That’s the thing I love about music. I keep getting older, and the music just keeps staying great. Everyone holds those certain albums from our teen years close to the heart and cherishes every song from front to back. We find comfort in throwing the album on, laying in our bed, and just getting lost in the music over and over again. Bands understand this, and when the time is right, they will honor their fans by doing an anniversary tour for their biggest albums. Underøath decided to do this for the 20th anniversary of their breakthrough album They’re Only Chasing Safety. Originally the band was only set to play one Southern California date at the Observatory in Santa Ana. However, after the show sold out in less than 24 hours, the band decided to announce a Ventura, CA show and a second show at the Observatory. I was fortunate to be at Night 1 of the Observatory shows, and fans packed in like sardines to take in one of their favorite albums being played in full.
Opening the night was Static Dress from Leeds, England. I had heard of this band from others and was excited to see what they brought to the table. Kicking the night off with “disposable care,” vocalist Olli Appleyard was an uncontrolled ball of chaotic energy. Falling around the stage in a controlled stumble as he sang, it added to the energy he brought to his vocals. The guitarist was more than a man, as he appeared as some kind of Black Mirror creature that existed in our world. Playing and shredding on his instrument with feeling, but never truly showing emotion in his body movements. Bassist George Holding was locked in with drummer Sam Ogden holding down the rhythm section. Static Dress flowed from song to song including “sober exit(s),” “Push rope,” “Courtney, Just Relax,” “crying,” “Di-sinTer,” “safeword,” “sweet,” and ending with “clean.” With Static Dress being the first and only opener this night, the fans wanted to make every moment count with moshers spinning up the pit throughout the whole set.
When it was time for Underøath to hit the stage, fans were expecting a high energy kick in the ass energy for an opening song. But the band decided to change things up by opening with the ballad “Some Will Seek Forgiveness, Others Escape.” For this song, drummer Aaron Gillespie sat on a La-Z-Boy recliner at the back of the stage with one single reading lamp illuminating him. It was actually a nice change of pace, and a warm welcome from the band to their fans to set a loving and caring tone across the venue. Moving into “Young and Aspiring,” the rest of the band came in and truly kicked off the show with explosive energy. Vocalist Spencer Chamberlain is beloved by fans. Even with his vocals being amplified by the speakers, the diehard fans of the band were singing with such passion and volume, the crowd's vocals would overtake Spencer’s multiple times throughout the night. With Spencer being flanked by guitarist Timothy McTague and bassist Grant Brandell, fans were within arm’s reach of the front line band members. Constantly reaching out to try and fist bump the band members. With keyboardist Christopher Dudley going absolutely mad behind his keys and synth setup. The fans ate up every song off of They’re Only Chasing Safety like “A Boy Brushed Red Living in Black and White,” “The Impact of Reason,” “Reinventing Your Exit,” “The Blue Note,” “It’s Dangerous Business Walking Out Your Front Door,” “Down, Set, Go,” “I Don’t Feel Very Receptive Today,” and “I’m Content With Losing.” This album only produced about 40 minutes of music, so Underøath would mix in some additional songs to end the set that changed every night based on fan voting. This night we got the additions of “Teeth,” “In Regards to myself,” “A Moment Suspended in Time,” “When the Sun Sleeps,” and truly ending with “Writing on the Walls.”
They’re Only Chasing Safety was a huge turning point for Underøath, as that was when Spencer Chamberlain joined the band whose vocals helped reshape the sound of their music. Though this may not have been their biggest chart topping album, it is the one fans tend to hold closest to their hearts. The fans of Southern California showed up to show the band just how much they love this album, selling out all three dates in our area. Underøath reciprocated the favor by performing each song with heart and passion, never making it feel like they’re just going through the motions with some of the deep cuts off the album. We all left the Observatory that night with an even bigger fondness for Chasing Safety.
Damn, it honestly hasn’t felt that long – but the last time I shot a show at the MGM Music Hall – Fenway in Boston was for Sum 41 on their final tour. Now nearly a FULL 6 months later – the mosh pit was replaced by people standing, enjoying the music, and giving each other space. Shooting from the GA pit wasn’t a scramble to try and stay on my feet, and I wasn’t silently pleading that a stick of deodorant would fall from the heavens and uh…spare the sorry souls who happen to catch a whiff haha. Instead, I was met with a fascinating change of pace, an albeit a welcome one, as a sort of “throughline” permeated through every act from Vincent Neil Emerson, Nikki Lane, and especially Mr. Orville Peck. The MGM Music Hall wasn’t a 5,000 cap venue that night, but more an intimate collective built on acceptance as the man said it himself, “There’s only one rule to this show tonight, and it’s that if you feel a wave of emotion come on – don’t you dare try to hold them back.” A sentiment it seems that many followed suit.
The evening kicked off with Vincent Neil Emerson, who, although not my style per say, delivered a soulful set full of heartwarming country ballads. His rich, twangy voice had this certain, gritty cinematic quality about it that dug it’s hooks in with the incredibly vivid storytelling from especially with tracks like Willie Nelson’s Wall. I challenge even the greatest country skeptic to throw this on and try to not bop your head along with it – you literally CAN’T.
As someone who didn’t know either of these two openers beforehand, I was curious but hesitant to see what Nikki Lane was going to bring. Especially if it was the same kind of vibe/style of Vincent – how wrong I was haha. From the moment they started playing on stage, she cranked the energy up a notch with her signature blend of outlaw country and rock. I mean…she had an electric violin up there with her. That says it all! From tracks like Highway Queen to Born Tough though, Nikki commanded the stage with her fierce vocals and honky-tonk charm, drawing cheers and yelps from the crowd. Her gritty, rebellious energy was a nice contrast to Vincent's more subdued vibe, setting the tone for the man of the hour who somehow is able to blend these two tones together in efficient beauty.
Then, the lights dimmed, and the moment everyone had been waiting for arrived giving way to the sole thought by me of: OMG…I want that suit.
Now, I’ll admit: I didn’t know much about Orville Peck going into this, outside of a couple clips of social media and saying, “Oh, that’s a sick mask.” So I can’t even lie to ya, I was a little bummed out when he walked onto the stage when it wasn’t in one of those iconic, ornate mask. That being said tho, that disappointment quickly evaporated when he launched into "Big Sky" – A song that I now can’t stop playing. My god the sheer power of his voice hits you IMMEDATELY. His vocal range? Unbelievable. The energy? Infectious. Even with his quieter, more contemplative songs like "Kalahari Down," Orville held the crowd in the palm of his hand. And I mean, again—do you see that green suit?!
Orville Peck's performance was an exhilarating mix of powerful vocals, captivating stage presence, and unexpected energy culminating in what I would truly rank near the top of the shows I’ve both shot/one’s without the camera. Although I didn’t get the insane mask and specific pictures I had in my head, he proved that his voice and persona were more than enough to command the stage – one that felt like it belonged to us, just as much as him.
The anticipation could be felt Friday evening for the Sofi Tukker show and what was about to come. The duo had released Bread earlier that year to critical acclaim, and – known for their extravagant commitment to boisterous live show – the overwhelming sense of excitement was palpable that evening.
A duo of delightful DJs opened the show this evening – Brazilian Carola and Curaçao duo Shermanology got the crowd vibing and buzzing early with a pair of electric sets. Carola’s subdued house set was a perfect way to set up the crowd for the dynamicism presented by Shermanology, with soulful, excellent vocals provided Dorothy Shermany as brother Andy played an arresting electronic mix underneath her. The pillared set around the duo amplified this back and forth interplay, turning into a mesmerizing hour of electronic music that was easy to get lost into as the hype for Sofi Tukker built.
Then it was time for the big event – Sophie & Tucker appeared center stage, Sophie silhouetted against a fiery piece of bright orange toast (a “subtle” hint towards the first few notes of “Bread” off of Bread), Tucker emerging through a ring of light on the left, surrounded by a troupe of dancers that would come to play a pivotal role in the following night.
It was both structured and chaotic all at once – there were so many elements on stage at once that it was almost hard to make sense of it all, as LED strips pulsated and strobe lights mounted atop roman pillars flashed to each and very beat, Sofi Tukker moving all around the stage, dodging and dancing the litany of dancers – but at the same time, this chaos made a sort of sense. The unbridled, raw energy of this first song was the ambition of a monstrous live performance laid bare – taking relatable and danceable EDM music and making it feel both explosive and intimate. The first song concluded with everyone gathering stage left and a dancer passing a baton of bread to Sophie, held aloft in celebration and she belted the closing
Every song this evening played out in a unique fashion just like that, with what seems like an insane amount of forethought put into what would occur. Highlight “Throw Some Ass” taking advantage of the massive LED screen behind the group flashing caricatures of dancers exactly in time to the band and dancers shaking their booties on stage, showing a ridiculous dedication to choreography, followed shortly by Sophie being surrounded like a queen by everyone on stage as she raised her guitar aloft to finish off the song. The craft on display was truly like nothing I had seen before, and I am certain that everyone in the Armory that night came away with an appreciation for just how special the show they had seen was.
Why in the world would a concert at the Honda Center start at 5:30? That’s not the time of the doors opening. That’s the actual start time of the show. Maybe it’s because there were two headliners, Staind and Breaking Benjamin, playing full sets, along two openers, Daughtry and Lakeview. It was pretty obvious by the packed house that the audience knew there was going to be a lot of great music coming at them.
First up was Lakeview and they were everything you’d want in an opening act. Energetic, passionate, and owning the stage like they were the headliners. This is the first arena tour for the duo from Nashville-by-way-of-Pittsburgh, but they didn’t show it in the least. Jesse Denaro and Luke Healy mash Country, Rock, and Metal into a heavy Americana sound that is without a genre and still being defined. Whether it’s “Yallternative”, “Heavy Country” or some other definition yet to be put out there, vocalists Denaro and Healy, flanked by guitarists Alex Drizos and Jordan Tomb, with Cory Muro on drums, took full advantage of the large Honda Center stage and brought Lakeview’s self-titled debut album to life.
Next was Daughtry. While that’s the actual name of the of band, there’s no mistaking that singer and namesake Chris Daughtry is the main focus. Fortunately, Daughtry the singer has the voice and Daughtry the front man has the presence to warrant the attention. Clad in a tank top and sporting a physique that gets him featured in Muscle & Fitness, Chris Daughtry showed he had the vocal prowess to match the look.
Daughtry the band featured Brian Craddock on guitar, Elvio Fernandes on keyboards, Marty O'Brien on Bass, and Jeremy Schaffer on drums. Since Daughtry headlines as well as supports other acts, again the audience was treated to a performance that warranted being in their seats on time. Daughtry made sure you don’t want to be stuck in a concession stand or merch line as they launched into the powerful opener, “The Reckoning” from the EP Shock To The System (PART ONE). Daughtry is back delivering arena rock at its best.
Co-headliner Staind was first on stage for this date. The giant curtain dropped to reveal the powerful foursome of vocalist Aaron Lewis, lead guitarist Mike Mushok, bassist Johnny April, and drummer Sal Giancarelli. There was a gap of 12 years between Staind albums, so opening the show with “Lowest in Me”, their No. 1 hit from 2023’s Confessions of the Fallen, made total sense.
The 15-song set delivered hit after hit with the songs creating a sense of catharsis for many audience members. One fan leaning against the pit rail held up a sign the read, “Staind music saved my life.” Even though Lewis lives in Massachusetts, he was sporting an anti-Newsom (Governor of California) sticker on his American flag guitar. He also finished the show with a profane rant against the Democratic nominees for President and Vice President.
Finally, it was time for Breaking Benjamin. Led by founder and frontman Benjamin Burnley, the band started out with “Failure” from the album, Dark Before Dawn. It was immediately evident that the stage setup was a little different. What looked like two air conditioning units separated Burnley and bassist/vocals Aaron Bruch with a space in between. Filling that space, dead center on stage, was Burnley’s 10-year-old son, Ben AKA Cheech. The young man was not brought out as a guest or a stunt, he was there from the moment the curtain dropped. He often played guitar face to face with his obviously proud father and even threw guitar picks into the adoring crowd.
Besides young Ben, the band was rounded out by lead guitarist Jasen Rauch, rhythm guitarist Keith Wallen, and drummer Shaun Foist. Breaking Benjamin powered through a 16-song set filled with hits and audience sing-a-longs.
Staind and Breaking Benjamin have had constant airplay since the early 2000’s. Staind has had 12 top 10 singles, while Breaking Benjamin has produced 10 #1 hits, and they are still creating new music today. And by the looks and sound of it at the Honda Center, both bands are still delivering killer live sets to a loyal fan base.
LAKEVIEW SETLIST
1. Hits Different
2. LOSER
3. See Me In A Suit
4. Money Where Your Mouth Is
5. Neon Nightmare
6. Lips of an Angel
7. Home Team
8. Son Of A
DAUGHTRY SETLIST
1. The Reckoning
2. Separate Ways (Worlds Apart)
3. Pieces
4. It’s Not Over
5. The Dam
6. Home
7. Over You
8. Heavy Is the Crown
9. Artificial
STAIND SETLIST
1. Lowest in Me
2. Eyes Wide Open
3. Fade
4. Right Here
5. Not Again
6. Here and Now
7. Something to Remind You
8. Raw
9. Outside
10. Wannabe
11. Better Days
12. So Far Away
13. For You
14. It’s Been Awhile
15. Mudshovel
BREAKING BENJAMIN SETLIST
1. Failure
2. Until the End
3. Red Cold River
4. Evil Angel
5. Blow Me Away
6. Follow
7. So Cold
8. Dance With the Devil
9. Crawl
10. Breath
11. Polyamorous
12. Without You
13. Dear Agony
14. I Will Not Bow
15. Had Enough
16. The Diary of Jane
The current Lynch Mob tour is billed as The Final Ride. George Lynch has said that after 35 years of the inception of Lynch Mob, the time is right to let this chapter of his musical life fade into the sunset. Which is a shame in a way. While the many members and iterations of Lynch Mob may have made George feel like he was riding a bucking bronco at times, this version is sonically locked in. So much so, that the foursome released an album, Babylon in 2023, and will release another in 2025.
On lead vocals is Gabriel Colón. He can obviously sing and has to cover songs by vocalists ranging from Don Dokken to Oni Logan. But his contribution goes farther than that. He brings a youthful energy to the show and gets George to smile every once in a while. There’s even some banter between the two, usually regarding Gabriel’s age. Colón doesn’t just take on the role of lead vocalist, in a lot of ways he’s growing as a front man. But of course, the true front man of this band is the guy whose name is in it.
Jaron Guilino on bass hails from the band Tantric and also currently plays in Heavens Edge. With a low-slung bass, flying hair, and backing vocals, he more than holds down stage right. Guilino also has a hand in choosing the show’s setlist.
While not an original member of Lynch Mob, former Bullet Boys drummer Jimmy D’Anda has toured extensively with the group. Jimmy is easily one the most one of the most charismatic and animated drummers around and has his own following and fan base. His contribution to this version of Lynch Mob cannot be overstated. Set up as a four-piece, Lynch Mob’s instrumentalists must bring the power for the show to work. And at the Whisky a Go-Go show on September 26, they brought it.
In a word, Lynch Mob was incendiary. There was an extra-heavy feeling to the sound and setlist that once again shows George Lynch and crew are incapable of phoning it in. For almost two hours, the band absolutely pummeled the audience while also getting the packed house to rise to their level of energy. This is by no means an easy feat at The Whisky. There were six, count them, six, opening acts before the headliners hit the stage at 10pm.
Starting off with the Dokken tune, “Lightning Strikes Again”, Lynch immediately showed why he’s considered one of the greats. The memories must have been flooding back for George. He’s played the Whisky many times in his career, dating back to his days with The Boyz, and Xciter. Speaking of Xciter, one of the shows highlights was “Paris Is Burning”, a Dokken song off the band’s debut album, but actually dates back to Lynch’s Xciter/Whisky days.
Throughout the show, Lynch showed his guitar prowess, but of course his true showcase is the instrumental, “Mr. Scary”. Although he’s known for playing ESPs and guitars of his own design and making, Lynch also uses a Gibson and, on this night, he was playing a Les Paul Jr. which he mentioned he was enjoying so much that he wanted to try it for Mr. Scary. (Which he had never done before.) He must have really gotten into the Les Paul, because he kept playing it for the remainer of set until being reminded by Jimmy D’Anda that he was known for his ESPs and it was time to use it again.
The show finished just after midnight and Lynch mentioned that his birthday was the next day. He would be turning 70. He doesn’t look like it, act like it, or play like it. So, while this tour is The Final Ride for Lynch Mob, I don’t think it’s the final anything for George Lynch. At least I hope not. The man is too good, too prolific, to shut it down forever.
Set list
Everyone has experienced that one concert that just went above and beyond their expectations. It blew their minds and sat with them till the end of their days. For me, that would be when I got to see Rammstein at the LA Coliseum in 2022. The grandeur and spectacle that came with it has never been topped. Though the band doesn’t come to America that often, frontman Till Lindemann has embarked on a North American tour for his solo music, making a stop at another famous Los Angeles venue, the Kia Forum. Knowing just how outrageous this man can be on stage with Rammstein, I knew that his solo show would be nothing less than shocking as well. The night started with two amazing opening acts, Twin Temple and Aesthetic Perfection. Fans adorned in their favorite gothic attire or BDSM gear filed into the Forum, ready for a night of debauchery.
Starting off the night was hometown favorites Aesthetic Perfection. I have been fortunate enough to see them many times, but it was always in smaller 300 capacity venues. So, getting to see them perform on the grand stage of the Forum was an amazing experience. Vocalist Daniel Graves' charisma and stage presence engulfed the arena. The man should never be subdued to small venues. He makes the most of his set time marching constantly around the whole stage, and standing on the pit amps to get as close to the crowd as he can. Daniel has never been one to follow trends, and instead tries to always push the boundaries of the industrial scene. Aesthetically he does this wearing a basketball jersey and bucket hat, two things you would almost never see in the scene. But he then pairs it with latex skinny pants, and his personalized corpse paint. This uncanny unison may not work for most, but Daniel finds a way to make it fit. Daniel is backed by Noizith on guitar and keyboards, who looks like she’s stepping out of the industrial military regime. And drummer Brooke Colucci who blends her beauty and grace into slamming drum beats. Aesthetic Perfection played a set consisting of mostly his more modern songs like “Gods & Golds,” “S E X,” “TOXIC,” “Summer Goth,” “Rhythm + Control,” “Into the Void,” and ending with fan favorite “Love Like Lies.” I do hope this tour helps Aesthetic Perfection increase their fan base, as I need them to come back and tour California more consistently.
The next band up is one I have heard a lot about, and they have booked support spots on some major tours, but I have yet to have heard their music before this show. Twin Temple hit the stage and blessed us in their satanic holy water before slipping into their opening song “The Devil (Didn’t Make Me Do It).” For those of us not familiar with Twin Temple’s sound, I guarantee satanic doo-wop was not what any of us were expecting. The band consists of husband Zachary James on guitar and wife Alexandra James on vocals. Zachary, armed with his flame adorned Fender Telecaster, manipulates his tone to embody the old timey sound of 50s and 60s rock guitarists. While Alexandra seduces us with a voice that channels The Supremes. On the surface, Twin Temple’s music seems to be about worshipping Satan and falling in love with Lucifer. But truly listening to the lyrics you can find themes of feminism and individualism. Along with some of the most beautifully romantic songs I, personally, have heard in a long time. With Zachary and Alexandra being husband and wife, they have natural chemistry on stage, and you can feel how much they love performing together. Often taking part in a romantic dip and kiss throughout the show. Twin Temple only played five songs with the others being “Be a Slut,” "Let's Have a Satanic Orgy,” “I’m Wicked,” and “Satan’s a Woman,” but they left a lasting and lingering impression on the audience that no one will soon forget.
As the stage was flooded with fog, Till Lindemann finally took the stage. The entire band wore red bdsm-esque outfits, while Till himself also painted his face red. Kicking the show off with “Zunge,” the fans in attendance were ready to dance the night away to their industrial sound. Till has a deep powerful voice that commands the audience’s attention. Whether you speak German or not, every person was hanging on each word Till was singing. Lindemann is backed by an eclectic group of musicians, like Jes Paige and Emily Ruvidich on guitars, Danny Lohner on bass, Constance Antoinette on keyboards, and Joe Letz on drums. With Letz dressed as his alternate persona Sandy Beaches. Who has his mouth and nose pulled open, wearing a fake set of breasts and working vagina. How do I know it’s working? At one point, the band stopped playing so Letz could walk up to the front of the stage and pull fake baby fetus’s out and throw them into the crowd.
Something I didn’t realize until I got to the show and saw my ticket, that this was an 18+ event. Till Lindemann crafted a show that would have been pulled in front of the PMRC if they were still around today. Though the band members themselves weren’t doing anything too outrageous (other than Letz), the video package that accompanied the show constantly outdid itself. From starting the show with more tame visuals like an old man tearing off his skin, or overweight people jiggling their belly fat. To Lindemann having a swimming pool lube wrestling match with two naked women, a woman giving herself a golden shower, and creating a mosaic collage of vagina’s. Sometimes it was hard to focus on the live performance, as the visuals were baffling to say the least. Europeans tend to say that us American’s are prudes, and seeing how embarrassed and shy people were getting in the crowd as these visuals were shown on a 30ft LCD screen. I might have to agree.
Even with these visuals going on, there were still plenty of moments where Till Lindemann made sure the audience’s attention was on the band. For the song “Fish on,” Till pulled out what looked like a t-shirt cannon, but was instead shooting real dead fish out into the crowd. As the fish flew over the audience, fans were fighting for these souvenirs with just as much gusto as if it were a free t-shirt. For “Du hast kein Herz,” Till dawned a top hat with a live feed camera as he walked through the crowd interacting with the fans. Broadcasting it back on the LCD on stage. In this moment Constance Antoinette followed him with a keytar as fans happily danced around her in the pit. Till’s set also included songs like “Schweiss,” “Fat,” “Altes Fleisch,” “Allesfresser,” “Golden Shower,” “Sport frei,” “Blut,” “Praise Abort,” “Plats Eins,” “Skills in Pills,” and ending with a three song encore of “Knebel,” “Entre Dos Tierras,” and “Ich hasse Kinder.”
Walking into the Forum this night and seeing some of the attire fans were dressed in, I knew I was in for a unique kind of night. But nothing could truly prepare you for the experience you were going to have. The night played out like a drunken holiday out in Europe. Aesthetic Perfection started the night with a fun time at the industrial club dancing and drinking. Twin Temple was that weird couple at the end of the bar buying you drinks and inviting you to the after party. Till Lindemann then took you to the red light district and to the back alley after parties that you’re not quite sure if you want to be there or not. But you wake up the next day with a story none of your friends are gonna believe happened to you. If you’re brave enough, and Till Lindemann decides to tour again soon, I recommend the experience. You may be scared or questioning many things, but you’ll never have a concert experience like this again.
In the musical heyday of late 00’s and 2010’s, touring music festivals was something many music fans have grown to love and look forward to every year. Probably the biggest one had to be the Vans Warped Tour. But one that metal fans specifically looked forward to was the Rockstar Energy Mayhem Festival. Sadly, the tour retired with their final show taking place in 2015. But after nine long awaited years, Mayhem Festival has returned with a vengeance, ready to take over the Glen Helen Amphitheatre in San Bernardino, CA for a one day event. Mayhem booked 22 bands to play this day with headliners like Architects, Parkway Drive, and Bad Omens. As well as having three stages for fans to enjoy non-stop music from. Though the festival took place in October, we were blessed with sunny skies and warm weather. The perfect day to unleash the mosh pits and roar with the bands.
The doors opened at Noon and fans were already lining up to run into the venue and save their spots on the barricade for our headliners. Hours before they would ever hit the stage, our very first band Holy Wars kicked off this momentous event on the Back to Black Stage. Holy Wars was the perfect opener as vocalist Kat Leon brought the energy and bravado to entice fans over to the side stages. Even running into the crowd to embrace all the early attendees. The Back in Black Stage traded off bands with its counterpart the Blood Runs Red Stage, giving fans a never ending momentum of ear piercing music. As one band would finish their set, the next band would hit their opening song moments later. These two stages hosted two thirds of the overall bands playing including the likes of Roman Candle, Brutus, Escuela Grind, It Dies Today, Born of Osiris, Unearth, Hanabie, Darkest Hour, Throwdown, After the Burial, Suicide Silence, and We Came as Romans. Both stages culminated with their own headlining bands with Kittie on the Red Stage, and August Burns Red setting fire to the Black Stage.
While all this chaos was going on on the side stages, halfway through the day the Hot Topic Main Stage opened with Peyton Parrish kicking festivities off over there. But it was Seven Hours After Violet that really kicked things off on the main stage. This new band features Shavo Odadjian of System of a Down and Taylor Barber of Left to Suffer. This was the band's live performance debut, and they chose to do it at Mayhem Fest. Though fans may not have been familiar with the songs, the fans were still excited to see this supergroup live on stage and ate up every moment we got with them. We then got the one-two punch of Poppy and Jinjer who carried the flag for women in metal that can rock harder than some of the boys. With Poppy bringing a blend of sultry seductive songs, and then releasing her true fury and power in her voice. Where with Jinjer, you get the beautifully melodic cleans of Tatiana Shmayluk, who then can pivot on a dime into some of the nastiest gutturals any singer is bringing to the table this day.
As the sun was setting for the day, we got the first of our big names for Mayhem Fest with Architects. The last time this band played California was in 2019, and I have eagerly been waiting for them to get back here. So, it was very fortuitous that they were booked for Mayhem Fest. Kicking off their set with “Seeing Red,” vocalist Sam Carter hit the screaming fans with one of the filthiest “BLEGH’S” he could unleash, and this sent the crowd into a frenzy. With probably the second biggest stage setup of the night, Architects brought a headlining set, but we were still left with more to come. Following them was Parkway Drive who were the first to ignite the flames across the stage of Glen Helen. Parkway had a very stripped down stage setup, but made up for it with the 20ft tall pyro blasts, and some of the best breakdowns of the night. No other band could touch the intensity of the pit when Parkway went into their fan favorite song “Bottom Feeder.” It was when the band ended with “Wild Eyes” and vocalist Winston McCall guided everyone in the crowd to sing along with the guitar line that the world felt in harmony.
Finally, it was time for our ultimate headliner with Bad Omens. If there was a top band t-shirt people were wearing, it would be for this band. So, when Bad Omens hit the stage with their opening song “CONCRETE JUNGLE,” the fans were all too eager to start singing along. Vocalist Noah Sebastian dawned a new version of his traditional black ski mask, now with part of it torn away showing burnt skin. Guitarist Joakim Karlsson, bassist Nicholas Ruffilo, and drummer Nick Folio were still wearing their traditional black ski masks. If there was one thing the band set out to do with this performance at Mayhem Fest was show the evolution of the band and the grandeur that they can perform with, and they brought that aspect tenfold. With a 30ft+ LCD screen and LCD pillars placed on the floor and dangling from the ceiling. Bad Omens transformed the stage with every new song. From an urban cityscape to a futuristic world, through a forest, down the red door, into the inner workings of a machine shop, and more. Not only was this visual spectacle beyond captivating, the addition of pyro and cryo blasts amplified the presence of the band. Even setting the front line of the stage on fire for their song “Dethrone.” A personal favorite moment was when Poppy joined the band for their song “V.A.N.” Even after nearly 10 hours and 21 other bands, Bad Omens still managed to re-awaken the crowd and have them rocking out with songs like “ARTIFICIAL SUICIDE,” “THE DRAIN,” “ANYTHING > HUMAN,” “What Do You Want From Me?,” “What It Costs,” “Like a Villain,” “Take Me First,” “IDWT$,” “Glass Houses,” “The Grey,” “Nowhere to Go,” “Limits,” “THE DEATH OF PEACE OF MIND,” and an acoustic performance of “Just Pretend.”
Mayhem Festival got some backlash online for booking Bad Omens as the ultimate headliner, as some gatekeepers don’t feel they have earned that spot yet. To them I say, you missed a hell of a festival headlining show. Bad Omens put together a headlining show that could rival any other band out there right now. Mayhem wanted to make a statement that they were back after nine years with this show, and they certainly made one. Fans were knocked back by music that varied from metal, progressive, deathcore, hardcore, metalcore, and many other facets of the genre. Mayhem has announced plans for a full returning touring show in 2025, and I can only hope that this comes to fruition as I would love to attend this festival again and see what other bands they can bring together.
“I think about death all the time.”
Almost ironic for someone called Brendan Dyer. Principal songwriter and singer of the indie rock, shoegaze band MILLY, Dyer lays his hushed vocals over a bed of heavy guitar riffs while singing about both love and death. In their freshly released third LP "Your Own Becoming" (Dangerbird Records, 2024), the LA-based rock band exploits the benefits of weekly hangouts and daily walks to create ten powerful tracks, fueled by the desire to use one's darkest thoughts as a productive means. "Bittersweet Mary" brings mystery and love in a haunting record.
“This song was actually co-written in a song trade with my close friend, Dan Poppa (People I Love, Waveform*)" shares Dyer. “I ended up taking his song and changing up the lyrics and writing a whole second part. Bittersweet Mary was his title and it’s a song about mystery and magic and love and death. Yarden does his first ever scream at the end of the song before the guitar solo brings it all home. It’s a triumphant and powerful song — anthemic like the goal of a lot of these.”
Check it out now.
- Lio
When the video for "Night Terror" was released, I did myself the injustice of reading a ton of related social media posts prior to listening to the track out right. I saw everything from 'Best Song Ever' to 'Total Disappointment' and everything in between. Who would have thought a new release from one of my all-time favorite bands could be so polarizing? I get it, Portnoy is back after a 13+ year hiatus and Dream Theater as a whole is reportedly back to its chiseled pre-2009 form. There are many (and I mean many) opinions on Portnoy's departure and even more on his return. Regardless of your stance, its important to just sit back, take in the new track, and judge it for yourself based on the entire puzzle presented and not the individual puzzle pieces scatted across the table.
As the video begins, listeners are greeted with an all too familiar intro that seems to span decades of their most important work. Petrucci, Myung, Rudess, LaBrie, and Portnoy are each featured individually as the song takes flight, gaining in tempo and fervor until the 1:30 mark where this track literally goes ballistic. From that point forward, fans are treated to a barrage of interwoven sounds and stories that I would consider classic Dream Theater. And I wouldn't make the mistake of trying to say this track is supposed to be a continuation of X or the next chapter in Y. Take it as a reunion of brothers, doing what they were born to do right now in 2024. From start to finish, "Night Terror" is fresh, thoughtful, and edgy. It's a song that grabs ahold of you with its sonic mastery, ties you down, and won't let go.
Now for those who believe that "Night Terror" might be just another collection of madness from really talented musicians trying to out do one another, that couldn't be further from the truth. While each virtuosos in their own right, there is never any one instrument that overpowers another throughout this 10 minute rollercoaster. Instead, Petrucci, Myung, Rudess, and Portnoy masterfully glide along in unison, exploring the state we all encounter between sleep and wakefulness. LaBrie then weaves in some ultra haunting vocals that tie together the all the unique threads and concepts the song conjures up.
After a few spins around the block, I literally fell in love with this song and never looked back. To me, it transports me back in time to Dream Theater's roots while at the same time crossing new boundaries that highlight why this band is so special to so many, all around the world. "Night Terror" kicks some major ass, is a perfect precursor to their upcoming release, Parasomnia. It will provide new and old fans alike some critical insight into the Dream Theater's current state and where their March 22nd release may be taking you. And based on on this track, I'm all strapped in and ready to go for what will surely be one wild ride!
- Matthew Belter
James Todd Smith is one of the most influential people in hip-hop, when he hit the scene in 1985 he bought something new and something different to hip-hop. L(adies) L(ove) Cool J or now it could be L(iving) L(egend) Cool J is one of the earliest rappers to achieve commercial success, which has grown to a really solid acting career. But along the way putting out 13 albums, with that distinctive voice with some great tough lyrics, but also becoming the master of the hip-hop slow jam tracks about the ladies. How many rappers tried (and in many cases failed) to do those slow jams? I’ll be honest, I was never a huge fan of LL, but I’d put him up there with the other greats of hip-hop; KRS-One, Big Daddy Kane, Rakim, Kool Moe D were all my favorites, but no denying LL is a legend and one of the greatest of all time. Maybe it was the fact that he hit that commercial level with his music that I wasn’t into him as much as some of those others. My boy growing up; Mike from the boogie down Bronx, aka Money Mike, aka Maker, aka Herbie Love, LOVED LL, and was always playing his music. So, I heard LL the time. To this day when I hear “Go Cut Creator Go” I think about Herbie Love. When I heard he was coming out with a new album, his 14th studio album, I thought why, what does he need to prove. He’s one of GOAT’s. But I guess the question should be, WHY NOT? Hip-hop today lacks something, no it lacks a lot. So, if LL Cool J can bring something good to hip-hop, he should do it. It doesn’t matter how long he’s been doing this, and some could say he’s past his heyday in hip-hop, but his impact on hip-hop is enormous and undeniable, and is still felt today.
When I first listen to an album, especially if I am going to review it, I don’t look at any information, who produced it, collaborations, nothing. I like to go in fresh with a clean slate. So, when I started listening to The Force I was thinking this is LL Cool J rhyming over A Tribe Called Quest beats. Sure enough, we have LL’s lyrics over Q-Tip’s production to bring us a nice mash-up of styles and a pleasant surprise. They started working on this project in 2020, so this has taken time to create and complete, and it is worth the wait. This is unfiltered hip-hop. The album starts off with “Spirit of Cyrus” which brings an unexpected opener, not in a bad way, and portrays a black vigilante, with their gun pointed at the crooked cops that are always targeting the black communities. LL is fierce and vicious right out the start! This song features Snoop Dogg, I only wish Snoop would have had a verse in this joint. One of Q-Tips strongest productions is on the title track “The FORCE.” Love this beat! The jazzy abstract beats laid out with LL’s flow makes this a hit. “Saturday Night Special” featuring Rick Ross & Fat Joe comes to us next, this is a dope groove with the Q-Tip production and LL kills it with his flow and lyrics. Rick Ross and Fat Joe both do their thing, but compared to LL’s flow, just kind of fall flat. Cool J and Gambian singer Sonia Jobarteh bring us “Black Code Suite” where LL reflects on his life and really defines his blackness. The message is great, the song falls a little flat with both the production and lyrical flow. I love Sonia’s voice and would have like to hear more.
“Passion” is next up, another one of those tracks that takes us back to the glory days, it is a jazzy concoction with the hallmarks of that classic Tribe groove while LL flows over top of the beat. LL takes us back to those great love songs he’s known for adding Saweetie to “Proclivities.” There is something about the way LL shares his fantasies in his songs, not dirty and raw like so many hip-hop artists do, he makes it sound almost classy! It’s the way he hits us with the storytelling to get his point across. Saweetie sounds so good and is a perfect fit in this joint, the chemistry between them is on point. This brings us to a great song, “Post Modern.” The music is great with blazing electric guitars over a tough, strong beat with LL giving us some ferocious rhymes telling us about his time starting out and his drive to achieve; “My intuition is speakin', I'm tweakin', I can't ignore it/I'm on a mission of beatin' the odds, feed me some more/Got a vision, I'm raisin' the bar up to the Lord/Sowin' and reapin', so pockets are never leakin'. “30 Decembers” gives us a nice classic beat over that Tribe background sound, LL giving us a song about his self-worth, his struggles and growing confidence. One of the better lyrical songs on the album. “Runnit Back” comes on and you think it’s a Tribe or Q-Tip tune, but LL comes in with a slap in the face, BAM it’s me…..flowing straight through talking about his past accomplishments and carrying through his mission to destroy his opposition. “Yo, yo, you gettin' money, you really don't need to talk about it/Move quiet, you should try it, there's some clout around it/Chasin' hoes and overthinkin' the process/Outside of the gates spewin' the nonsense.”
“Huey In The Chair” featuring Busta Rhymes is next, and while not loving this one, both LL and Busta do flex in this one and give us some powerful moments. They bring the energy which helps get this song through. We get taken back in time with the production in “Basquiat Energy” and those amazing LL bars we have always been used to. “Roll some smoke and throw on Kid Creole/We in it to bring in the dough, not control hoes/In life, you gotta dance to your own rhythm/Nothin' fuckin' wit ya mans, got a bold vision/Devils in the system actin' like they have religion/When the bullets get to whizzing, where is all the moralism?” Nas joins LL on “Praise Him,” for another great song. Love seeing Nas join him on this joint, two legends going head-to-head, two legends that have been doing it for years and are still on top of their game and on top of the hip-hop world. Such a great flow from LL. “Murdergram Deux” featuring Eminem comes in with that Slim Shady beat feel. I have the utmost respect for Em, never really got into his music and style, but he can rap with the best of them. I think he falls a little short in this though, kind of blah with is flow, kinda like been there done that. And I think that carried over to LL’s flow. The album is finished off with “The Vow” featuring Mad Squablz, J-S.A.N.D. & Don Pablito. We are taken back to a more old school beat and flow, and some of L’s best lyrics and flow on the album. I love the production in this one, but it’s LL’s flow that makes this one of the top tracks, and a perfect way to finish off this project. The young MC’s do a nice job, and I love LL bringing them onto this song, but it is Uncle L that truly delivers.
I’ve been a hip-hop fan for most of my life, been listening since the mid-80’s, and while most of today’s hip-hop doesn’t do it for me, when a legend can come back and hit us with a dope, lyrically strong album it keeps that love of hip-hop alive in me. It’s not great, but it’s powerful, and LL Cool J is still a master rapper, he did say that he had to re-learn how to rhyme while making this album. I think what he is saying is, he didn’t want to just bring us the old school LL, he wanted to keep those strong lyrics and flows, but he needed to step up his game and hit us with some powerful lyrics and rhymes. And he succeeded! Q-Tip plays an important role as well, bringing a new and fresh style to LL, bringing us some great beats and grooves. It all comes together, for the most part, and works well. He brings dynamic tracks that just works with LL's style, flow and delivery. THE FORCE is not flawless, but it is incredibly good and in todays hip-hop…..great. The 56-year-old flexes, brings strong lyrics, gives us some of that old school Uncle L, but also brings us a nice growth and new style. Don’t call it a comeback, he’s been here for years…..and still bringing it!
One Love – Todd Judd