Downtown Los Angeles is far from the cleanest city in the world. In fact, it’s pretty dirty. On Monday, November 20, it got even dirtier. Southern California’s own Dirty Honey took over The Belasco as part of their headlining tour for the newly released album, Can’t Find The Brakes.
The album has only been out for a few weeks, but the first single from it, Won’t Take Me Alive, has been getting plenty of air play for months and broke into the Top 10. And this being billed as a “Coming Home” show, all the stops were really pulled out on this night. It was live streamed, and Matt Pinfield introduced the band. Dirty Honey is already known for an energetic live act and need no extra reason to step it up, but step it up they did.
The quartet features Marc LaBelle on lead vocals, John Notto on guitar, Justin Smolian on bass, and Jaydon Bean on drums (very recently replacing Corey Coverstone). As Pinfield reminded the audience in his introduction, Dirty Honey has an interesting back story. They are the first unsigned back to ever top the mainstream rock chart with the song, “When I’m Gone.”
It was a 17-song set with six of them coming from the new album and the show opened with the title track. Dirty Honey is a riff-based, rock and roll band and those riffs come from the Gibson Les Paul-wielding John Notto. He has all of the guitar hero moves, so that, plus undeniable talent makes him a blast to watch as well as listen to. But the revelation for the night was LaBelle’s voice. It’s powerful and clear and he matches any note from any recorded song. Rounding out the band, the rhythm section of Smolian and Bean are heavy in the best way possible.
While they played their share of originals, Dirty Honey showed their great feel for fresh takes on covers. Two great examples were an acoustic, fun version of The Rolling Stone’s “Honkey Tonk Woman,” and a slow, heavy “Let’s Go Crazy” by Prince. (Notto’s guitar work at the end would have made the Purple One proud.)
Dirty Honey is a band that has been called the future of Rock and Roll. But they readily acknowledge their influences like Aerosmith, Guns N’ Roses, Led Zeppelin, and The Black Crowes. They write and play catchy songs with choruses and riffs that when played live automatically get heads bobbing, bodies moving, and entire audiences singing along. The Belasco was General Admission standing room only, but the entire crowd would have been on their feet even if seating had been provided.
If the audience didn’t need any more reason to stand, the first song of the encore provided a great one. The Black Crowes own Chris Robinson joined Dirty Honey for a cover of AC/DC’s “Rock and Roll Damnation.” While introducing Robinson, Marc LaBelle acknowledged how much he has borrowed/stolen from the singer. Many times during the song, LaBelle looked like he was in rock heaven, singing on stage with an influence/idol/hero. But isn’t that what makes Rock and Roll what it is? Taking from the past, blending here, twisting there. Hopefully, when it’s done with skill, talent, and respect, the outcome is something passionate and fresh. And dirty.
Barns Courtney Rocks the Roxy: A Night of Unforgettable Energy...
Barns Courtney's performance at the Roxy in Los Angeles, presented by Goldenvoice Alt 98.7, was nothing short of a triumph, proving that for him, “rock bottom” is a distant memory. The venue was sold out, with the atmosphere buzzing well beyond its 500-person capacity, a testament to Courtney's growing popularity and the anticipation surrounding his live shows.
Having embarked on his musical journey at the age of 15 with his band Sleeper Cell, Courtney faced contractual challenges but ultimately found success with his breakout single "Fire," featured in the Bradley Cooper movie Burnt. This show was a celebration of his resilience and the recognition his music has garnered, not only through tenacious grind but also with placements in various television and film projects.
The diverse audience, spanning from early to middle age and seemingly equal in gender representation, reflected the broad appeal of Barns Courtney's music. As he took the stage to a roar of screams and applause, the energy in the room mirrored a modern-day Rolling Stones swagger infused with a rock style reminiscent of The Killers.
Courtney, with his incredibly powerful voice, took the audience on a journey through a wide spectrum of human emotion and experience. Each song resonated personally with the crowd, and his rich tone, complemented by a sultry raspy edge, added depth to the performance. The chemistry among the band members was palpable, as they harmonized and played with high energy, providing the perfect support for Courtney as he sang from a deeply passionate place, leaving it all on the stage.
Despite the writer's admission that their writing days were in the rearview, the decision to cover Barns Courtney's show was a no-brainer. Their prediction of seeing Courtney at major festivals in the following year seems inevitable, given the electrifying performance witnessed that night.
The deeply intimate acoustic encore further showcased Courtney's versatility, and the night ended with a mic drop, leaving an indelible mark on the audience.
As attested by a fan who compared the show to seeing U2 and The Fugees, declaring it the "best show I've seen all year," Barns Courtney's performance at the Roxy was a triumph and solidified his place as a must-see act.
-Jessie Monville
About 10 years ago, Steven Zhu dropped the song titled “Faded.” After that song spread around the world in every club and every rave, his’s life changed forever. It was 2014 and we were near the peak of the EDM wave that encapsulated the planet. So many DJs rode the explosive wave of EDM into super stardom back in 2014. New talent was popping up everywhere with new DJs spinning in the trance, house, and techno genres and subgenres. It was a crazy time in the EDM scene. So many new eyeballs and ears to the scene allowed for more producers to grow in popularity. Fast forward nearly ten years: many of them have started to plateau. EDM isn’t going anywhere but it’s not all over the radio or as in-your-face as it was in 2014. I’m not saying DJs have fallen off, but I will say that it is indeed a little tricky to keep everyone’s attention for a decade solely with repetitive beats. Early on, ZHU has been pushing himself outside of the “box” that DJs often find themselves trapped in. He’s been pushing the bounds of his music, incorporating the piano and other instruments, and picking up the mic to offer his own vocals. The diversity of his talent has separated him from the pack. Four albums into his career, he recently sold out three nights at The Hollywood Palladium in November 2023. Let’s hop into it.
Up first was partywithray. As fans piled into the venue, they were greeted with syncopated bass lines and four-on-the-floor-beats. He got everyone hype with songs like “Came For The Low” and “Lil Mama”. The young DJ had everybody moving and teed it up well for the middle set. Up second was Hayden James. The “Something About You” producer rocked the dance floor from wall to wall for a little under an hour and half. Fans were singing the lyrics to songs like “Just Friends” and “NUMB” as the upbeat basslines thumped through the night.
Finally, at 9:30 PM, the lights in the venue dimmed to near blackness. In amazing speed, the production team assembled a structure that resembled a massive black steel cage. Fog machines filled the venue with smoke. Dark red lights illuminated from said cage throughout the venue. Five figures dressed in all black slowly walked in front of the cage and stood there facing away from the crowd. It felt like I was watching The Undertaker enter a Wrestlemania event during the WWF attitude era. Four of the figures entered the cage. The spotlights turned on, the beat dropped, and the remaining individual outside the cage introduced himself to the crowd. You guessed it: ZHU. The other four gentlemen were members of his live band. They rocked the drums, guitar, saxophone, and bass from within the cage throughout his set. Perched on top of the cage were ZHU’s boards where he dropped beat after beat until the night was through. The production was top notch and live elements proved why ZHU is a seriously good performer. It wasn’t just an EDM show but was full-on musical theater.
ZHU absolutely nailed his second night at The Hollywood Palladium on the Fall of Grace 2023 Tour. I can only imagine nights one and three went just as well. The addition of a live band to his EDM beats added a level of energy unmatched by any other EDM show I’ve been to. Check out this show when he comes by your local city. It’s a banger.
First Avenue was gifted a boon of bountiful metal tunes this past week - Baroness brought their Sweet Oblivion tour supporting their latest release, Stone, to Minneapolis on Tuesday, gracing the stage with the current segment’s tour buddies Spotlights and Chat Pile. The seasoned metal outfit - headed by the impossible-to-miss, towering John Baizley - brought a whole cavalcade of tunes, new and old, to the venue, with sincerely screamed vocals and jumping guitars aplenty.
Support band number one was Spotlights, a metal trio from Brooklyn that sounds like a dozen bands you’ve heard of while at the same time sound completely unique. When hearing them, one is bound to be reminded of a very wide ranging variety of bands, especially on their latest album Alchemy For The Dead. Deftones, 16volt, Katatonia, Torche - they seem to draw from these and more to create a sound wholly their own. Translating live, the band is an atom bomb going off - their short set was the first few songs off of Alchemy, but amplified tremendously, the opening notes of Beyond the Broken Sky sounding significantly larger, the vocals sounding even more mysterious and brooding, and the musical, groovy drumming of Chris Enriquez even more captivating.
Indie-ish darlings Chat Pile were up next. Chat Pile have, for those heavy music listeners living under a rock, taken the metal world by storm these past few years, blowing up seemingly out of nowhere with their release God’s Country in 2022, skyrocketing them directly into everyone’s attention. Their sincere mix of noise-come-sludge and drunken, rambling, heartfelt vocals seemed to connect a common vein of outrage and frustration at the perfect time. Live - this doesn’t work quite as well, as while the heavy songs like "Why" and "Tropical Beaches, Inc". are tailor-made to crush a live audience, the vocalist’s incoherent mumble-talk-scream and general disinterested demeanor has a place in performance art, but as a frontman he does as much harm as he does good, stripping away some of the energy of the solid musicianship and creating a conflict between band and vocalist.
Baroness came to the stage last, arms raised to the skies as the opening notes of "Embers" played over the house speakers, and then Stone’s first real track "Last Word" kicked in and we were off! Baizley’s vein-popping, full-energy style of delivering vocals is incomparably charming, a distinguishing feature of their performances. He has spoken often in the past about how much Baroness’ music is trying to strike at a connective tissue through music, and watching him give everything he’s got in everything song - it’s impossible not to be taken in. You combine this with impeccable supporting fare in Gina Gleason, who is fighting a battle to the death with standing still, and Nick Jost’s effortless groovy bass contributions, and how could you not fall in love? Baroness followed with a track off of 2007’s Blue - "A Horse Called Golgotha" - and then marched right into "A March to the Sea" from 2012’s Yellow/Green. They then sailed into tracks from all over, covering pretty much their entire discography, before returning to Blue and Yellow/Green for their encore with a rendition of "The Sweetest Curse" and "Takes My Bones Away". A stellar performance that took the crowds to sweet oblivion and back.
Nahko Bear, or simply known as Nahko, wrapped up his Trenches Tour with Nattali Rize in Las Vegas. The venue in Area 15 is a small, intimate room called The Wall. Named for its large LED video wall set behind the raised stage, The Wall holds about 200 people and this show was sold out well in advance. Personally, I enjoy small intimate settings, and even more so, acoustic sessions. Reminiscent to MTV’s heyday of Unplugged, the songs take differently as if they are inviting the audience to experience the depth of emotion played with every chord and note.
Opening up the show, Nattali Rize provided a nine-song solo acoustic set that gave the audience an up close and personal experience during her hour-long performance. The stripped-down arrangements showcased her musical prowess, allowing the lyrics to resonate with the audience. Just her and an acoustic guitar.
Nattali opened up her set with “Warriors”, a song that’s really taken off on the Sugarshack Sessions with almost five million views. This song got the audience going as I watched everyone in the front row sing along and move to the rhythm. In between songs, she would thank the audience and share encouraging words of positivity. Not to the point of preaching, but just enough to get the crowd’s approval before starting another song.
Her setlist included some fan favorites like "Rebel Frequency", "Liberate", and "Indestructible". She closed her set with one of her biggest hits and my favorite, “One People”. The extended song included crowd participation with her pausing her guitar playing volleying back and forth with the audience finishing her lines. Like all of her songs, one can really get into the lyrics of this song and her songwriting skills really come out on this one. After her set, she joined the audience an danced with them as the house music played Bob Marley’s “Could You Be Loved”. This kind of interaction drives fan appreciation home for some people. It’s not often that one can sing and dance with one of their favorite artists.
A short break allowed the audience to absorb the vibes that come naturally with Nattali’s performances and prepare for the headliner. As the lights dimmed and a subtle haze filled the room, Nahko took the stage and was welcomed by the 200 screaming fans. His acoustic set consisted of him switching back and forth between an acoustic guitar and a keyboard. It’s always a welcome sight when you can see the audience singing along with the artist.
Nahko’s musical genre is a mixed bag consisting of folk, alternative, and R&B. His songwriting sends deep messages that are sometimes sprinkled with a few vulgarities but they seem to work well to drive the songs home. With songs like “Enough” and “Ok”, these songs are almost inspirational with messages of hope and self awareness. At times, you feel like you’re listening to a Sunday service with Nahko’s performance. Take the song “Creator’s Hands” as he delivers a heartfelt performance, one would expect the crowd to say Amen at the end.
In between songs, he would share one-liners to assist with his transitions. Although small stages and acoustic sets don’t allow much room for dynamic performances, he did not disappoint as he did not need any theatrics. The simplicity of the acoustic set is entertaining enough. Nahko’s music hits deep on many levels with motivational messages and hints of spirituality, advocacy, and activism. But behind these messages, there is genuinely good music. His musicianship and songwriting skills takes you on an emotional journey deep into your self-conscience leaving you inspired to be a better person.
As the night drew to a close, Nahko took the stage, inviting Nattali Rize to join him for a few songs. With Nahko skillfully playing the guitar, Nattali complemented the performance with her captivating vocals, creating a remarkable synergy. The seamless collaboration left me wondering why these two artists haven't recorded a song together. Both Nahko and Nattali convey messages through their music that uplift and heal. The culmination of over two hours of music left the audience visibly satisfied and infused with a renewed sense of hope. While Sunday service may have concluded, the enduring impact of their message and music continues to resonate.
Meet 19MIL, the authentic rising star from Miami, a true force in the music scene. As a singer, songwriter, and producer, she unveils a multi-faceted talent with a dark yet beautiful voice that evokes a euphoric feeling of sadness, shaping the unique genre of dark-pop. Anticipate conversations in the upcoming months surrounding her distinctive style.
In her latest single, "Deep End," 19MIL offers a profound emotional journey, using metaphors to convey her resilience in seeing herself beyond the negativity—an exploration of beauty emerging from overcoming adversity.
The music video for "Sweet Child" by John-Robert left me pleasantly surprised. The warmth and nostalgia it exudes, combined with John Roberts' velvety vocals, create a captivating experience. The attention to detail shines through, especially in the blend of laid-back guitar and groovy drums. The nostalgic vibe, inspired by "teletubbies and other oddball children's programming," adds a unique touch. "Sweet Child", the lead single from John-Robert's upcoming EP Garden Snake, beautifully merges his Appalachian roots with modern indie pop. It feels both authentic and cinematic, capturing the essence of a coming-of-age epic. Excited for the full release of John Robert’s fourth upcoming EP Garden Snake on December 8th via Nice Life.
Whenever I’m shooting a show at the House of Blues, and now MGM, I like to get down to Boston for a little pre-show ritual. I park over on Newbury St. and walk past the “Cathedral of Boston” (aka Fenway Park) over to the Tasty Burger on Van Ness. I order a Spicy Jalapeno burger (add +1 patty), and a large fry before heading over to the venue. I don’t know why it’s become the routine, but nonetheless, it has.
This was my first rap show since high school, so I forgot what they were like to be honest – that was until I started walking over to the box office. After I paid my tab and started walking over that night, I couldn’t believe it: BOTH sides of Fenway were completely wrapped around the block with people waiting in line. I had never seen Uzi live before, so as I passed hundreds and hundreds of people on such a bitterly cold night, I thought they were crazy. But then I got through security and walked into the GA pit and saw the unbelievable stage design that it hit me – they weren’t crazy, this is going to be a really rad show. And Lil Uzi Vert put on just that.
Lil Uzi Vert's concert last night was an absolute rollercoaster of energy and vibes. The atmosphere was electric from the moment he hit the stage. The crowd, a sea of fans ready to lose themselves in the music, erupted into cheers as the first beats of his hit songs reverberated through the venue.
Uzi's stage presence was undeniable. He moved with an effortless swagger, engaging the audience with every word and every move. The light show was mesmerizing, syncing perfectly with the beats and adding a visual spectacle to the auditory feast. The combination of pulsating lights, fog machines, and Uzi's dynamic performance created an immersive experience that had the crowd on their feet throughout the night.
The setlist was a perfect blend of his chart-toppers and fan favorites, showcasing his versatility as an artist. From the high-energy bangers like "XO TOUR Llif3" and "Money Longer" to the more melodic tracks like "The Way Life Goes", Lil Uzi Vert kept the audience captivated from start to finish. His ability to seamlessly transition between different moods and styles demonstrated why he's at the forefront of the rap game and was the perfect “welcome back” to rap shows.
Lil Uzi Vert's concert was not just a performance; it was an experience. It was a celebration of music, a communal expression of joy, and a testament to the power of an artist who knows how to connect with his audience. As the final notes echoed through the venue, and the lights dimmed, there was a collective sense of satisfaction in the air—a feeling that this was more than just a concert; it was a night to remember.
In the summer of last year, there was one artist who absolutely stole the show at the Canadian Juno Awards. After taking the Canadian pop industry by storm with her debut studio album Phoenix, Charlotte Cardin went on to be nominated for six different awards: Album of the Year, Video of the Year, Single of the Year, Pop Album of the Year, Fan Choice Award, and Artist of the Year. She brought home the trophy for three of them: Single of the Year, Pop Album of the Year, and Artist of the Year. In addition to her big nominations and even bigger wins, she put on a hell of a show performing “Meaningless,” the song she also won Single of the Year for. After seeing her crush it across the board last year at the Junos, Charlotte was high on my list to see live when she made her way down to Southern California. On November 7th, her 99 Nights Tour finally stopped in Los Angeles, California. Let’s hop into it.
Up first was the band New West. The Toronto-based band took to the stage and performed many singles from their debut album “Based On A True Story…”. Charlotte Cardin fans are open minded and positive, and they were very receptive to New West. New West rocked the crowd with singles like “Those Eyes,” “IYKYK,” and “Cold Tea”. By the time New West wrapped up their set, the crowd was warmed up and ready for the main draw.
At 9 PM sharp, the classic red curtains at the El Rey parted and the spotlight found Charlotte Cardin as she strut across in the stage in an all-white outfit. Almost immediately, it was clear why she was nominated for all those Juno’s the year before. From her soulful powerful voice, emotive song-writing and performance, and musical elements of pop, jazz, and electronic music, she had it all. There’s a level of talent that multi-instrumentalist artists have, that other artists cannot even compete with. Cardin strut on beat around the stage with her mic for the majority of her set, but she picked up the guitar and made her way over to the keyboards for a good amount of songs. The most memorable moment for me was when her band took a break, and she sat down at the grand piano on stage for gave us performances for “Meaningless” and “Next To You”. Oh man. The notes she hit in those songs had people in the venue yelling “wooo!” like they just heard the hardest screw-face-inducing house beat “drop” ever. Other notable moments of her set were “Next To You”, “Looping”, and when she got everyone singing along to “Jim Carrey”.
All in all, the multi-talented Charlotte Cardin crushed it at her Los Angeles show. I can’t imagine what her shows are like in places like Istanbul and Munich on this global tour. This is a 40-date tour so she may still be on the way to your hometown market. If tickets aren’t already sold out, cop a few for you and your friends. It’ll be a great time.
As the clock struck 7pm on Halloween at The Factory at Deep Ellum, Dallas, Texas, the Hollywood & N9ne Tour 2023 transformed the night into an electrifying fusion of rap and rock, featuring the powerhouse acts of Tech N9ne, Hollywood Undead, and KING ISO. The stage was set for a unique and unforgettable experience on this spooky night, marking a coheadliner showcase that transcended musical boundaries.
My anticipation was heightened by the fact that the last time I witnessed the explosive energy of Tech N9ne was back in 2019. The prospect of seeing him once again, alongside the dynamic performances of Hollywood Undead and KING ISO, created an air of excitement that permeated the Halloween atmosphere.
KING ISO kicked off the night with a performance that set an intense and captivating tone. His rapid-fire delivery and magnetic stage presence immediately engaged the crowd, drawing everyone into his lyrical world. As the beats resonated through The Factory, KING ISO showcased tracks from his latest album, delivering a performance that demonstrated both skill and passion. The audience, clad in Halloween costumes, responded with enthusiasm, setting the stage for a night of musical exploration.
Following KING ISO, Hollywood Undead took command of the stage, and the atmosphere shifted into a chaotic yet harmonious spectacle. The Los Angeles-based band seamlessly blended rap, rock, and electronic elements, creating a sonic tapestry that defied easy categorization. Hits like "Undead" and "Bullet" were met with a sea of Halloween-clad fans singing along, their energy adding to the band's already electrifying presence. The stage came alive with a visually stunning display of lights and pyrotechnics, further enhancing the immersive experience.
As the clock neared midnight, the anticipation for Tech N9ne's return to the stage reached its peak. The coheadliner format of the tour allowed each artist to shine independently, and Tech N9ne did not disappoint. Tech N9ne delivered a career-spanning set that blended his signature rapid-fire delivery with intricate lyricism. The Halloween night added an extra layer of mystique to the performance, as the crowd reveled in the eerie ambiance of the venue. He played all the hits but the standout tracks had to be “Einstein”, “Red Kingdom”, and “Caribou Lou”. We even got “Face Off” with KING ISO entering the stage again to run it back with Tech.
As the night came to a close, marking the end of Halloween and the conclusion of the Hollywood & N9ne Tour 2023 in Dallas, the crowd erupted into applause. The coheadliner showcase had exceeded expectations, offering a night of musical diversity, unity, and unforgettable performances. The Factory at Deep Ellum became a temporary haven for music enthusiasts, where the boundaries between rap and rock blurred, and the spirit of Halloween infused an extra layer of magic into the experience.