Musical genius and jazz master George Benson visited Lincoln, CA, for the “George Benson Celebration.” This special event featured an intimate quartet of shows at venues with limited capacities. The tour included two performances in Las Vegas at the Encore Theatre, the third show at Thunder Valley Casino, and the final performance in Temecula, CA.

The evening began with Nigerian-born Demola, a self-taught violinist whose innovative approach to jazz, Afrobeats, and contemporary covers with his electric violin delivered a stunning performance. He has garnered attention as a heavyweight in the modern music world, seamlessly blending genres and captivating audiences of all ages with his musical genius. Covering classics like Bill Withers’ “A Lovely Day” and Teddy Swims’ “I Lose Control,” Demola’s showmanship shone through his delivery and audience participation. Spending almost his entire set performing amid the crowd, he created an intimate and engaging atmosphere—a perfect way to warm up the audience for the masterclass in R&B and jazz that was about to commence.

Next up was R&B giant Brian McKnight. His musical excellence and emotional depth were evident during his 90-minute set, which spanned his fantastic career. With 16 Grammy nods under his belt, this R&B legend delivered a stunning performance featuring chart-topping hits like “Back at One” and “6, 8, 12.” He also performed a heartfelt tribute to his wife, “Love of My Life,” accompanied by a beautiful video montage of his wedding photos and his intense love for his infant son. His ability to connect with the audience was paramount and deeply emotional, as women of all ages swooned over this smooth R&B icon.

McKnight’s band was a delight to watch, and his musicianship was equally impressive. He opened his set with “Superhero,” showcasing his guitar skills. His setlist was a continuation of the night’s soulful memories, filled with heartfelt ballads and emotional praise to his higher power.

Finally, the moment everyone had been waiting for arrived: the legendary George Benson. The 82-year-old master guitarist and smooth jazz vocalist sauntered onto the stage, looking and moving like a man decades younger. The excitement in the room was palpable, especially among the ladies, as this glorious man took the stage. The 4,500-capacity venue provided an intimate setting for such a giant in the music world.

Benson opened the night with the classic R&B ballad “Feel Like Making Love” and wasted no time diving into his big hits, including “Breezin’” and a heartfelt tribute to the late, great Glen Campbell with “Wichita Lineman.” This tribute was particularly moving, as it’s one of my favorite songs and a nod to one of my favorite guitar players. RIP, Glen Campbell.

The set continued with a classic cover of “Love Ballad,” made famous by Jeffrey Osborne. Benson’s percussionist lent her stunning vocals to “Ain’t Nobody,” while the entire band delivered spectacular performances of jazz classics like “Unforgettable” and “Give Me the Night.” Throughout the evening, Benson played his guitar masterfully, blending technical precision with smooth, soulful melodies. His vocals were sharp and velvety, perfectly complementing his performance.

The audience was captivated not only by Benson’s music but also by his witty banter and the sheer delight on his face as he performed for his lifelong fans. The music brought a sense of nostalgia, transporting us to a simpler time and a happier place.

Benson’s renditions of his original songs and stunning covers of jazz and R&B legends were unparalleled. His attention to detail and enthusiastic audience participation made the evening feel truly special. At times, it felt like I was listening to a studio recording—it was that spectacular.

As the night drew to a close, Benson and his band led the audience into a frenzy with the final song, “This Masquerade.” It was the crescendo we had all been waiting for, and it did not disappoint. This special, intimate show was a testament to George Benson’s enduring talent and his ability to connect with fans on a profound level.

With one more show left on this special run, I feel incredibly fortunate to have witnessed the greatness of this exceptional man and his incredible band. George Benson remains an enduring talent with so much more to offer his fans. What a spectacular evening—one I will never forget.

When most bands celebrate over 40 years of music, they play a past iconic album in its entirety. But The Cult isn’t most bands. Instead, they performed as Death Cult, celebrating a brief but pivotal moment in time as they transitioned into what would become The Cult. Death Cult was formed from the ashes of singer Ian Astbury’s first band, Southern Death Cult, when he teamed up with guitarist Billy Duffy. Their sound evolved from punk to goth to pure rock as they transformed into The Cult.

As big as The Cult became—especially with breakthrough albums like Electric and Sonic Temple—some of the tracks from the self-titled Death Cult EP and The Cult’s first album, Dreamtime, are considered groundbreaking and have remained fan favorites for years. So, Friday night at The El Rey Theatre in Los Angeles was a rare opportunity to see Death Cult in an intimate setting before the band hit the big stage at the giant Cruel World Festival the very next day.

Fans of all incarnations of The Cult packed the venue, ready to be transported by the shaman-like Astbury and the ringing guitars of Duffy. These fans knew what they were in for, bobbing their heads to the music and singing along throughout the night. Even the merch was entirely Death Cult, resurrecting logos and graphics from the early EP and its later re-release.

As intimate as the setting was, the band’s musical power was on full display. Duffy is well-known for his use of the Gretsch White Falcon, and that iconic sound defines much of the Death Cult music. The other defining element is lead singer Astbury. Four decades is a long time to carry the vocal duties, but while his voice now carries more maturity, the passion behind the lyrics remains as strong as ever. Special mention must be made of his tambourine, which was put to work for the entire evening.

Rounding out the four-piece band were Charlie Jones on bass and John Tempesta on drums. Tempesta has been with the band since 2006, and Jones joined in 2020, making them seasoned veterans who provided the powerful rhythm section that anchored the night.

More than once, Astbury mentioned how important Los Angeles was to him. He saluted first responders from the January fires and ended the night by expressing his love for LA. In his words, “You have no f-ing idea.”

The setlist was 16 songs long (compared to just 12 songs the next day at Cruel World) and featured a great mix of Death Cult and early The Cult tracks. They even reached back to Southern Death Cult for “Moya,” which served as the final song of the evening. The encore was the song that, according to Billy Duffy, “changed everything”—“She Sells Sanctuary.” From the opening notes of Duffy’s guitar, there was a tangible release of energy from the crowd. In that moment, Death Cult had fully transformed into The Cult.

You didn’t have to guess at the excitement for the Two Nights of Terror Spring Tour featuring Ice Nine Kills. Arriving at The Fillmore just 15 minutes after doors opened and seeing the line stretching around the Twins parking bay and further up the block, it was clear—this one was going to be unhinged.

It didn’t hurt that Spencer Charnas and company brought a perfect lineup of performers for the evening: the gothic madness of The Funeral Portrait, the sweet-and-sour snap of Melrose Avenue, and the unfiltered intensity of The Word Alive. Truly, what else could you ask for?

When Melrose Avenue took the stage, I’d bet they weren’t expecting a nearly full crowd already waiting for them. The poppy-metalcore Australians, tatted to the nines, delivered a set that defined the intensity of the evening. Vocalist Vlado Saric alternated between smooth, alluring vocals and throat-tearing screams, embodying the theme of duality that carried through the night. While their set was short, it was undeniably sweet. It didn’t take long for the crowd to sing along and scream their throats out, and Melrose Avenue departed the stage to roaring cheers after an all-too-brief performance.

Those cheers carried forward for Atlanta goth/emo rockers The Funeral Portrait. I’d been meaning to catch this band for some time, as their evocative imagery and live footage suggested a set worth seeing. Suffice it to say, their live energy exceeded expectations. Each member was constantly in motion, screaming their heads off and shouting into the crowd. When they weren’t screaming, they showcased their goofy side, grabbing each other’s heads, poking, and prodding one another. While it might sound mundane in writing, the energy they exuded created a vortex of good vibes that left the audience grinning from ear to ear.

The Word Alive were the bomb that truly set the stage for Ice Nine Kills. While Melrose Avenue blended heavy and light, and The Funeral Portrait offered a more emotionally intense set, The Word Alive came out and absolutely decimated The Fillmore. Vocalist Tyler Smith sounded like he was shredding his vocal cords as he screamed the ending to “The Word Alive Is Dead…,” leading straight into a filthy breakdown. That’s when the endless wave of crowd surfing began, with Smith shouting, “Don’t you dare let anyone down for the rest of the night!” That raw intensity was a spark, instantly making the entire room feel crazier, warmer, and more tightly packed.

After a short changeover and intro video, the main event began. With theatrical flair, Spencer Charnas entered center stage through mountains of haze as dueling monitors set up the first song—“Welcome to Horrorwood” (following “Opening Night” to set the scene). Fans familiar with Ice Nine Kills’ live shows knew the chaos that was about to unfold, but as a first-timer, I was (at least a little) surprised when fictionalized versions of Jason and Freddy took the stage alongside Charnas, who bounced around with boundless energy.

Every single song featured some kind of spectacle, with a personal favorite being the dual chainsaw wielders flanking Charnas midway through the set. The band is a unique force in the space, and they take their live show very seriously. That effort shows—it’s completely unforgettable and can only be described as ‘pandemonium.’ Their set covered the entirety of their latest release, Welcome to Horrorwood: The Silver Scream 2, with a few bonus encores to cap off the night.

This was a totally unforgettable show, and I’m already looking forward to catching Ice Nine Kills again very soon.

Before this album, Peter Murphy was just a name I vaguely associated with the term “goth rock”—a genre I never thought I’d dive into, and an artist I had never actually listened to. So when Silver Shade landed on my desk, I had no context, no nostalgia, no expectations. Just curiosity. What I found was a record so sonically rich and emotionally weighty that it felt like being pulled into a world I didn’t know I needed.

The opening track, “Swoon,” wastes no time setting the tone. Murphy’s voice hits you like a bell tolling in an open cathedral—deep, commanding, and oddly comforting. The music isn’t loud or showy, but there’s a pulsing tension beneath the synths and scattered guitar that makes you lean in. That tension continues on “Hot Roy,” which sounds like a futuristic cabaret filtered through a haunted jukebox. It’s moody and theatrical without being overbearing.

What struck me most was how Silver Shade feels more like a film than a collection of songs. Tracks like “The Artroom Wonder” and “Meaning of My Life” are slow-burning, expansive, and cinematic. The lyrics are cryptic, as if they’re meant more to conjure a mood than tell a story. Even as someone unfamiliar with his previous work, I could sense this was a deeply personal album—meditative, maybe even spiritual.

“Silver Shade,” the title track, is where everything clicks. The groove is hypnotic, the vocals slink around the beat like smoke, and there’s a noir-romantic vibe that makes it feel timeless. It’s the kind of song that demands headphones and darkness.

There are playful moments too. “Cochita Is Lame” brings a surprising levity to the record, while “Soothsayer” injects a dose of upbeat weirdness that still somehow fits within the album’s ghostly framework. “Time Waits” introduces flamenco-esque guitar flourishes that caught me off guard in the best way, and “Sailmaker’s Charm” brings it all to a graceful, almost sacred close.

What makes Silver Shade so compelling, especially for someone unfamiliar with Murphy’s legacy, is how confidently it exists in its own atmosphere. It doesn’t care if you’re on board or not—it knows exactly what it is. There’s no desperate reach for relevance, no trend-chasing. Just a singular vision from someone who’s clearly been walking his own path for decades.

In an era full of algorithm-friendly music built to please everyone, Silver Shade feels like a transmission from another world. Strange, beautiful, a little intimidating—and worth the journey should you choose.

With I-Octane’s latest album, God & I, he set out to create a project that explores spiritual conflict, faith, resilience, disloyalty, and success. I-Octane pours his raw emotions into the album, delivering a wonderful mix of booming Dancehall and reflective Reggae. This journey offers an honest, burning real-life experience and a spiritual reflection. “This album is personal,” he says. “It’s me speaking with the Most High—about life, growth, loyalty, and all the struggles in between. It’s not just for fans; it’s for anyone facing their own spiritual war.”

Born Byiome Muir in Sandy Bay, Clarendon Parish, Jamaica, I-Octane is known for integrating positive messages and socially conscious lyrics into his music, drawing inspiration from his personal life experiences and Rastafarian teachings. This album showcases his growth as an artist, proving that he is still evolving and determined to stay at the top of his game.

The album begins with the title track, “God & I,” featuring the signature I-Octane flow fans have come to love. In this track, he asks God not to give up on him, expressing his devotion and need for divine presence. “Thankful” follows with a solid rootsy Reggae vibe, offering a slower groove and showcasing I-Octane’s versatility as he shifts tempos effortlessly.

Up next is “Certified Hustler,” where I-Octane changes his tempo and flow over a beat-driven track, delivering strong lyrics that align perfectly with the guitar. The seamless mix of Reggae and Dancehall continues with “Constant War,” a track that combines powerful lyrics with a compelling message. Shifting gears, I-Octane delivers a sweet love song, “Nothing Without You,” demonstrating his versatility and ability to craft heartfelt tunes.

Vershon joins I-Octane on “Life is a Blessing,” an upbeat riddim celebrating the blessings of life. The two artists complement each other beautifully, trading styles and tempos to create a feel-good, positive track. “Perception” follows with a gospel-inspired roots Reggae riddim, where I-Octane’s vocals shine brightly, delivering heartfelt lyrics. He continues the positive vibes with “Breath In My Lungs,” a song that uplifts and inspires listeners.

The previously released “Opportunist” is a deeply personal track produced by I-Octane’s five-year-old daughter, Nahbi Reign, for NiNi Records. This self-reflective anthem, featuring Shane O, explores resilience in the face of adversity and the importance of cutting ties with negative influences. Good Girl Productions brings us “Walk With A Chip,” an upbeat Dancehall riddim where I-Octane delivers his classic sound and flow, reminiscent of his earlier work.

“Powerful Story” slows things down with a sweet groove, allowing I-Octane’s vocal flow to take center stage. “This Love” follows with a lovers rock riddim, showcasing his voice and delivering a heartfelt message about love. The theme continues with “Love Me More,” a rootsy groove with a double skank rhythm, where I-Octane’s dynamic vocal flow hits perfectly.

“Success” shifts the focus to pride and positivity, with I-Octane celebrating his achievements through another uplifting track. The album concludes with “People Hype,” an upbeat Dancehall groove that ends the journey on a high note, leaving listeners with an optimistic and positive vibe.

For an established artist who has been perfecting his craft since the age of sixteen, staying fresh and relevant while remaining true to oneself is no small feat. Albums have the power to impact audiences in profound ways, and God & I is no exception. I-Octane declared that this project was deeply personal, stating:

“A lot of people turned their backs on me over hearsay and never gave me a chance. I almost lost everything because of how they tried to tarnish my name and brand. It made me shift focus at one point, questioning why I should heal others when they had no compassion for me. But last year, I woke up and realized that if I didn’t speak my truth, I would lose myself. So, I decided to just sing without worrying about who will listen. That’s why I named the project God & I.”

With this album, I-Octane set out to create a project that reflects spiritual conflict, faith, resilience, and success—and he succeeded. This is a perfect combination of his Dancehall skills and rootsy Reggae vibe. His message throughout is not only a healing process for himself but also a source of healing for listeners facing their own struggles and spiritual questions. I-Octane is still evolving, still growing, and still entertaining. He remains on top of his game and at the forefront of the Reggae world.

One Love – Todd M. Judd

There are many monumental moments in a band's life worth celebrating: the release of their first album, their first major headlining tour, or the 10-year anniversary of being a band. The Used just hit another incredible milestone in their career, celebrating 25 years as a band. To give back to the fans who have supported them for so long, they embarked on a tour celebrating their first three albums: Self-Titled, In Love and Death, and Lies for the Liars.

This wasn’t just a setlist of their best songs from these albums. Instead, each city hosted The Used for three nights, with the band performing one album in its entirety each night. Each evening also featured a different opening band, showcasing some of the best up-and-coming talent from the area. Fans sold out all three nights at The Wiltern in Los Angeles, CA, ready to hear both the hits and the deep cuts they knew intimately.

Night 1 opened with melodic hardcore band Bite the Hand from Phoenix, AZ. They stormed the stage, ready to amp up the crowd. Vocalist Echo Breen delivered a mighty roar, screaming passionate lyrics while blending in softer melodic vocals that let the audience groove. Guitarists Conner Williams and Daniel Rancourt attacked the crowd with precision riffs, accentuating Echo’s vocal lines. Meanwhile, bassist Justynn Willingham danced around the stage, holding down the low end alongside drummer Forest Walldorf. Bite the Hand rocked the crowd with songs like “Roswel,” “TVs On,” “Razorblade,” “Smile Baby,” “Pageant Queen,” “Bent Knees,” “Stay Mad,” and “Bad Matches.” Their energy and Echo’s red-and-black hair gave them a vibe reminiscent of a heavier version of the fictional band The Clash at Demonhead from Scott Pilgrim.

Night 2 featured LA locals rosecoloredworld. Though I had heard of them before, this was my first time experiencing them live, and they won me over instantly. Vocalist Rae captivated the stage with her enticing voice, dancing and grooving with an aura that pulled the audience in. Guitarist Addison, dressed in a pinstripe suit with no shirt and sporting an afro, oozed charisma while shredding on a Les Paul guitar. His energy was reminiscent of Slash from Guns N’ Roses, and he even backed up Rae on vocals, harmonizing or trading lines to create a dynamic performance. rosecoloredworld had the audience hooked with songs like “cold day in hell,” “SPIT ME OUT,” “No One’s Home,” “hanging on (by a thread),” “Creep,” “all we had,” and “bl00dbath.” They announced an upcoming tour, and I highly recommend catching them live.

Night 3 brought a unique opener: Street Drum Corps, a percussion-based band. My first introduction to them was on The Used’s 2007 live album Berth, so I was excited to see them again. They opened with “Somehow,” as three masked members pounded on oil drums and buckets to create a banging groove. Bobby Alt then joined the stage, adding vocals to the percussive beats. Fellow percussionists Adam Alt, Jared Hren, and Nick Mason showcased their exceptional artistry, creating grooving, danceable music with makeshift drums. Fans rocked out to songs like “6th St. Bridge,” “Sdc X,” “Come Alive,” “Crazy,” “Rabbit,” “We are Machines,” “Little Ones,” and “Knock Me Out.” During one song, Street Drum Corps brought their kids on stage, making the show a family affair and a memorable experience.

When it was finally time for The Used to take the stage, they began each night with a unique video package. A large image of that night’s album artwork was projected onto a white curtain, followed by a heartfelt message from the band and footage of their journey over the years. As the curtain dropped, the crowd erupted, and the band launched into the first song of the night. For Self-Titled, they opened with “Maybe Memories,” the first song they ever wrote, making it a special moment to kick off the three-night event.

Every night, The Used were in top form. Vocalist Bert McCracken was as charismatic as ever, with fans hanging on his every word. Between songs, his smiles showed how much he still loves performing. Bassist Jeph Howard, an underrated talent, played a 5-string, 24-fret bass guitar—overkill for their music, but he made it fit perfectly. Guitarist Joey Bradford and drummer Dan Whitesides, though not part of the original lineup for these albums, played with passion and respect, delivering the true The Used experience.

Each night featured slight stage design changes, reflecting the iconic album artwork: the woman’s face from Self-Titled, the hanging heart from In Love and Death, and the surreal melting face from Lies for the Liars. On Night 2, Bert brought a young fan named Deegan on stage for “Hard to Say” and again the next night for “Liar Liar (Burn in Hell),” creating unforgettable memories. The band also introduced a couple who got engaged on stage, and Street Drum Corps returned for a few songs during Lies for the Liars, adding a nostalgic touch.

Some might think seeing the same band three nights in a row would feel repetitive, but the variation and growth across these albums made each night feel like a completely different show. For those who attended all three nights, it was a once-in-a-lifetime experience. The Used has added a second leg to this tour in the fall, and if you’re near one of the stops, don’t miss the chance to see them—even for just one night.

Thrash metal fans gathered in full force at the House of Blues Anaheim on April 26, 2025, for a night that celebrated the genre's roots and relentless energy. The event marked Exodus's 40th anniversary of their seminal album Bonded by Blood, with the band performing the album in its entirety, alongside a stellar lineup featuring Death Angel, Hirax, and Nukem.

Opening the night with a vengeance, San Diego thrashers Nukem stormed the stage and wasted no time firing up the crowd. Though they don’t perform live often, the band sounded razor-sharp. Their set pulled heavily from The Unholy Trinity, delivering precision riffs, aggressive tempo changes, and a snarling vocal performance that set a strong foundation for the chaos to come. Despite being the first band of the night, Nukem made it clear they belonged on this lineup, igniting the pit and commanding the room like seasoned veterans.

Next up were Hirax, hailing from Cypress, CA. Frontman Katon W. De Pena led the charge with unmatched vigor, diving into the crowd multiple times while continuing to belt out tracks like “Black Smoke,” “Drill Into the Brain,” and “Bombs of Death.” The intensity ramped up as the mosh pits swelled, with De Pena's dynamic stage presence amplifying the band's thrash assault. Their performance was a testament to their enduring legacy in the thrash scene.

Death Angel, sharing roots with Exodus in the Bay Area, took the stage next, delivering a set that had the crowd in a frenzy. Opening with classics from their debut album The Ultra-Violence, they played “Evil Priest” and “Voracious Souls,” setting the stage for a relentless thrash experience. Guitarists Rob Cavestany and Ted Aguilar unleashed blistering riffs, while bassist Damien Sisson and drummer Will Carroll provided a thunderous rhythm section. Vocalist Mark Osegueda's powerful delivery resonated throughout, and his interactions with the audience added a personal touch to the performance. The set concluded with “Thrown to the Wolves,” leaving fans exhilarated and eager for more.

As the headliners, Exodus delivered a performance that lived up to the monumental occasion. With Rob Dukes back at the helm, the band opened with “Bonded by Blood,” followed by the first five tracks from the album, delivering a nostalgic and powerful set. Guitarists Gary Holt and Lee Altus showcased their legendary riffing prowess, while bassist Jack Gibson and drummer Tom Hunting provided a relentless rhythm section. A highlight of the evening was the live debut of their Scorpions cover, “He’s a Woman - She’s a Man,” featuring guest vocals by Mark Osegueda. This rare and electrifying moment was a standout of the night. The show culminated with “Strike of the Beast,” sending the crowd into a final, frenzied mosh that encapsulated the spirit of thrash metal.

This show was a celebration of thrash metal's rich history and vibrant present. From the explosive energy of Nukem to the enduring power of Exodus, the night was a testament to the genre's legacy and its passionate community. Each band brought their unique flavor to the stage, creating an unforgettable experience for all in attendance.

After over 20 years in the dancehall business, Ding Dong has finally dropped his first full-length project. Ding Dong has been a prominent figure in the dancehall scene for over two decades, collaborating with countless artists. Known for his energetic performances and vibes, this album is expected to showcase his unique style and musical versatility, offering fans a fresh perspective on his artistic journey.

The 44-year-old deejay rose to notoriety with hits like “Bad Man Forward/Bad Man Pull Up,” “Fling,” “Watch Dem,” and “Genna Bounce.” He also founded the dance crew Ravers Clavers, which has played a pivotal role in shaping dancehall culture and fueling his global influence and appeal.

The album kicks off with “Glory” featuring Vanessa Bling, set to a chill beat complemented by Vanessa’s beautiful voice. Ding Dong’s raw vocals blend seamlessly with hers. Next is “Dance Bwoy,” featuring a heavier beat and a classic dancehall sound, with Ding Dong delivering sharp lyrics and a great flow.

Stalk Ashley and Govana join Ding Dong on “Who She Choose.” Stalk Ashley shines on the chorus, while Govana and Ding Dong trade verses, battling for her love. Previously released “Street Jump,” featuring Skeng and Kaka Highflames, hits with high-energy dancehall vibes, masterfully mixed and mastered by Blackspyda (Masta Shifu). “Working with Skeng and Kaka Highflames on ‘Street Jump’ has been an exhilarating experience,” said Ding Dong. “Their raw energy and unique styles bring an exciting dimension to the track. Together, we're not just making music; we're creating vibes that uplift and energize the dancehall scene, keeping the spirit high and the dance moves flowing.”

“Pow” follows with a theatrical intro and an up-tempo beat, delivering another classic dancehall riddim. “Old Skool/New Skool” samples R. Kelly’s “Fiesta” (itself sampled from Pavlo’s “Fantasia”) for a nostalgic yet fresh production. British singer and DJ Afro B. joins Ding Dong on “Step,” blending dancehall and Afrobeats into an irresistible groove.

“WYFT” features Busta Rhymes and Popeye Caution on an upbeat riddim. Ding Dong’s flow is impressive, but Busta Rhymes steals the show with his reggae-inspired delivery and sharp lyrics. “Vent” shifts the tempo, focusing on Ding Dong’s lyrical prowess, making it one of the album’s standout tracks.

Skillibeng brings his signature energy to “Di New Pull Up,” complementing Ding Dong perfectly over a high-tempo riddim. This track is one of the album’s best productions. “Work” follows with another strong beat, showcasing Ding Dong’s evolving production ideas. Both tracks are destined to dominate the clubs.

“Skate” features Bravo Ravers, delivering a hard-hitting beat and sharp lyrical flow. The album closes with “Baby Dem,” a slower groove with a tough beat, where Ding Dong delivers some of his strongest lyrics.

Unlike most debut albums, this project reflects Ding Dong’s 20 years of experience. It has everything you’d expect from a veteran dancehall artist: solid production, inventive concepts, and fantastic sound. While Ding Dong has long dominated reggae charts and festivals, this album feels more personal, showing that his journey is far from over. With fresh ideas and renewed energy, he’s just getting started.

One Love – Todd M. Judd

Tech N9ne’s music video for “This I Know” is a masterclass in simplicity and emotional storytelling, showcasing the hip-hop legend at his most introspective. Stripped of high-production frills, the video immediately pulls you into its intimate setting, placing Tech N9ne front and center, dressed in a sleek, debonair black suit that reflects the song’s confident yet contemplative tone.

Kevin 'Church' Johnson’s performance on piano is a standout element, punctuating the visuals with soulful artistry as triumphant horns and bluesy guitar lines weave through the track. Together, this rich musical backdrop and unpretentious visual approach amplifies the song’s core message.

Tech N9ne’s delivery is nothing short of captivating, as he lyrically journeys through his formative memories and affirms his indelible connection with music. Lines like “I know you show the love…this I know” resonate deeply, while his unguarded storytelling creates a big-screen-worthy narrative of resilience and self-acceptance.

The video’s understated elegance mirrors the track’s emotional depth, leaving no distraction from Tech N9ne’s raw performance. The simple, impactful direction allows every rhyme, every note, and every nuance to shine, reminding us why Tech N9ne remains unparalleled in his craft. “This I Know” isn’t just a song; it’s a poignant moment in an already legendary career.

Koffee IS BACK! She has released a new single and video, marking her return after a couple of years away from the music scene. Fans have been waiting patiently, but her absence was due to a few factors, including a period of mental health challenges and contract issues with her previous label, RCA.

We still get that signature Koffee feel and vibe, but something is different this time. There’s a new energy coming from her—a more confident, mature, and almost rebellious vibe. I love this “new” Koffee, and the chorus says it all:

“I be in my P’s all the way
When I pull up, you know the time of day, yeah
And it’s a coffee wid the K
Some call me Mikayla
I’m still Koffee when they wake up, boyeah
Getting to the paper, clean nuh need no makeup
Ain't nobody greater, yeah
I'm the baddest thing outta Jamaica, yeah.”

The video starts with Koffee stepping out of her house and jumping into her car, with Masicka playing on the radio. While this song is about Koffee asserting her dominance and letting everyone know she’s still on top, she also gives a shoutout to Masicka:

“I know they say they hit but this cup a Koffee, hippa
They proper coffee sippers, I ain't talking basic pickups
I almost drop my liquor, ‘cause right now nobody sicker
Except the one Massicka, I tell my dawgs go sick ‘em.”

There’s such confidence radiating from her throughout the video and song—it’s truly refreshing to see. She’s driving around in her sports car, smiling and waving, showing off her closet full of gear. Koffee has her own unique style and isn’t afraid to flaunt it. We see her dancing, having fun in the back of a pickup truck, and most importantly, smiling the entire time. She’s letting us know she’s better now and ready to take on the world.

“Wavier than the seven seas
I'm giving all these energies and singing all the melodies
Weh a mash up dem head
I'm trynna be a better me, not the way you remember me
I left that in the cemetery, that side of me is dead
I said what I said, I get out of bed
Make sure it spread then wash mi dreads
Keep my body fed, balance me the spirit hold a meds
Do that pon di regs, I could never be misled
Banish bad mind I said a prayer and they fled, aye
Bun Babylon the fire red.”

It’s so great to have Koffee back, and now we wait eagerly for more!

One Love – Todd M. Judd