me,” “I Get Off,” “Everest,” and “Here’s to Us.”

Lzzy had recently performed at Ozzy Osbourne’s final show, and you could feel the love and admiration she carried for him in her performance. Donning a long, flowing cloak and a haircut that channeled mid-’80s Ozzy, Lzzy did everything she could to honor the Prince of Darkness. The entire band took a moment in the middle of their set to come to the foot of the stage and raise a toast with the crowd in Ozzy’s memory. They even ended their set with a cover of Ozzy’s “Perry Mason.” This wasn’t just a performance for Halestorm fans—it was a heartfelt tribute to a rock legend.

It was then time for some European rockabilly-infused metal as Volbeat took the stage. This band has always been an enigma, blending their Danish roots with rockabilly and psychobilly elements—genres that originated in the southern United States. Yet, by some glorious miracle, Volbeat seamlessly mixes their rock style with an American flair, creating a unique spin on metal music.

Vocalist and guitarist Michael Poulsen sings with a garbled twang that evokes the image of a southern storyteller. Paired with his upbeat and bright vocal delivery, there’s a romanticism to his inflection, especially in Volbeat’s more heartfelt songs. This is all wrapped around drummer Jon Larsen’s bouncing beats. Without playing a traditional dance rhythm, Larsen crafts a swing to his drumming that makes you want to grab your partner and start dancing. Bassist Kaspar Boye Larsen fills out the low end, while touring guitarist Flemming C. Lund rounds off Volbeat’s sound.

Volbeat had fans rocking out, screaming, and dancing through a set that spanned their entire career. Highlights included “The Devil’s Bleeding Crown,” “Lola Montez,” “Enlighten the Disorder (By a Monster’s Hand Part 2),” “Sad Man’s Tongue,” “Fallen,” “Shotgun Blues,” “By a Monster’s Hand,” “The Devil Rages On,” “Die to Live,” “Black Rose,” “Seal the Deal,” and “For Evigt.”

The band also honored Ozzy Osbourne during their set with an abridged cover of “Children of the Grave.” You could feel Ozzy’s presence throughout the show. For the finale, Volbeat invited the kids in the crowd on stage to sing along to their final song, “Still Counting.” It was heartwarming to see how many kids had been introduced to Volbeat by their parents and were rocking out because they’d found their own love for the music.

I had seen Volbeat once before as a direct support act, so their set wasn’t that long. Getting to now see them as headliners, fully immersed in a show they put their all into, showed me why this band is so beloved. Their music breathes so much life that you can’t help but be drawn into their world.

Halestorm also showed the crowd why they are so adored. It’s about time for them to headline their own world tour again—they’ve been traveling as a co-headliner or direct support for a while, and we all need more time with them performing the songs we love.

Volbeat still has a few weeks of dates left in the USA before heading back to Europe to finish the tour. If they haven’t passed through your city yet, don’t miss the chance to catch this show—you won’t regret it.

Hip Hop is back! In recent years, we’ve seen some classic Hip Hop acts "come out of retirement" to release strong, dope, and entertaining albums. The 50th anniversary of Hip Hop will do that. In my opinion, Hip Hop has been struggling with talent, messages, and meaning. But after sixteen years, brothers Malice and Pusha T have returned as Clipse with a vengeance, proving that great music never fades. Fellow Virginia Beach native Pharrell Williams also returns to produce and sing on four tracks, cementing his role as the unofficial third member of the group. The lyrical chemistry between Malice and Pusha T remains intact, and Pharrell’s expert production elevates the album to new heights.

Older and more mature, with changed priorities since their debut album Lord Willin’, Clipse still conveys the fierce energy of their younger days. However, they’ve also incorporated elements of personal growth, spirituality, and reflection on hard-earned lessons. The result is an album that shares insights without losing any of their powerful edge and ferocity.

The ferocity begins with “The Birds Don’t Sing,” featuring John Legend  and  Voices of Fire. The production is simple, highlighted by sentimental piano melodies that allow Malice and Pusha T to shine with their lyrics and flow. John Legend adds a soulful touch with his captivating hook, while Voices of Fire harmonize beautifully, creating a pure expression of artistry.

“Chains & Whips” brings back that classic Clipse feel, featuring an impressive verse from Kendrick Lamar that perfectly complements the sharp, cutthroat delivery from Pusha T and Malice. Pharrell provides a gritty, infectious beat that works seamlessly with the vocals.

Tyler, The Creator joins the track “P.O.V.,” delivering a nostalgic vibe reminiscent of early Clipse with their rhymes and flow. Pharrell showcases his versatility as a producer with an impressive beat that ties the track together.

The song “So Be It” features ornamental qanun strings that create a distorted, almost slow-motion effect, making it feel like you’re running through wet cement. Malice and Pusha T deliver ruthless bars, with Pusha taking direct and indirect jabs at Travis Scott, referencing the situation with Drake and the Utopia album. Pusha raps:

“You cried in front of me, you died in front of me;
Calabasas took your b**h and your pride in front of me.”*

“Ace Trumpets” showcases Clipse’s precision and lyrical dominance at its best. The duo shares a deep, brotherly connection and a fundamental mastery of their craft, delivering their verses with confidence. The track features a simple beat and drum, allowing them to control the overall tone effectively.

In “All Things Considered,” The-Dream and Pharrell contribute to a slower, funky R&B groove. Lyrically compelling, this song emphasizes a chill vibe and showcases the smooth vocals of The-Dream and Pharrell.

“M.T.B.T.T.F.” (Mike Tyson Blow to the Face) is another standout track that will resonate strongly with Clipse fans. It features impressive lyrical flow from Malice and Pusha over a nostalgic ’90s groove. This track feels like it could have come from the early 2000s, yet it remains relevant and impactful today.

“E.B.I.T.D.A.” (Earnings Before Interest, Taxes, Depreciation, and Amortization) features Malice and Pusha flowing effortlessly over a nostalgic Neptunes-style beat. While it feels somewhat out of place compared to the more hard-hitting beats and tough lyrics on the album, it still manages to fit well.

Stove God Cooks joins the duo on “F.I.C.O.,” delivering impressive lyrics and a strong flow in this motivational track about overcoming adversity and achieving success. The track uses the concept of a FICO score, typically associated with financial standing, as a metaphor for the duo’s rise to prominence in the music industry.

“Inglorious Bastards” features Ab-Liva from the Re-Up Gang, thrilling early Clipse fans as the crew trades bars like it’s still 2006. The production includes a synthesized horn over a booming beat, with the trio delivering sharp lyrics.

Pharrell brings his local talent to “So Far Ahead,” conveying a message about being ahead of the curve in the music industry. He sings:

“They don’t know what it is when I’m on it,
But once they figure it out, I don’t want it.
So far ahead, you guys are behind.”

King Push also delivers powerful lines with a double entendre, stating:

“Understand the art of war, all my guys draw, so we’re all Picassos.
Me just being me, respect to PnB.
I probably won’t ever eat at Roscoe’s.
There are a million ways to live and a million ways to die.”

“Let God Sort ’Em Out/Chandeliers” delivers a striking mix of gritty, smooth, and introspective Hip Hop with a powerful thump and bump. The track showcases the artists’ versatility and commanding presence on the mic. Notably, rap icon Nas contributes a guest verse in this two-part song, making his appearance at the climax of the record a significant statement. This collaboration positions Clipse alongside legends, highlighting the album’s intention as a legacy piece.

The album concludes with “By the Grace of God,” which serves as a shining capstone to Clipse’s career or the curtain closing on an astoundingly good comeback album. This song signifies a promising path forward for Malice, Pusha T, and Hip Hop as a whole. Together with the entire album, it delves into themes of faith, redemption, and their personal journeys—touching on their past in the drug trade and the impact of family losses. They express their reliance on divine intervention and acknowledge the blessings they’ve received despite their struggles, suggesting a potential to transcend the drug rap genre that initially brought them fame.

Ferocity is evident in every song, lyric, and beat, but the message has evolved. The growth and maturity are clear as Malice and King Push take control of the lyrics and flow. This album feels like a triumphant homecoming after a hard-won battle. It’s a project where Clipse lays everything on the line—the glory and the guilt, the pride and the pain. They bring a level of sophistication to their integrity, enhancing the impact of this incredibly powerful album.

One Love – Todd M. Judd