After breaking out into the music industry by releasing singles and auditioning on Season 18 of American Idol, up and coming pop singer Natalie Jane has been making waves on the internet. Racking up 1.26 million subscribers on Youtube, 2.1 million followers on Instagram, and 9.3 million followers on TikTok, Natalie Jane is carving out her own line as a prominent pop voice of her generation. She recently dropped her debut album, “Where Am I?” on November 17, 2023. In 2024, she brings her “Where Am I Again?” Tour across the country. She had a stop at the Constellation Room in Santa Ana, California and I was lucky enough to catch it. Let’s hop into it.
Up first was Jessica Baio. She also dropped her debut album, “catalyst” in 2023. She took to the stage and warmed up the crowd with her catchy melodies and memorable hooks. I’m new to her work but she definitely has put in the hours laying the foundation by racking up 453 thousand Youtube subscribers, 1 million Instagram followers, and 2.3 million TikTok followers. She vibed with the crowd and in a somewhat vulnerable moment, she thanked everyone for the support and let everyone know that this was the first big tour she would go on. The supportive fanbase cheered her on throughout her set. It was a heartwarming sight to see. After about a 35-minute set, the lights dropped and the concert went into a 25 minute intermission for the main act, Natalie Jane.
At 9:00 PM sharp, every fan in The Constellation Room screamed at the top of their lungs as Natalie Jane made her way to the stage. She had the whole crowd swaying back and forth to her viral hits like “Do or Die” and “Intrusive Thoughts”. It wasn’t just her vocal prowess that captivated the crowd. It was also her stage presence and undeniable charisma. She really drew the crowd into her world with anecdotes, laughter, and moments of vulnerability.
All in all, Natalie Jane left an incredible mark on the hearts of all those in attendance. Fans were glowing in happiness as they left the venue. This tour continues throughout the United States and has a European leg to follow. Check her out when she’s in a city near you. It’ll be a memorable one!
With the release of the Bob Marley: One Love movie on February 14th, Island Records and Tuff Gong Records release a ten track EP Bob Marley: One Love Music Inspired by the film. These are ten songs written and created by Bob Marley that the Marley family had a hand in choosing for this release. It is a nice choice of contemporary stars that paired up nicely with the songs, six of which come from Exodus, the album that the movie centers around.
Bob Marley songs have been redone many may times, bands play them in concert, there are many versions out there. I am a huge Bob Marley fan and I honestly do not like most remakes of Marley songs. There is so much to the songs, not just the song itself, but the meaning, the feeling, the vibe. The songs are either done as, basically a cover, or are changed to make it unique, but it rarely hits. This album was done very well, I actually caught myself listening to it over and over. They don’t all hit, but most do.
We start off with “Natural Mystic” by Bloody Civilian, a Nigerian singer, she has a great flow to this song, has a nice baseline to take us through this nice jam. Just a nice groove with this and a perfect way to start us off. Next is a song by Bob Marley’s grandson Skip Marley, “Exodus.” One of Bobs most popular songs, but a song that I have never really liked. It is an amazing song, the lyrics and meaning, I just could never get into it. But this track is done so well by Skip. The music changed up just enough with Skips vocals sounds really nice. The third track is “Waiting In Vain” by Daniel Caesar, a Canadian R&B/Soul singer. This is slowed down a little for a really nice chill vibe. Love his voice with this song. Not one of my favorite songs by Bob but I really enjoy this take. Kacey Musgraves brings us “Three Little Birds,” with a little bit of a county feel to it. Not one of my favorites on this album, even a little country is too much for me. She does have a beautiful voice to carry this song.
“One Love” by Nigerian Afrobeats star Wizkid is next, and to my surprise is not an Afrobeats groove. He gives a nice soulful reggae riddim that sounds so nice. He shows us his beautiful voice and versatility. One of my favorite tracks on this. That brings us to “Is This Love” by Jessie Reyez, a nice upbeat take on this song with a nice guitar throughout. The Canadian R&B and Hip Hop singer sounds wonderful on this track. Another solid track. We come to my favorite Bob Marley song, “Redemption Song” a song I used to sing to my kids at bedtime, a song I have tattooed on my arm. Leon Bridges, American soul singer, sounds great, he has a beautiful soulful voice, but this version just doesn’t do it for me. When it comes to “Redemption Song” I find it very hard to find a good remake, I don’t know if it is because what the songs means to me, or maybe it is just one of those songs that can’t be redone. I give him credit for the attempt, but it just doesn’t hit for me.
“Rasta Reggae (Jammin)” by Farruko, the Puerto Rican Reggaeton artist, hits us with a great Reggaeton flow in this “Jammin” groove. I love the switch up of tempo in the song with some nice bass but also his flow. He really does a beautiful job with this song. We have another one of Bob’s grandchildren, Mystic Marley, on “Misty Morning.” She sounds wonderful on this track, she would make Bob proud. This is slightly slowed down and has a nice bass throughout, with a little Bob singing “MISTY.” Really nice song to groove to. The album is finished off with my favorite track, “No Women, No Cry” by Shenseea the Jamaican Dancehall queen. It is a much different take on the Marley original, but Shenseea makes this work so well. She has such a beautiful voice that plays out so well with the lyrics. The electronic music is not the typical music I would like, but her voice is so wonderful it just dances overtop of the riddim.
This is a really strong album, one worth a listen. I normally wouldn’t go for something put together like this, with the wide-range of artists and styles, but it all comes together nicely. It is really about ONE LOVE, spreading Bob’s message around the world. Everythings Gonna Be Alright!
One Love – Todd Judd
It’s no question that Brother Ali is one of the best storytellers in hip-hop. Over the years, his body of work stands in a league of his with deep introspection, emotional depth, social and political commentary, all bound together with technical skill. The single “Cadillac” showcases all of these as Brother Ali takes the listener down a haunting path shining light on the plight of victims of systemic racism and police brutality in certain neighborhoods in the United States. In addition, the accompanying animated video created by Justin Unjust Herman is one of the best animated shorts I’ve ever seen. Let’s hop into it.
The song starts with a jazzy guitar lick as Brother Ali paints the picture of a black father and son duo rolling around in their yellow Cadillac. He perfectly illustrates the scene, referencing the swagger of their Stenson hats and sharp suits and ties. Two men, well dressed, cruising the city after a visit to their mosque. Suddenly, the police have the Cadillac surrounded. They ask both men to show their hands and get out of the vehicle. Brother Ali raps in first person as the son of the duo, “Pops said be quiet and do not get shot”. As they are approached by police and put face down on the pavement, Ali continues to rap, “my back became a cushion for their fat ass knees”. He brings to life haunting realities of living in some communities by referencing George Floyd, but the tone of his lyricism is not one of anger. It’s calm, it’s cool, it’s collected. And that projects even more strength. While both men are face down on the pavement, the cops search the vehicle and don’t find the contraband they were looking for. They eventually cut the zip ties off their hands and let the two men go. When it feels safe to do so, the main character asks the police why they were pulled over in the first place. The police answer, “just answering a call, two black men in a Cadillac, that’s y’all // simple misunderstanding is all”. Brother Ali winds down the song reflecting on how traumatic that event was, how wrong it could have gone, and how it was shrugged off as no big deal.
Brother Ali can certainly hold his own with his verbal storytelling, and he did exactly that in this song. But Justin Unjust Herman absolutely nailed the animation of the video, and together, this duo of rapper and animator, really brings the audience deep into their world with both an audio and visual experience.
- Kris Kuganathan
On March 3rd, 2024, the Golden 1 Center in Sacramento became the epicenter of an unforgettable night of music, hosting a stellar lineup that included the iconic Fall Out Boy, the spirited The Maine, and the dynamic duo Daisy Grenade. This concert was part of Fall Out Boy's much-anticipated So Much For (2our) Dust tour, offering fans a unique blend of emo, pop punk, and alternative rock. Attendees were treated to a night filled with electrifying performances, nostalgic anthems, and new hits, marking a memorable moment in the heart of California's capital.
The evening kicked off with an emo pop punk vibe, led by the bubblegum TikTok sensations Daisy Grenade. The Brooklyn-based duo (comprised of Dani Nigro and Keaton Whittaker,) dazzled the audience with their musical theatre-inspired pop vocals, engaging in witty exchanges with their guitarist Elijah Scarpati and drummer, Pete Lazorcik. Their performance, illuminated by pink and purple lights, resonated perfectly with the audience. Mentored by Fall Out Boy's Pete Wentz, this alt-pop duo set the perfect tone for the night ahead.
Next up was the all-American Alt Pop band, The Maine. With a rich history dating back to 2006 and a discography boasting nine studio albums, this Tempe, Arizona group is no stranger to the music scene. Led by the charismatic frontman, pianist, and vocalist, John O'Callaghan, his smooth yet piercing vocals add a touch of class to the bands already incredible sound. Guitarists Jared Monaco and Garrett Nickelsen engaged in thrilling guitar battles, showcasing their talent and enjoyment of playing on stage together. Patrick Kirch on drums, adorned in gold and white to match the band's attire, and Kennedy Brock with his rhythmic guitar playing, added harmony to their performance. Their interaction with fans and gratitude for support was a highlight, celebrating the authenticity of playing real instruments.
As anticipation built for the main event, the arena echoed with singalongs to house music, culminating in a massive chorus to Miley Cyrus's "Wrecking Ball." This energy set the stage for Fall Out Boy, who opened with "Pink Seashell" and a new track "Love From The Other Side" from their latest album, So Much For Stardust. Patrick Stump's soulful vocals captivated the audience, leading into their hit "Sugar, We're Goin Down." Their nearly two-hour set spanned their 20-year career and eight studio albums, accompanied by a dazzling display of fireworks, pyrotechnics, strobe lights, and visuals. Pete Wentz, with his hair tucked into a poncho to protect it from the flames shooting from his guitar, and guitarist Joe Trohman, delivered powerful performances. Drummer Andy Hurley impressed with his fervor and groove amidst the flames. Their marathon set included almost 30 songs, culminating in a three-song encore featuring "Thnks fr th Mmrs," "Centuries," and "Saturday."
This second leg of the So Much for (2our) Dust tour was an unforgettable experience. Fall Out Boy's dedication to their craft and genuine appreciation for their fans shone through, making it one of the best concerts in years. With no reliance on samples or backing tracks, just pure rock and roll, their performance was a testament to their talent. I eagerly anticipate their next visit and encourage everyone to experience the magic of Fall Out Boy live.
The Darts can’t stop, won’t stop! Hot on the heels of last year’s groundbreaking album, SNAKE OIL, The Darts have returned guns blazing with a brand-new album, BOOMERANG. While on a break from their intense international touring schedule, The Darts stopped at Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx), with the mission of capturing the band's raw rock spirit.
From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment.. Each track on BOOMERANG packs a punch, drawing the listener into a world of infectious hooks and soaring riffs.
"The album title is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album. I can't stop writing songs! But "boomerang" also came from a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength - the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding in a lot of amazing stuff I never thought I'd see. I'm in a better place than I've ever been, and I think you can feel that power in this record." - Nicole Laurenne.
With the release of BOOMERANG, The Darts solidify their status as one of the best garage bands in the world. Fierce, unapologetic, and utterly captivating, this album is a testament to the band's unwavering passion and undeniable talent. Strap in and get ready for a wild ride with The Darts and BOOMERANG, coming soon to a cave party near you!
- USA, UK, and EUROPE tour dates posting soon for 2024 -
Hunnypot is proud to be THE DARTS official sync representative, "POUR ANOTHER" is the 1st single, album officially drops 4/26, ask us about LICENSING!
A Saturday night in downtown Los Angeles is always a good time . . . throw in Heavy Metal masters Machine Head playing a show at The Bellwether and the fact that it is the last night of their North American Slaughter the Martour and you have one hell of a party. Add in that Los Angeles natives Fear Factory, Sweden’s Orbit Culture and Louisville's Gates to Hell are opening the show making it a total banger from start to finish.
February 24, 2024 – a cool Saturday night had the “Head Cases” (Machine Head die-hard fans) lining up early at The Bellwether to be the first into the venue to get that front row rail spot. The Bellwether is a new venue in downtown Los Angeles that opened in 2023 with a 1500-person capacity, has convenient, inexpensive parking and a nice layout with a spacious balcony and outdoor patio – this venue looks to be a great new spot for national touring acts hitting SoCal.
The five week Slaughter the Martour started in San Francisco back on January 19 where Machine Head kicked off the tour with a hometown show and then crossed the US into Canada and is now ending in Machine Head’s “second hometown” of Los Angeles.
Gates to Hell opened the show at 6:30pm to an already packed house and kicked off the night with some brutal Death Metal. Los Angeles traffic prevented Hunnypot Live from witnessing this onslaught, but they certainly created a buzz in the venue after they left the stage.
Next Orbit Culture kept the brutality going but with a bit of a more melodic approach and opened their 40-minute set with “Saw” from 2018’s Redfog album and they crushed Los Angeles throughout their set. Vocalist/guitarist Niklas Karlsson was very thankful to Machine Head for taking them on this tour and to the fans for their support. Karlsson had the maniacs on the floor do a “Wall of Death” at least 2 times if not more and had the thrashers on the floor getting extremely rowdy. The night ended with “Vultures of North” and this set was the perfect segway into Fear Factory hitting the stage.
Fear Factory . . . always a huge draw in Los Angeles, such an innovative band that set the bar high for industrial metal. The machine gun riffs and drumming combined with the Death Metal growls and clean vocals put them in a league of their own. While Dino Cazares remains the sole original member, the band is at the top of their game with Milo Silvestro now on vocals as he brings a well-received spark to the bands live performance.
The night started with “Shock” then into “Edgecrusher” that had Brandan Schieppati from Bleeding Through join Silvestro on vocals. Cazares continues to have a magical right hand rifling those riffs on his seven string Ormsby guitars and also smiling endlessly while doing so. With Tony Campos out touring with Static-X, Javier Arriaga is filling in for the current live shows in place of Campos and doing a fine job doing so. And on drums – Pete Webber (also plays in Havok) . . . Webber is a small man but GEEZ he is a total animal smashing those skins – WOW!!!
The fans have quickly taken to Silvestro on vocals as this must be the 4rth or 5th time Fear Factory has played SoCal in the last year and the hometown crowd is loving this version of Fear Factory. The night ended with the 1-2 punch of “Demanufacture” and “Replica” and the stage was now set for Machine Head to destroy Los Angeles.
At 9:30pm the lights went dark and the guitar intro to “Imperium” played as Robb Flynn strolled out to his microphone as the rest of the band (Jared MacEachern on bass, Reece Scruggs on guitar and Matt Alston on drums) took their places and all hell broke loose as the song picked up its pace and Flynn barked out “Hear Me Now” . . . instantly a huge mosh pit erupted and the crowd surfing started. The elaborate stage backed with a large video screen played images pertaining to each song as the band played. Flynn asked Los Angeles “If You Motherfuckers were ready to have a good time with Machine Head tonight” and then if “They wanted it Heavy” before launching into “Ten Ton Hammer” which electrified the crowd even more.
Machine Head and especially Robb Flynn is one of if not the most ferocious and aggressive bands to play on a live stage. This band just makes you want to bang your head and pump your fist and Flynn knows how to work the crowd into a frenzy. The band played a perfect mix of songs from the majority of their records equaling a head-crushing setlist.
MacEachern now 11 years into his tenure with the band has a very dynamic stage presence often interacting with fans in the front. Reece Scruggs has been filling in for Wacław "Vogg" Kiełtyka while he was unable to attend some shows in the USA but since Vogg recently announced his departure from Machine Head – it is unclear who the permanent guitar player will be – Scruggs would be a perfect fit for Machine Head but he also plays in Havok so we are all eager to see what happens. On drums Alston holds his own as he pounds the crap out of his kit during every song – a very dynamic drummer.
It's great to hear “Bulldozer” and “From This Day” in the set and the fans went batshit crazy during these songs, “Aesthetics of Hate” was dedicated to Dimebag and the solo tradeoffs between Scruggs and Flynn during “Locust” were magical, Milo from Fear Factory came out to sing the second verse on “Davidian”, so many epic moments during this show . . . THAT is Robb Flynn, he makes EVERY minute on stage something special.
Flynn thanked all the bands out with them, and all the fans of Los Angeles and the band went into an epic version of “Halo” to end the night and the tour. Machine Head proves once again they are the kings of all things HEAVY and delivered a 90-minute masterpiece of a show.
Machine Head Set List:
Imperium | Ten Ton Hammer | CHØKE ØN THE ASHES ØF YØUR HATE | Aesthetics of Hate | Old | Locust | The Blood, the Sweat, the Tears | NØ GØDS, NØ MASTERS | SLAUGHTER THE MARTYR | Bulldozer | From This Day | Davidian | Halo
Growing up before the time of Spotify and big file sharing tools. Finding new music was a bit scarcer. Especially in the world of rock and metal, as they weren’t in the mainstream all too often. One of the biggest revolutions in getting more eyes on rock and metal was the video game series Guitar Hero. It helped introduce the world to a lot more niche genres of music, and really reinvigorated people’s love for the guitar. One spinoff sequel of the game was Guitar Hero Encore: Rocks the 80s. This version of the game was dedicated to some of the biggest rock and metal songs of the 80s. Where the original Guitar Hero has DragonForce’s “Through the Fire and Flames” as the hardest song. This version has Extreme’s “Play With Me.” This was my first introduction to the band Extreme, but hearing this song, I was instantly hooked. I scoured the internet looking for more from them, and just fell in love with their music. Ever since this game, I have been waiting to see them live, and finally in 2024 they are back on tour. Bringing with them Living Colour, Extreme embarked on their Thicker Than Blood World Tour. Making a stop at the Bellwether in Los Angeles, the line was around the block with fans of all ages ready to rock out.
Opening the show was Living Colour. I’ve always heard of this band in passing and talked about in high regard. But I have yet to really sit down and give them a proper listen. Lucky for me, I got to truly take them in this night. Kicking off their set with “Middle Man,” guitarist Vernon Reid electrifies the crowd with an exhilarating opening riff. Seeing Reid play live, I never knew how guitar forward Living Colours songs could be. Reid likes to let his fingers do the talking as he dances around the fretboard. Vocalist Corey Glover walked out on stage with a glistening jacket, looking like a true rockstar. He still carries a powerful voice that resonates throughout the venue. Drummer Will Calhoun is seated lower on his thrown than I have ever seen a drummer sit. But in this relaxed position he still fills the music with so much funk and soul to the rhythm. Bassist Doug Wimbash plays with a slapping style that floats effortlessly between groove and lead lines. Wimbash’s and Reid almost take turns between driving the lead of the song and carrying the melody of the beat. Living Colour played a fantastic set of hits like “Leave It Alone,” “Ignorance Bliss,” “Time’s Up,” “Nothing Compares 2 U,” “Glamour Boys,” “Love Rears it’s Ugly Head,” “Type,” and ending with the indomitable “Cult of Personality.” Seeing a band I have heard of live is one of my favorite ways to finally experience that band. Seeing Living Colour didn’t just make me a new fan, but it makes me appreciate their music so much more by watching just how technical, yet accessible their music can be.
As the crowd eagerly awaited our headliner during set change, I was filled with anxious energy. I had been waiting 17 years to finally see Extreme live and all I wanted was for them to live up to my irrational expectation. Starting their set with “It (‘s a Monster),” the LCD backdrop displayed the cover of their album Extreme II: Pornograffitti, transporting us to some kind of seedy downtown neighborhood lit up with neon signs. As vocalist Gary Cherone struck a pose in front of the neon signs, the crowd erupted with excitement. Coming down to the front of the stage, we were caught in a whirl wind of chaotic energy that Cherone brings to his stage performance. The man could barely hold still for more than a few seconds. Keeping this energy up and going through the entire set, Cherone proves he is still a one of a kind front man. Guitarist Nuno Bettencourt truly stands out when you put a guitar in his hands. Writing some of the most iconic and air guitar-able solo’s. The crowd had a hard time keeping their jaws off the floor no matter whether he was on his electric or switching it up to his acoustic guitar. Bassist Pat Badger holds down the rhythm that allows Bettencourt to go wild with each song. While drummer Kevin “k-Figg” Figueiredo traverses his kit with playing that encompasses metal and brings the funk!
With Extreme’s latest album Six, it really put them back on the map of the music world. But with this show, the band gave us the best from their entire discography. Nuno mentioned that most people think Pornograffitti was their first album, but they had a self titled before this. Launching into a medley of songs of their self titled, I sang my heart out as I personally love this album. The medley included snippets of “Teacher’s Pet / Flesh ‘n’ Blood / Wind Me Up / Kid Ego,” followed by their Guitar Hero track “Play With Me.” There were even a few moments where Nuno switched over to an acoustic guitar for tracks like “OTHER SIDE OF THE RAINBOW,” “Hole Hearted,” a mind bending acoustic shred solo called “Midnight Express,” and the ultimate fan favorite “More Than Words.” Which the latter brought tears to my eyes hearing it live as it was too beautiful. Other classics that we got to hear included “Decadence Dance,” “#REBEL,” “Rest in Peace,” “Cupid’s Dead,” “Am I Ever Gonna Change,” “THICKER THAN BLOOD,” “BANSHEE,” “Take Us Alive,” “Flight of the Wounded Bumblebee,” “Get the Funk Out,” and coming back for a two song encore with “SMALL TOWN BEAUTIFUL,” and finally ending with “RISE.” With the final song, Nuno stepped up to center stage to let the audience fully take in the power and soul that he put into that solo. It’s not unfair to say that “RISE” and specifically that solo is what really helped remind fans just how great this band was, and still is.
We got over a two hour set of songs old and new from Extreme, and they blew my irrational expectations out of the water. Not only did the band still sound amazing as they performed with heart, love, and stage presence that you would expect from an arena level show. But they brought this high caliber performance to a 1,500 capacity crowd and we ate up every moment. I can’t honestly remember the last time I had this much fun at a show. I will be living off the energy of this show for a while. I hope Extreme is not done touring anytime soon, as I will need another live fix from them soon.
Coming off his Lost In Time Festival this past Saturday in Kingston, Jamaica (to a sold out crowd of 7500 patrons at Hope Gardens), Protoje released a new song and video today, “Legend Legend.” For those that don't know, this one is a Bob Marley inspired tune. He’s releasing this following Bob Marley’s birthday celebration and the release of the Bob Marley: One Love movie (in theatres now). This song has such a sweet vibe, a great beat and riddim. I love how Protoje flows through Bob’s song titles and albums, he makes it work so well, he just flows through the lyrics, nothing forced.
We see clips of Protoje in different spots in Jamaica, traveling in a VW van, at the Lost In Time venue and on stage performing live. A nice mix of views throughout Jamaica. “When I was writing this song you know I was just vibing and improvising, and when I said “Legend Legend” I thought of Bob Marley’s compilation and the idea just came to be creative and use his album and song title names to write the lyrics. My dad (Calypso king Mike Ollivierre) when I was younger did the same thing with one of his inspirations Sparrow, a big Calypso star. He used all of his song titles to write a song, and I always thought it was a good concept to pay homage to someone you respect.” – Protoje. The way Protoje goes from one verse to the next, one Bob Marley song or album to the next, is perfection.
“Tell dem
Exodus, bomoboclaat you can’t stand next to us
Some a talk and plan, want get we trust
Babylon dem gone want get we trust
If one thing me learn from di Bible
Can’t even trust your disciple
When idol dem turn to rival
Confrontation, uprising survival
Wailers wailing pon my arrival
Zimbabwe dem catch the prey
Accra, Lagos, Nairobi royal
Addis Ababa, we free
Haile dem can’t conquer we
The Most High can’t get no higher
Matty dread burning the Kaya
The whole place it must catch a fire”
With his recent release 30 Million, the reggae superstar dives into societal issues facing Jamaica today while lifting up his people in this thoughtful track. And now with the release of “Legend Legend”, Protoje has started off 2024 on fire. Let’s hope this means more great songs are on the way and hopefully another album.
One Love - Todd
Styx graced us with their magical and stunning presence last Tuesday night at Hard Rock Live in Sacramento. What can I say about Styx that anyone older than 40 doesn’t already know? They are an amalgam of yacht rock and progressive rock mixed in with heavy guitar from the 1970s. This band effortlessly defies the odds, their ages, and has kept their pitch harmonies, melodies, and rock thunder rolling since 1972. Originating from Chicago, Styx has been impressing its fans for over 50 years. They are a powerhouse ensemble and a real 'heavy outfit' as I would call them. Although they began in 1972, Styx really didn’t come into their own until the addition of Guitarist and main songwriter, Tommy Shaw, in 1975.
Checking out the stage prior to liftoff, fans were presented with the familiar 'Styx' logo along with two ramps on either side of the drum riser. As lights dimmed, fans knew it was time for a true rock and roll show here in Sacramento. The show kicked off in true Styx form with one of my favorites, “The Grand Illusion”. This song truly showcased Lawrence Gowan and his amazing talents (on vocals and keys) from the very first note, demonstrating his charisma and stage presence (which I believe are second to none.) 'Dennis who' is what I was thinking as Gowan demonstrated in spades his incredible showmanship for the now packed theater. Wow!
The timeless ballad “Lady” was next up next. I really love this song (written by former founding member Dennis De Young for his wife, Suzanne.) Being the oldest song on the set list (from their second album, Styx II,) it took us all back in time and was a song I won't soon forget. Tommy Shaw took over on lead vocals for “Too Much Time On My Hands” (from the album Paradise Theater) which was the first album I bought with my own babysitting money the day it came out in 1979. Next up on lead vocals was James “J.Y.” Young for "Miss America” (also off The Grand Illusion). So good.
Throughout the evening, James Young and Tommy Shaw shared guitar duties and traded off leads like complete pros, mesmerizing fans with their incredible guitar prowess. Bassist Ricky Phillips (who has played with heavyweights such as Ted Nugent, Jimmy Page and was formerly with bands Bad English and The Babys) held down the low end while Drummer Todd Todd Sucherman (the 'baby' of the group at age 54) absolutely killed behind the skins.
Many songs from Pieces Of Eight were to follow, giving the new guy, Guitarist Will Evankovich a chance to shine. “Rocking The Paradise" from the same titled album was amazing, with Gowan and his keyboard doing 360s and he showed us he must be keeping up with his yoga by playing the keys behind his back (in addition to running all over the stage without breaking a sweat.) Taking it down a notch or two was an amazing instrumental, “Khedive”, a stunningly beautiful piano piece.
Next up was “Lost At Sea”, then of course the amazing hit “Come Sail Away” (made famous by South Park - lol). I couldn’t help but laugh a tiny bit during the song, but I truly love it and the whole arena was provoked into an unplanned sing along w/ Gowan. Wrapping up the evening was a two-song encore consisting of "Mr. Roboto" and “Renegade”, which had everyone on their feet even more so than the whole night.
Bottom line, Styx's show on Tuesday night at Hard Rock Live was a testament to a legendary band that has withstood the test of time (and then some). They highlight what's great in Rock and Roll today, and continue to electrify fans with performances that transport fans of all ages to a place and time where all that mattered was the music itself. Thank you Styx for one incredible evening!
The final show of Chance Pena's I Am Not Who I Was US Tour at the Teragram Ballroom in Los Angeles was a night filled with music that transported you to the nostalgia of childhood while also filling you with dreams for the future. The evening kicked off with Hayd, an artist celebrated for his emotive songwriting and a fine blend of sorrowful tunes and witty humor.
Opening with the song "Airplane Mode," Hayd connected with anyone who's felt the pain of drifting apart from close friends due to life's inevitable changes. He shared anecdotes about his travels to Los Angeles, enchanting the audience with his entertaining storytelling. Laughter rippled through the crowd as they engaged with his narrations.
Hayd's performance of "Don't Go, Don't Leave" was a poignant moment, eloquently capturing the fear of loss and the desperation to hold on. Another moving moment was when Hayd crooned a cover of "A Team," creating a sense of unity as the audience joined in, their voices weaving together in harmony.
Perhaps the most memorable aspect of Hayd's set was his vulnerability when he revealed feelings for a girl, sharing the story behind a song he had written for her. He then performed the song "Atlanta," its emotional depth magnified by the backstory. It's true—the more open an artist is, the deeper the connection the audience feels.
After Hayd's exit, anticipation built up for Chance Pena. This marked my second opportunity to witness his live performance, and it was delightful to see familiar faces from his previous LA show. With a full band backing him, there was a noticeable surge of vibrant energy.
Chance's growth in confidence was palpable; he exuded an air of belonging on that stage, especially when bathed in red light that seemed to echo his dynamic presence. His song "Sleep Deprivation" resonated with many, its message a reminder that persistence is key to reaching one's aspirations, one step at a time.
The high-octane "Upside Down" electrified both the stage and the audience, followed by an intense rendition of "Bleeding Out," which tugged at the heartstrings of anyone familiar with the desperation to save a crumbling relationship.
An unexpected birthday celebration for Chance ensued, causing a heartwarming pause before he performed "In My Room." Another collaborative piece with Hayd, "Highs and Lows," proved catchy, its melody lingering long after.
Yet another birthday surprise unfolded as a cake appeared on stage—a charming repetition of past experiences at the Teragram Ballroom, coloring it as a venue of celebratory serendipity.
Towards the finale, Hayd rejoined the stage for "I Am Not Who I Was," a track whose poignant lyrics provided a fitting anthem for the tour. The camaraderie between Chance and his friends, palpable throughout the show, spoke volumes of their bond.
Reflecting on the evening, it was one of those exceptional events that serves as a heartfelt reminder to cherish our personal voyages and the companions we meet along the way.