The Nothing but Noise tour lived up to its name on January 21st,2024 at 1720 in Los Angeles. Even when the night's first act graced the stage, the crowd was already roaring with energy. The opener being none other than the radiant Minmi. She brought both energy and her unique sense of humor to her performance, giving off the energy of someone who could easily headline their own show. One of the best moments being when she got the whole audience to joke around with her and everyone laughed along. Which ended up leading into a song that’s fun to dance along to, regardless of what language you speak. Although one of the songs that the audience seemed most hyped for was Minmi singing a song from Evangelion. The room was filled with people waving their hands up in the air, cheering, and people singing along to the song. You can even see visuals from the anime playing behind Minmi. It was just one of those songs that everyone knows and loves. One of the songs Minmi is known for is "Shiki No Uta" from the classic anime Samurai Champloo. Minmi also took up the keys, for a hopeful song about how it’s never too late to change your life and follow your dreams. The song was beautiful and had the audience clapping along to it. She gave off a very memorable performance and when she got off the stage, you can tell the audience wanted more.
Getting us ready for our amazingly talented headliner, DJ Hyper Potions takes up the stage dazzles the packed house prior to announcing Nano. With fans literally loosing their minds, Nano made quite the entrance wearing a hoodie with the stage lighting and the hood concealing part of their face. This to me felt like a call back to their early days when their identity was concealed. During that time, there were a lot of cool anime-style drawings that represented nano and in a sense their identity was genderless. One of the turning points of her career was when she did an English cover of the song "Gallows Bell", a song that is incredibly sad and dark but beautiful. Nearly makes me cry every time I listen to it. I’ve been listening to Nano since the very beginning and have been wanting to see them live for several years now. The way Nano expresses herself has made me as a person more confident in how I express myself and even though her being mysterious before was an interesting experience, I’m happy that she’s now able to be more free with her music and be who she is. While a faceless artist is always cool, nothing can beat seeing them smile while doing what they love up on stage and Nano’s smile lit up all of 1720 that night. Nano’s appearance during her first song of the night, which is "Nevereverland", somewhat resembles the boy wearing a hood in the music video which is playing in the background while she sings. The audience during the beginning of the song brings up the energy by chanting “hey hey hey” and clapping. Towards the end of the song, the boy in the video is no longer wearing a hood and the same goes for Nano.
Her third song on the set list, "No Pain, No Game", is a personal favorite of mine and has the same characters from Nevereverland in it. The song came out over 10 years ago but is timeless. When Nano threw her hands in the air during that song, it was an epic moment. If you need a song to energize you, "No Pain, No Game" is definitely one of those songs. After that one was "Magenta", a song with a different type of energy to it - but just as exciting. The visuals for this one were especially beautiful. I really loved seeing the trees without leaves combined with the pink lighting. "Magenta" is also the kind of song that reminds you that you’re not alone and even if the world is falling apart you will get back up. Right before starting another one of her songs, Nano tells the audience “No Matter what if you really want something you gotta always keep believing in it” and I feel like those are words to live by. Her next song "Dreamcatcher" embodies those beliefs and will give anyone who listens to it strength to not give up. Her song "Blue Jay" was the one where everyone stayed silent and listened with Nano’s voice enchanting the entire room. If you’ve ever lost someone you hold dear, this song will resonate deep in your heart. The angel wings falling in the background along with Nano sitting down for this one, helped make the feeling of the bittersweet beauty of the song even stronger. At a certain point we had a break period where DJ Hyper Potions took over and the space briefly felt like a really fun anime rave. Hyper one hundred percent lives up to his name and knows what songs anime fans get down to most. He kept the energy high. Nano reenters the stage with the song "All I Need", a powerful song that I’m sure everyone has related to at least at one point in their lives.
Nano’s dancing especially in "Savior of Song" and "Fight Song" was incredible. Being as a photographer as well as a fan, it was engaging to watch and filled me with excitement. Nano ended her set with the song "Freedom is Yours", where everyone moved their arm back and forth in sync. Now luckily even though I say ended, truth be told it wasn’t the actual end of the set. What happened next was the longest chant I’ve ever heard for an encore in probably my entire life. Probably one of the loudest encore chants I’ve ever heard too, I think it went on without stopping for at least several minutes. This is just a testament to how amazing Nano is, her fans were all willing to risk losing their voices for this encore. She came back out wearing a Nothing but Noise t-shirt, that ended up completely selling out that night before Nano even finished performing.
The final two songs would be "Let’s Make Noise", which is the reason for the name of this tour, and "Oblivion" a newly released song. During "Let’s Make Noise", the audience had the cool experience of Nano taking a video of all of us singing along while she was singing and yeah we all made noise. Nano wrapped up the night with "Oblivion" and the audience singing along the lyrics “listen to your heart”, was the perfect way to end the night. The audience singing along to even the Japanese lyrics is proof that even speaking different languages, we can all come together. Seeing Nano live after waiting several years was worth it and something I will always remember, looking forward to catching her again soon
The calendar may have said January 11, 2024, but for a couple of hours it was 1984 at The Canyon Club in Montclair. Fan Halen stormed the stage, put the sold-out crowd in a time capsule, and threw a party with the music from the ultimate party band played to perfection.
Tribute bands are an iffy thing. The crowd is looking/listening for the performances and songs they love to be played they way they remember. Or played to the classic album, note for note. If the singer’s even slightly off, guitarist a little tinny, harmonies not really there, it’s like “Okay, they tried.”
Fan Halen is different. They are billed as “The World’s Most Authentic Tribute to Van Halen.” That’s a mouthful and a lot to live up to. This is Van Halen of the David Lee Roth era, no Sammy tunes here. It would be far too easy to say, “Close your eyes, they sound like the real thing.” That’s because they look and act like the real thing. So keep your eyes wide open, because you don’t want to miss anything.
Let’s start with Ernie Berru, aka Diamond David Lee Roth. Every yelp, scream, and howl on heard on any VH song is in play, because Ernie can do them all. This is not the “live” Diamond Dave that talks his way through songs, this is “album” Dave. Besides actually being able to sing, Ernie brings to life the swagger and banter that made DLR “The Toastmaster General.” And he can do the splits off the drum riser.
The rhythm section of Michael Thompson as Alex Van Halen and Andy Catt as Michael Anthony is beyond solid. These guys are excellent musicians. Andy’s bass playing provides that hidden groove in early Van Halen and his high harmony vocals gives the band and the audience exactly what is needed for the authentic Van Halen sound. Thompson is something of a smiling beast on drums. He makes the difficult seem effortless as he’s pounding a 1981 era double-bass Ludwig drum kit. Once you hear his intro to “Hot for Teacher,” you know he’s capable of anything.
Finally, there’s Derek Fuller. He’s more than just riffs and EVH-style tapping. He’s got the Brown Sound down. It’s one thing to play like Edward Van Halen, it’s a whole other thing to make it look as effortless as the king did. Derek’s grins, expressions, and thumbs up, and yes, jumps, remind us of what a truly different kind of guitar hero looks like. He also provides backing vocals, rounding out the full VH sound.
The setlist ran the gamut from albums of the DLR era with the original lineup, what fans call “The Six Pack.” The majority came from Van Halen and 1984 with a highlight being Ernie/Diamond Dave on acoustic guitar before kicking in to a roaring “Ice Cream Man.” Another highlight was Derek/Edward’s solo on “Eruption” before going into “You Really Got Me.” But who’s kidding who? The entire night was like a greatest hits album with everything played to perfection. These guys can play anything in the VH catalog, including legendary unreleased tunes. (Their show in Pasadena last year opened with “Let’s Get Rockin.”) They even do “Happy Trails” to end the night.
We lost Edward Van Halen in 2020 and we lost the original VH line up years before that. But Van Halen’s music, and spirit, will always live on. And as long as Fan Halen is around, we’ll be able to pay our tribute as they play their tribute.
FAN HALEN SET LIST
I have been a big fan of Matisyahu for quite a long time. Anyone that knows me, knows my love of reggae; the sound, the rhythm, the message, the beat, the one drop, the vibe. When I first heard Matis I was so intrigued, who is this Jewish guy with this amazing reggae sound, an amazing voice, lyrics with so much meaning (and the beatboxing)?. The message was basically the same as reggae! While not the same roots reggae coming out of Jamaica, he made it work so well, combining reggae, hip hop, alternative rock and more. Such a unique but familiar vibe and message. He has evolved over the years, changing up styles and genres with each new album, but the one standard was the voice, message and storytelling. I love seeing and hearing that growth and that evolution. And while I may like the earlier, more reggae-esque vibe, Matis brings us new and interesting music all the time, testing the limits to his creativity.
I was given the Hold The Fire bio and there is a statement that sums this up so perfectly; “All the while his musical parameters were expanding into a shapeshifting collision of reggae, hip-hop, alt rock and boldly inventive pop. His 2014 album Akeda, for example, hit Billboard's Top 10 in not one, not two, but four album categories: modern rock/alternative, rap, rock, and independent.” While there is nothing like hearing Matis do one of his classics live (“King Without A Crown,” “Jerusalem,” “One Day”), I had the pleasure hearing him in 2017 at The State Theatre in State College, PA (we are still waiting for him to return) right before Undercurrent was released and he played a few songs from that album for the first time live. The style, the vibe, was really different, but the crowd loved every second of it. That album didn’t have songs, it had journeys.
The new Hold The Fire EP starts off with “Fireproof,” it touches on a universal harmony, especially given the current events in Israel. A song that slides into themes of perseverance, gratitude and appreciativeness. It is a nice mellow groove, his voice so nice to follow through the song with a wonderful message. It is a song that was conceived by a dream he had. He walks us through the dream and his message, he really pulls you into this voyage. And the little touch of beatboxing is a great addition to the song. He brings us to “End Of The World,” a unique sound with this song an almost sonic sound, reminds me of songs from Undercurrent, not the same reggae vibe we are used to, but a strong message, “We move through our lives building bridges and burning some. Preparing for battles with the experiences we have and using discernment to make the best choices we can,” shares Matisyahu.
Track three is “Fools Gold” and possibly my favorite track on the EP. I love the chill beat and bass and Matis’s message. He changes up his tempo and flow throughout, I only wish the song was longer. It is about being created in the likeness of God, but that does not mean we are Gods. We should have a sense of modesty and accountability. Matis brings us to “Love Supplier” with a nice guitar riff throughout, a nice upbeat song. My head just keeps bobbin’ to this joint. I love the sound of his voice during the chorus. “Baby I’ve been running low, hope you know it in your soul, you are my Love Supplier.” We finish off with “Lifetime,” another one of my favorites, a tribute to community. He hits us with a little “scat” then flows in with his lyrics, a great flow switching up the vocals and sweet harmonizing in the background. A good up-tempo song, you want to get up out of your chair and groove to this, head bobbin’ up and down.
Hold The Fire is simply a great EP, and its amazing to see the one thing that never changes in all of his releases is his beautiful voice and his wonderful and meaningful messages. The music creation and production just keeps growing, changing and evolving, while still standing true to what makes Matisyahu, well, Matisyahu. I am craving more after listening to this, we get a little mix of older Matis, but a touch from his nearly two decades bringing us significant, emotional and soulful tunes. This is a must listen, there is a little bit of everything mixed in this five track EP. Be sure to grab a copy when its released on Feb 2nd!
One Love- Todd
Lots of people collect things. But imagine having the resources to collect anything that interested you. Pop culture. American history. Musical instruments. Jim Irsay, the owner of the Indianapolis Colts, has those resources. He has amassed a stunning collection of pop culture memorabilia, American history artifacts, and musical instruments including an incredible array of rare and historically important guitars.
But here’s the difference with Jim Irsay and other collectors. Others might hide these rare pieces from public view. Locked away, only to gather dust with the pleasure coming from just the ownership of the items. Irsay chooses to take his on the road for everyone to see. A traveling museum, if you will. And it’s FREE. On January 11, 2024 at the Shrine Auditorium in Los Angeles, thousands of attendees got to see letters from George Washington and Abraham Lincoln. John F. Kennedy’s rocking chair. Jackie Robinson’s bat. The list goes on. And on. And on.
The true highlights of the exhibit were the legendary instruments. Multiple guitars owned by the Harrison, Lennon, and McCartney. Ringo’s drum kit played on the Ed Sullivan Show. A piano played by The Beatles during Sgt. Pepper’s Lonely Hearts Club Band. Elton John’s piano. An acoustic guitar played by David Gilmour of Pink Floyd on "Wish You Were Here". Next to that guitar was a space for Gilmour’s legendary The Black Strat which was played on “Comfortably Numb.” But that guitar was missing. But many, many more were on display to see. Clapton, Hendrix, Prince, Van Halen, Dylan (acoustic and electric) were just some of the big names with axes presented.
The Jim Irsay Band is something of a collection of Jim’s as well. Just as he shows great taste in his choice of instruments and memorabilia, the band is a powerhouse all-star line-up and total pros. Kenny Wayne Shepherd, guitar and vocals, Mike Mills of R.E.M., bass and vocals, Kenny Aronoff, drums, Tom Bukovac, guitar, Mike Wanchic, guitar, Michael Ramos, keyboards, Danny Nucci, guitar, sax, vocals, and Billy Branch on harmonica. Rounding it out on background vocals; Alaina Renae, Staci McCrackin, Stephanie Allen-Stevenson, and Renée Michelle Merrifield. This is a collection (there’s that word again) of talent capable of performing almost any rock and roll classic.
Before the performance started, the was an introduction of former Indianapolis Colts running back Edgerrin James. He waved to the crowd and if rock and roll fans don’t follow football, they should know this: He was as good as it gets and is in the Pro Football Hall of Fame.
With that over, the band took the stage and the night’s de facto master of ceremonies, Kenny Wayne Shepherd announced that Jim Irsay was ill and wouldn’t be performing. (A note here. Jim Irsay usually sings and plays guitar with the band. To see and learn more about the band and Irsay, watch the November 2023 episode of Real Sports with Bryant Gumbel.) Shepherd strapped on his Stratocaster and kicked in to his own “Down for Love.”
Then it was time for the guest stars to come out. As good as the players in the band are, the real draw to these shows are the guest performers that are invited to play. The first: Legendary bluesman, Buddy Guy. His influence on generations of guitarists cannot be overstated, including as mentioned by Kenny Wayne Shepherd, Jimi Hendrix. Buddy did the title song from his 1991 comeback album, Damn Right, I've Got the Blues. After performing “I’ve Got to Use My Imagination” and “She’s Nineteen Years Old,” Guy gave KWS a hug and exited the stage.
Shepherd then performed “Can’t Hold Out,” “Watch Yourself,” and “Blue on Black.”
On the other side of the stage, Mike Mills took the lead with energetic performances of “(Don’t Go Back to) Rockville” and “Superman.”
Then it was back to Shepherd. Remember David Gilmour’s missing The Black Strat from the Collection exhibit? It was now in Kenny’s hands as he explained that Jim Irsay believed that the great thing about appreciating musical instrument like this is that they are meant to be used and not just looked at. And played it was. A fine take of Pink Floyd’s “Have a Cigar” with Danny Nucci on vocals was followed by an incendiary version of “Comfortably Numb,” complete with a Pink Floyd-esque light show. Gilmour’s two solos on that song appear on most lists of the greatest guitar solos of all time and Shepherd did the music and Black Strat justice.
The Black Strat was then retired for the evening and out stepped another legend. Ann Wilson of Heart possesses one of the all-time great voices, male or female. She did a cover of The Who’s “Love, Reign O’er Me,” and Heart’s own “Barracuda.” This was the point where it really seemed like the band started having fun on stage. Shepherd and Bukovac joined Wilson in the middle of the stage, trading licks from the iconic song.
Next up was Kevin Cronin, lead singer of REO Speedwagon. Cronin sang and played acoustic guitar on “Take It On the Run” and “Keep On Loving You.” Once Cronin put the acoustic aside, he was free to roam the stage on rockin’ versions of “Ridin’ the Storm Out” and “Roll With the Changes.”
Just when it seemed like Cronin’s energy couldn’t be topped, out came singer Peter Wolf of The J. Geils Band fame. Wolf entered the stage dancing and never stopped moving through versions of “Hard Driving Man,” “Just Can’t Wait,” “Centerfold,” “Love Stinks,” and “Lookin’ for a Love.” Wolf was an on his knees-spinning-everywhere-presence, leading the audience in a sing-along of “Love Stinks.”
But wait, there’s more. To close out the show, along came the Sharp Dressed Man himself, Mr. Billy F. Gibbons of ZZ Top. The hirsute wonder was smiling through his beard as he played a three-song set that included “Sharp Dressed Man,” the Texas-boogie, “La Grange,” and a bluesy “Going Down.”
Throughout the evening, most of the performers made mention of Jim Irsay’s generosity, thanked him, and wished him good thoughts for a fast recovery. Irsay is a man who has battled his well-documented demons, but at the same time is known for a giving heart. That heart was there for everyone to see in the items showcased in his collection and in the performances on stage. It was a night of legendary musicians and one-of-a-kind artifacts presented absolutely free to the public.
Alright, let's dive into the sonic cataclysm that is SAXON's Hell, Fire and Damnation. Picture this – a band that's been kicking it since the late '70s, now dropping their twenty-fourth studio album. Yeah, you read that right. Twenty-four. These Brits, famous for "Denim and Leather" and "Wheels of Steel," aren't just resting on their laurels; they're unleashing a heavy metal onslaught that refuses to bow to the hands of time. I appreciate it when a classic metal band can not only stick to their roots, but continually crank out solid work year after year, or in Saxon’s case, every other year for 40 damn years.
Brian Blessed, the 2013 Spirit of Hammer Award winning vocal performing kicks off "The Prophecy," adding a cinematic touch to this metal opera. It’s a nice touch that sets the tone. Produced, mixed, and mastered by the maestro Andy Sneap who has worked similar magic with Accept, this LP isn't your run-of-the-mill nostalgia trip. The twin guitar attack hits you square in the face from the first track, and each riff is solid throughout. The lead single, "Hell, Fire and Damnation," is a modern-day Saxon anthem that doesn't shy away from their unmistakable signature sound. It launches into a solid crunching riff and sets the tone for the album. Unrelenting classic British Steel.
Now, hold onto your leather jackets because we've got Brian Tatler joining the fray. Yes, the same Tatler from Diamond Head. Original axeman Paul Quinn might had retired from the road, but the quintet, still featuring Doug Scarratt, Nigel Glockler, and Nibbs Carter, is still a force to be reckoned with. If you are a NWOBHM fan you won’t be disappointed. Tracks like “Madame Guillotine” with it’s great tempo change and solid riff throughout, really hooked me, probably my favorite track. Biff Byford's vocals are solid throughout it’s insane that he has kept his voice in check since the 70’s at the level he is at. His range is as impressive as ever.
As you get deeper into the album cuts like "Kubla Khan and the Merchant of Venice" and "Super Charger" are like sonic punches to the gut – a relentless barrage of fists and stomping boots. They're proof that Saxon's decades-old formula still packs a punch, reminiscent of the thunderous "Wheels of Steel" from 1980. There is nothing about the album that feels dated, just classic.
But hey, not everything is smooth sailing on this metal voyage. Saxon has a long obsession with historical lyrics and that is clearly on display here. From Roswell to the Battle of Hastings, Merchant of Venice and 1066, it's like a heavy metal history lesson that might be a tad exhausting for some. Sure, we love our metal with a side of history, but the theme seemed a bit forced, that said Hell, Fire and Damnation isn't just an album; it's a sonic odyssey. Biff Byford, with his tales of Salem witches and Battle of Hastings, does a fair job of weaving his tapestry of mystery and mayhem. The 2024 Saxon version is a mature beast, still hungry and with a finger on the pulse of the metal realm.
This album is a testament to Saxon's enduring rebellion. The addition of Tatler to the mix adds something that I think really elevates the album. Whether you're a grizzled metalhead or a fresh recruit, Hell, Fire and Damnation is a wild ride through the annals of heavy metal history. So, crank up the volume, throw up the horns, and let Saxon remind you why they're still kings in the heavy metal kingdom.
Hell, Fire, & Damnation Tracklist
Upon first listen, "Let Go" strikes as a bold and dynamic track that is quintessentially KMFDM. The band's signature industrial sound is very much present, yet there's an evolution in their style that is refreshing. What stands out immediately is Andee Blacksugar's powerful guitar work, which is both aggressive and melodic. The composition is tight, with every element from the pounding drums to the gritty synths working together to create a robust sonic landscape.
Digging into the melody, my initial thoughts were that it was catchy and almost anthemic. I could easily see "Let Go" a track that could fill football stadiums worldwide. Lyrically, KMFDM stays true to their style of thought-provoking and rebellious lyrics, adding a layer of depth to the track. It’s not on the extreme level of 2019’s “Paradise” but gives listeners just enough angst to get them through the day. As for the emotions the song elicits, there's an undeniable sense of urgency and defiance in "Let Go." It connects with the listener on a visceral level, tapping into a primal desire for freedom and rebellion.
In terms of production quality, "Let Go" is top-notch. Sascha Konietzko’s mix is balanced, allowing each instrument to shine without overshadowing the others. The overall cohesiveness of the single is impressive, demonstrating KMFDM's ability to evolve their sound while staying true to their roots. Breaking it down to its most basic form, one immediately realizes the end result of “Let Go” is a collective effort via the sonic wizardry Konietzko, Lucia Cifarelli, Andee Blacksugar, and Andy Selway. This united front will continue to pay dividends on stage when their highly anticipated tour begins on March 6th in Atlanta.
Comparing "Let Go" to previous singles, it's clear that KMFDM is not resting on their laurels. They're pushing their sound forward, experimenting with new elements and refining their craft. It's a successful single that showcases their growth as a band. Listening intently, you can hear the past, present, and future throughout the 4:00 minute masterpiece. For fans of KMFDM, this song is a precursor to what will surely be a killer release on Feb 2nd. Let Go will be their 23rd studio album across an amazing 40-year career and could very well be one of their best when the dust settles.
At the end of the day, “Let Go" meets and exceeds my expectations as a true KMFDM fan. It's a powerful track that showcases the talent of Sascha, Lucia, Andy, and Andee at their best, offering a fresh take on their signature sound while staying true to their roots. I would recommend dropping the needle on this one for both long-time fans of the band and newcomers looking for high-energy, thought-provoking music. After a quick spin around the block, you’ll be once again hooked on one (if not the most) the most legendary industrial bands of our time. “Let Go” is The Ultra Heavy Beat at it’s finest!
- Matthew Belter
It was only too appropriate that the first real snow of the season would fall as people warmed themselves up to a night of wubs and dubs to close out the year. This year’s two part Lucid Nights NYE shows - put on by local production company SIMshows - swapped the previous few years’ Snowtafests at the Armory for a back to back night of ‘Zed’-derivative electronic music (Zedd & Zeds Dead).
With Zeds Dead packing the house for night 1, so-called deadbeats knew they were in for an assaulting, moving night of bass heavy fluctuations and sensational lights and visuals. The group has been packing international venues for some time, and while they didn’t release anything new in 2023, they put on several tours (including a previous visit to The Armory back in September), so it was a real treat for them to come back to Minnesota so soon afterwards and pack the Armory for a second time.
The variety of styles in the openers (Renno, Levity, Tape B & Dirt Monkey) captured the imagination of the crowds as they slowly flowed in the from the Timberwolves game just a mile away, steadily filling the massive space from wall to wall for a packed, intimate and intense night of music.
Everything built to a beautiful climax as Zeds Dead turned everything into complete overdrive well past midnight, massive jets of flame announcing their sonic arrival. Their mountainous walls of bass-driven sound collapsed on the wide eyed deadbeats, and all was well. There wasn’t a single person missing a smile at that point in the night - the duo’s ability to capture and capitalize on energy is a skill every DJ possesses, but Zeds Dead are particularly fantastic live, combining a real attention to sonic detail with having a great sense for how to keep the flow of energy oscillating, shying away from complete overload but keeping everything a solid, even keel. With more flashes of fire and a shot of fireworks, the two closed out the night around 2am, an incredible night of EDM and good vibes.
L.A. Guns continues to standout as the premier Rock n Roll band from the early days of the Sunset Strip and they proved that on Thursday night December 28th at The Coach House in San Juan Capistrano. The reunion of Phil Lewis and Tracii Guns in 2016 led to 2017’s release of The Missing Peace, a rock-solid slab of classic L.A. Guns with a modern flare that proved that Lewis and Guns still had the chemistry responsible for the hits back in the day. Well in 2019 they outdid The Missing Peace with the release of The Devil You Know, in 2021 they again out did themselves with Checkered Past and here in 2023 they released another monster album with Black Diamonds. Between the live show sounding as grand as ever and these new records filled with relevant, quality songs – L.A. Guns remains the King of the Sunset Strip.
Guns and Lewis along with bass player Johnny Martin, guitarist Ace Von Johnson and drummer Shawn Duncan make up the most talented lineup this band has had in recent years as they opened the night with “Cannonball” that immediately had the Coach House on their feet and rockin' out. Lewis hit the stage in a flashy yellow and green suit sounding better than ever. The band then went into “Electric Gypsy” and “Over the Edge” as the guitar duo of Tracii Guns and Ace Von Johnson wasted no time showing off their licks by harmonizing the solo center stage. Early in the set the band played a scorching rendition of “You Betray” off Black Diamonds which is classic L.A. Guns with a flare of Led Zeppelin thrown in making for a modern-day classic for sure. Two other songs from Black Diamonds were also played – “Diamonds” – a killer ballad to slow things down then “Like a Drug”, so cool to hear these new songs live.
Drummer Shawn Duncan has an impressive pedigree in the Rock n Roll world, as the old school Sunset Strip die-hards will recognize him as the drummer from Odin. Duncan joined the band early in 2022 and has proven to be a huge asset with his hard-hitting drum work. Duncan’s partner in crime Johnny Martin on bass is a pure Rock n Roll maniac playing that bass with conviction as he wails on the backup vocals – Martin looks like he was taken straight out of the Ramones with his straight black hair and rock n roll boldness. Then there is guitarist Ace Von Johnson . . . this guy brings the perfect blend of attitude and charisma to the band that compliments his killer guitar playing (and he blows killer bubble gum bubbles while rocking out). Again this lineup is phenomenal!!!
All the hits were accounted for – “Sex Action”, “One More Reason” and “Never Enough” . . . Lewis and Guns took the spotlight together for “Crystal Eyes” and the beginning of “The Ballad of Jayne”, the later being one of the most beautiful yet powerful rock ballads out there. Things sped up again with the final song of the night “Rip and Tear” that was preceded by band introductions that gave each musician a few minutes to demonstrate their craft.
Tracii Guns was having a blast playing – he always seems to play never before seen guitars at shows – he must have one hell of a huge collection. Guns and Lewis looked to be having so much fun together onstage (as did the entire band) and that just elevated the vibe of the show. The night ended with Phil Lewis thanking all for spending the night with them and the band gave a bow in unison as The Vandals “So Long, Farewell” played over the PA.
There is no other band from this era can hold a candle to L.A. Guns to this day either live or with new music. Catch L.A. Guns when they hit your town, a night not to be missed! They hit the road on March 7 in direct support for KK’s Priest.
Hailing from Omaha, Nebraska, King Iso is a force to be reckoned in the hip hop scene. Born Tarrel Gulledge, King Iso rose to rap prominence by delivering hard hitting lyrical content in the most technically savvy way. Before rap, Gulledge struggled with incarceration, homelessness, and mental illness. Determined to overcome his challenges, he channeled his energy, heart, and soul into his music. He garnered a cult following and ultimately caught the attention of the industry titan Tech N9ne. He’s now dropped his 6th studio album (3rd with Strange Music), and it’s nothing but heat. Let’s jump into some of my favorite moments from Iso's latest, iLLdren.
Known for his rapid-fire delivery combined with storytelling abilities, King Iso doesn’t stray away from his strengths on iLLdren. He leans into personal struggles and relays to the listener that he empathizes on a wide array of mental health issues. Much of the album is him talking directly to the listeners, many who haven’t yet dealt with their childhood trauma. This is the group he affectionately refers to as the 'iLLdren'. Back-to-back-to-back, he directly hits touchy subjects head on. He deals with growing up in conditions so bad, that someone should have called child protective services on “CPS”, hearing voices in his head on “Voices”, and growing up without a father on “Stoned”. He offers words of hope to those teetering on the edges on “Teen Suicide” and on “Way You Are”, he reminds the listeners, each, and every one of them, that he “think[s] [they’re] perfect, just the way [they] are”.
All in all, King Iso is everything the rap game needs. He reminds the listeners that it’s okay to admit that you’re not okay, but at the same time offer words of hope. He does this in a way that projects strength, contrary to how mainstream hip hop tends to deal with mental health. Much of the rap world chooses to mask inner traumas with the glorification of violence, drugs, and materialism. Rather than throwing a band aid on these feelings, King Iso chooses to deal with them directly. His lyrical style is also comprised of a verbal onslaught of multisyllabic rhymes, similes, and metaphors that is objectively flawless in nature. If you’re looking for a record that you can go on an introspective long drive to, and also get a high intensity workout in to, this is the album for you. Check it out when you get a chance. iLLdren is available on all streaming platforms and is 100% Hunnypot Approved!
- Kris
Last Sunday night, Heavy Metal fans from all over the Sacramento and Bay Area gathered to witness the power of the all-female band Burning Witches. Despite the rain, hardcore fans were not deterred from experiencing this incredible display of female energy and talent. The anticipation was pegging at an 11 (on a 10 scale) as we eagerly awaited the start of the show.
Kicking off the evening was Sacramento's own deathcore/Thrash band, Cemetery Legacy. With brutal guitar riffs from Steve Lujan and Augustin Rivera, Kyle O'Connor on bass, and Timmy Parker on vocals, they set the stage on fire. Even with a last-minute fill-in drummer, their performance was flawless. Cemetery Legacy has previously shared the stage with renowned bands like Otep, Metal Church, Blind Illusion, and Hatriot. Keep an eye out for their next tour, as they are not to be missed.
As we eagerly anticipated Burning Witches, we were treated to another local act, simply known as Black. Unfortunately, there was limited information available about the band, but their performance was nothing short of a metal extravaganza. The lead singer commanded the stage with a mix of toughness and majesty, a unique and exciting combination for a thrash/death metal band. The dueling lead guitars and energetic rhythm section added to the intensity of their performance.
Finally, the moment we had all been waiting for arrived. Burning Witches took the stage with an unmatched force and power, opening their set with "Unleash The Beast." The energy in the room was electrifying, with hair blowing back and faces filled with awe. Guitarists Romana Kalkuhl and fill-in guitarist extraordinaire Courtney Cox (currently with The Iron Maidens) showcased their technical prowess on "Wings of Steel," leaving the audience spellbound. With Larissa Ernst on maternity leave, Courtney Cox was incredible from the first note and impressed everyone with her talent. Bassist Jeanine Grob held the heavy sound together with precision, while Lala Frischknecht's drumming provided a solid foundation.
The highlight of the night was undoubtedly the frontwoman, Laura Guldemond. Her stage presence and powerful vocals on tracks like "Dance With The Devil" were captivating. She engaged with the audience, touching every person in the front row and beyond, creating an unforgettable experience. At one point, she even disappeared into the crowd, only to reappear on stage with even more intensity. Burning Witches performed a diverse setlist, showcasing their career-spanning releases, from their self-produced debut in 2017 to their latest album, The Dark Tower. While they have gained recognition for their covers of Judas Priest and Dio songs, their original compositions truly demonstrate their talent.
Burning Witches is currently scheduled to tour Europe and return to the United States in support of their new release under Napalm Records. Don't miss the opportunity to witness these extraordinary women who are taking the metal scene by storm. You will thank me later!