Alliance’s Before Our Eyes is a masterclass in melodic rock, the kind of album that feels like a lost gem from the golden era of AOR but lands with the force of a band still hungry to prove something. There’s no rust here—Gary Pihl’s guitar work is crisp and full of life, Robert Berry’s vocals soar with an effortless richness, and David Lauser’s drumming locks everything in with an energy that keeps things fresh. It’s big, bold, and brimming with the kind of songwriting that makes you want to roll the windows down and let the music take over.

From the opening moments of “Tell Somebody,” you know you’re in for something special. It’s got that signature Alliance mix of chugging riffs and sweeping vocal harmonies—a song built for arenas that still comes through with just your car speakers. “Nothing Will Make You Change” slows things down but never loses its momentum, with a chorus that could stand shoulder to shoulder with anything Journey or Toto put out in their heyday. The melodies here are pristine, effortlessly weaving between nostalgia and something undeniably fresh.

Then comes “Too Many People,” bringing in a bluesier, funk-infused groove that sounds like it could have been cooked up in a jam session with Bad Company. The swagger is infectious, and just when you think the album might settle into a groove, “Face of Justice” steps up with a killer little banjo moment that you just have to hear—it absolutely rips. And then there’s “Good Life,” a sun-soaked slice of optimism wrapped in layers of harmonized guitars and the kind of major-key magic that makes it impossible not to smile. It’s the album’s most purely uplifting and cinematic moment, the kind of track that could have been blasting on FM radio in the late ’80s between Foreigner and Night Ranger.

Things take a cinematic turn with “Joan of Arc,” a slow-burning epic that leans into atmosphere, building from a haunting, almost Pink Floyd-like intro into an explosive chorus of emotion and love. There’s a weight to this one, something grand and mythic that sets it apart from the more immediate rockers surrounding it. “Can’t Stop Messin’” flips the switch back to straight-up fun, with a riff-heavy groove and a ZZ Top-esque bounce that keeps the album from taking itself too seriously.

“Right” is one of those deep cuts that sneaks up on you—a slow-building, moody track that starts small and grows into something massive. Berry’s vocals here are particularly raw, carrying a weight that makes every note hit that much harder. And just when you think the album might start winding down, “100 Sad Goodbyes” delivers one of its most emotional moments, a quintessential AOR ballad that tugs at the heartstrings without ever feeling forced. Pihl’s guitar work is stellar here, layering in delicate textures before unleashing a solo that practically sings.

And then comes “Tonight,” an all-out rock anthem that makes you want to grab a mic stand and belt it out in your living room. There’s a playfulness to it, a feeling of unfiltered joy that captures everything great about this band. Just when you think it’s the perfect closer, “A Bone to Chew On” crashes in—a bluesy, riff-driven jam that feels like a late-night studio session turned into an album highlight. It’s loose, fiery, and exactly the kind of unpredictable ending that leaves you hitting repeat instead of letting the album fade out quietly.

Before Our Eyes is the sound of a band that refuses to slow down. It’s polished without feeling sterile, nostalgic without feeling stuck in the past, and packed with the kind of craftsmanship that makes classic rock endure. If you’ve ever had a love affair with Boston, Journey, or Foreigner, this is an album that deserves a spot in your rotation. Be on the lookout for its release on March 28th.

W.E.T. is an acclaimed, melodic rock supergroup that combines some of the finest musicians in the genre. The band's name is an acronym created from the three primary projects its members are associated with – Work of Art (Robert Säll), Eclipse (Erik Mårtensson), and Talisman (Jeff Scott Soto) – and is comprised of them along with Magnus Henriksson (guitars), Andreas Passmark (bass), and Jamie Borger (drums). Over a fifteen-year span, their albums have consistently delivered high-quality, anthemic rock with towering melodies, powerful vocals, and flawless musicianship.

W.E.T. has built a reputation for crafting some of the most infectious and well-produced melodic rock of the modern era. Their self-titled debut, W.E.T., released in 2009, is best described as modern soulful rock influenced by each member’s primary band (Work of Art, Eclipse, and Talisman). Their sophomore release in 2013, Rise Up, brought more of an arena-friendly sound with massive choruses and a more uplifting theme throughout. Their third album, Earthrage, from 2018, was heavier and introduced bolder arrangements and darker undertones. In 2021, they released Retransmission, which showcased infectious melodies combined with a sleeker and more modern tone. With each release, W.E.T. has become increasingly more impressive and distinguished. Their latest album, Apex, continues this tradition, delivering a fresh sound that will transport you to a magical place.

With Apex, you still hear the influence from the founding members’ primary bands, but from the opening tracks, “Believer” and “This House is on Fire,” it’s evident that W.E.T. has refined their sound, blending a new mix of hard rock anthems riddled with juicy guitar riffs, powerhouse percussion, and Soto’s signature dynamo lead vocals pounding those hooks right into your soul. “Love Conquers All” is more of a mid-tempo number, bringing in a more ethereal tone, with Soto’s vocals carrying an emotional depth that tugs right at your heartstrings. The guitar solo is both tasteful and soaring, adding to the song’s impact.

“Where Are the Heroes Now” was released as a lead single from this album and is one of the album’s strongest moments. It’s a mid-tempo powerhouse that showcases the band’s knack for crafting emotive melodies. The track builds gradually, with shimmering guitar arpeggios leading into a chorus that begs to be sung at full volume. The lyrics, deeply introspective yet universally relatable, add an extra layer of depth to the song’s appeal. It conducts a darker yet seemingly hopeful tone by speaking of trials and adversities while expressing the hope for light and assistance amidst the darkness.

For those who prefer a more introspective side of melodic rock, “Stay” delivers a heartfelt ballad that strips things down to the essentials. With intricate guitar work and a poignant vocal delivery, it serves as a powerful reminder of the band's ability to balance grandiosity with genuine emotion. I couldn’t think of a more perfect way to close the album. “Day by Day” takes a more introspective approach, ending the record on a reflective note. It delivers a grand, emotional finale with heartfelt lyrics and a soaring final hook, with the haunting last words, “Day by day. I’m here to stay,” leaving you wanting more.

Soto proves once again with this release why he is one of the finest vocalists in rock, delivering both raw power and passionate depth. Combined with Robert Säll’s booming guitar work and Erik Mårtensson’s heavy-hitting drums – who is also responsible for the top-notch production – the band contributes not only strong songwriting but also a full, cinematic sound. This gives Apex its modern edge, blending technical skill with an ear for melody.

If you’re a fan of bands like Alter Bridge, Velvet Revolver, or H.E.A.T., W.E.T.’s Apex, along with the rest of their discography, is a must-listen. They continue to prove that melodic rock is alive and well by delivering another fresh album filled with Soto’s impeccable vocals, top-tier hooks, and first-class production, making them one of the best bands in modern melodic rock.

I was so excited to get a photo pass for Pepper’s show in Philly. I’ve seen and photographed them live a few times at festivals, and they always bring it to the stage, but how would it be seeing them at a smaller, indoor venue? The day started off with a quick meet-up with Kaleo, Bret, and Yesod before the show for a few pictures for a personal project I am working on. I appreciated them taking the time to come out and meet up with me, and let me say, they are three of the dopest, coolest dudes—the kind of guys you could just chill with and, no matter what, have a great time.

After the photos and talking with the guys briefly, I received a text from Kaleo: “Hey buddy, Kaleo from Pepper here, not feeling 100% today hence my rush. Keep doing your craft, my man. Aloha!” Now, I never felt like he was rushed, and I told him I so appreciated the time. He responded, “Appreciate you being on fire for what you love to do. And that’s so important.” I hope he’s cool with me adding that in here because I wanted to show what a dope, down-to-earth person he is.

As we were nearing showtime, we got to do some photos of Vana Liya and the band. Let me say, she may be—no, I think she is—the sweetest person in all of reggae! And the band is equally amazing! Derek (violin), James (bass), Dan (guitar), and Jordenn (drums) are fantastic musicians, killing it on stage, but also freaking cool dudes. So nice, so humble, so chill. I would love to just hang with them and watch them jam and joke around.

Once inside The Brooklyn Bowl, we hung out with Vana and the guys, got some pics of them in a photo booth, and hung out in the “green room” with them. We all laughed because the green room was one of the bowling lanes behind the stage. We heard them jam a little and had some great conversations. I got to meet Vana a couple of years ago at Reggae Rise Up in Baltimore and hung out with her family. I know where she gets her sweetness from—her whole family is so kind and amazing. The show hadn’t even started, and I was already having a great time!

The show started off with Vana Liya and her awesome band performing “When It Feels,” sounding so great to get this night going. She followed up with her dope song “Island Heart.” This song takes you to the beach with those amazing island vibes. She flowed into a song she did with Collie Buddz, “Flying High,” with the crowd flying high right along with her and the guys.

One of my favorite songs was next: “Come Away.” Vana sounded so good up on stage. She has such a sweet and chill voice; it just takes you away. She brought us the classic “99 Red Balloons” and absolutely killed it. The crowd LOVED this song and sang right along with her. Another island vibes song, perfect for sitting at the beach with a tropical drink and just chilling, “Summer Soul,” was next. Then they flowed right into her song with K. Bong, “Feelin’ Good.” And we were all feelin’ good right about now.

A song I know she was so excited to do was next as Kaleo strutted out on stage to join them: “Round n Round.” The crowd erupted as he came out and started singing! The crowd absolutely loved this. They sounded so great together, their singing styles flowing through each other. Unfortunately, it was time for Vana and the guys to finish up, but they did it with another great song, “Gold.” This was a perfect song to end a perfect performance. If you have never seen Vana Liya and her band, you do not know what you are missing. So much love, so much energy, so chill, and again, so much love.

One thing I will say about Pepper is that their fan base is awesome: so dedicated, crazy, and with an age range of 5 to 90. They come out and party so hard with Pepper and truly love them. So cool to see. As Kaleo, Bret, and Yesod strolled out on stage—and yes, it was a stroll, like they owned the place (LOL)—the crowd went nuts as they acknowledged the fans, posed for a few photos, and showed their excitement for being there.

They started off the night with their hit “Stormtrooper,” with the crowd going absolutely mad. Everyone was ready for this party to get going. They went into “Love Affair,” with Kaleo taking on the vocals and adding (they definitely know their audience) that the Eagles are Super Bowl champs. The crowd went crazy! One thing you can say about Philly fans is that we love our Birds (and all our teams) and will absolutely LOVE anyone who acknowledges our teams and their accomplishments.

Next up was such an amazing song, “Fuck Around (All Night).” And we were all fucking around all night! Bret cracked open a can into the mic, asking the crowd to join him. We got a little “Davey Jones Locker” with that sweet reggae riddim flowing through the venue. “Rent” came at us next, with the crowd singing along to this one, not missing a lyric. Safe to say, it was a crowd favorite, as well as one of mine. They sounded so great; you would never know Kaleo wasn’t feeling 100%.

While this may only be spring (or maybe still winter), they brought us “Never Ending Summer.” By this time, we were no longer in the pit and walking through the crowd trying to get some more photos. The Brooklyn Bowl was completely packed, and it was so hard moving around with the camera equipment. “Dry Spell” started as I found a small open spot to stop and get a few more photos, but once “Dry Spell” picked up the pace, the crowd started dancing and jumping around.

They brought us their song with Stick Figure, “Warning.” This one hit nicely, with the crowd swaying back and forth and bobbing their heads. As I tried making my way through the crowd again, I heard “Dancing On The Moon,” and I swear this crowd would be dancing on the moon with Pepper if they could. “B.O.O.T.” came next, with the lyrics “So here I go with the bass line low, yeah. And there's nothing you can do, we blew out of this town” coming out of the speakers. This night had been awesome, and it just kept getting more hyped.

I have to give a shoutout to Jeff Nisen—he sounded so good on keys and guitar, really backing these guys so well. “No Control” was next, once again sounding excellent, with the crowd dancing along while I tried to make it backstage to Vana’s “green room.” Was the crowd down for this? They asked, “Are You Down” with their next jam. YES, they were down. Vana joined them on stage for “Tradewinds,” and again, they sounded so good together. I can only imagine how happy Vana is to be touring with and getting on stage with a band she idolizes. At one point, I watched her watching them perform on stage. So sweet to see.

They gave us a little “Crazy Love,” such a nice slower groove that had the crowd swaying. They hit us with “Too Much,” another great jam, totally rocking out to this one as they flowed into an amazing drum solo. Yesod is an absolute master at his craft and had the crowd in awe.

We knew the night was winding down as they gave us their classic hit “Stone Love.” It doesn’t matter how many times I’ve heard this, or the crowd has heard this—it always sounds so perfect and hits just right. We stayed with Kona Town and got “Give It Up,” still so much energy from Pepper and the crowd. Another amazing song from Kona Town was next: “Ho’s.” I think everyone was singing right along to all these songs.

The night, the show, the party was finished off with “Ashes.” No one wanted it to end. I don’t think Kaleo, Bret, and Yesod wanted it to end, but they finished it off with a bang. What a fun and entertaining night. The energy was off the charts, and the entire experience is one I will never forget. These guys are awesome, their fans are awesome, and Vana, Derek, James, Dan, and Jordenn are awesome. The night was one big party where everyone had a great time.

One Love – Todd M. Judd

The Ace of Spades nightclub in Sacramento had a huge line across the street hours before tonight's Steel Panther show. Steel Panther fans, also known as 'Fanthers,”'were all gathered to witness the world's best heavy metal band in all their 80s glory. The venue provided an intimate evening with these bitchin' metal gods.

Steel Panther is on their 15th-anniversary tour, celebrating the release of their debut album, Feel The Steel. Their concerts are nothing short of entertaining, and they hold nothing back, fearing no backlash from the PC police. This is a safe place to be naughty and get away with it. So let's dive into the comical genius and musical ability of the amazing band, Steel Panther.

Steel Panther is a glam heavy metal band from Los Angeles, known for their parody of 80s heavy metal bands and filthy humor. Fronted by lead singer Michael Starr, who has always given me David Lee Roth vibes—which is a compliment, as DLR is the best frontman ever—Michael Starr is always amazing and entertaining to watch with a spectacular vocal range, stage presence, and amazing hair. Tonight, the Panthers started with the rocking tune “Eyes of a Panther.” What a way to begin the evening with silly lyrics, naughty songs, all that hair, and spandex! What a great beginning to set the tone for the evening. One of my favorite songs, “Asian Hooker,” was next up, as they pulled a gal from the audience to exploit and share some dance moves. No one cared about the offensive rhetoric and comical lyrics—they were all here for it, singing along and knowing every word. Bass player Spyder handled the low end with thunderous bass and authentic stage moves. Spyder has replaced founding member Lexxi Foxx since 2021; he was amazing to watch and handled the bass like a boss. The set sailed on with classics like “Friends With Benefits” and “The Shocker.” All the classics were on deck for this show.

Satchel, the band's spectacular shredding guitar player, spared no facial expressions. He came with high-kick metal moves and lent extreme shredding to this 80s ensemble. He performed a healthy guitar solo and delivered all the licks necessary for an amazing Steel Panther set. Drummer Stix Zadinia sat behind the drums, making sure the timing and thunder were achieved—also, a guy with great hair. They pressed on with fan favorite “Community Property,” which featured Michael Starr on acoustic guitar. More songs about scoring chicks and getting laid were performed, like “Death to All But Metal.” As the fans all waited for the best song of the night, they saved it for the encore: “Glory Hole.” There was no parental advisory warning here tonight.

The witty banter, clever lyrics, and obnoxious stage antics make Steel Panther one of the most enjoyable guilty pleasures of this era. From a local band on the Sunset Strip to playing sold-out shows and packed arenas, Steel Panther is here to slay! They are an American staple in rock and roll, and the Fanthers they have are loyal and rabid for Steel Panther.

Make sure you don't miss Steel Panther on their 15th-anniversary tour, continuing through May, with summer dates in Europe up next. Maybe you will find yourself a dedicated 'Fanther' and become a groupie, following them around in a van. Anything is possible after seeing a Steel Panther concert!

The Bay Area was in for an electrifying evening as the Fashion Art Rock Band, Palaye Royale, made its last stop on its Death Or Glory tour in San Francisco. This show was sold out three months in advance, and the massive line ran down the side of San Francisco's beautiful venue, The Great American Music Hall. I was initially attracted to shooting this band just based on their appearance. If modern-day teenage heartthrobs are your drug of choice, these guys are them.

Palaye Royale is an American rock band from Las Vegas formed by three brothers and core members: Remington Leith, Sebastian Danzig, and Emerson Barrett. I was so intrigued to see this band of luxuriously dressed brothers, reminiscent of the 1970s-era rock stars like Jeff Beck, The Faces, and Tom Petty. Packed with fashion sense and lots of dirty glamour, they bring just the right amount of sleaze to their polished look. That, coupled with their musical ability, makes for an exciting evening ahead for the sold-out crowd tonight.

The lights dimmed, and the Backstreet Boys’ “I Want It That Way” came over the speakers; the venue erupted in a sing-along. It was a clever way to see and feel the vibe of what's to come. Palaye Royale is known for their deep appreciation for their fans, and they show it through passionate audience engagement. Whether it be holding hands and singing to the fans in the front row or climbing the venue balcony, frontman and lead singer Remington Leith always shows his commitment to their fans. The set began with the single “Death Or Glory.” The crowd was electrified by the energy emitting from vocalist Remington Leith. I must admit this is a super catchy song off their 2024 release of the same name. More catchy punk-pop tunes followed, like “Little Bastard,” “You'll Be Fine,” and “No Love In LA.” I was especially impressed with lefty guitarist Sebastian Danzig’s Chet Atkins Gretsch hollow body; it looked and sounded spectacular. Sebastian emotes some clean, big fat tones with a hint of distortion from this beast of a guitar. Sebastian and the gang's sound is hard to classify or slap a genre label on; I hear sounds of 80s pop, 70s glam rock, emo, twang, and good old-fashioned rock and roll. Palaye Royale has something for everyone. The band's Top 40 single, “Addicted To The Wicked and Twisted,” was up next; it was nothing short of electrifying. The haunting tones of Sebastian’s hollow body were perfectly matched for this song.

Giant plastic balls were tossed around the venue as the sounds of an amazing rock band rang through. The stage set was vibrant, and the neon letters “Death Or Glory” lit up the stage along with flashing white lights, giving the production a retro vibe. Next up was “Fever Dream,” a heartfelt song dedicated to the brothers' late mother, who died from cancer last year. It was a genuinely emotional song; I suspiciously noticed that one of the brothers and core member, Emerson Barrett, was missing behind the drum set. I wasn't sure who was filling in for Emerson, but whoever it was kept the time correct and made all the songs come to life with the beats and rhythm. Palaye Royale rolled on with a few more songs; the anthem “Dead To Me” is angst-filled and emotionally charged. Remington sure knows how to deliver a song to the fans. I am super impressed with his vocal ability after 140 shows in just 10 months. The band closed out the show with “Mr. Doctor Man.” This band gave everything and more and left it all on the stage for the fans. What a magical experience and a treat to find a band that doesn't sound like any band ever before. They call Palaye Royale “Fashion Rock.” I get that assessment from their slick, voguesque appearance. But that name seems kind of weak for them. “Luxury Punk”—now that sounds more fitting to me. This tour has garnered Palaye Royale widespread acclaim and Top 40 hits. They will continue to captivate and thrill fans across the globe. Beware the next tour; I am certain these guys will be playing bigger venues.

Look for Palaye Royale to blast through your town; don't miss it!

International Women’s Day is obviously a special occasion to celebrate strong, intelligent, beautiful, and independent women. It is also a good day to recognize the talents of the ladies of heavy metal. I have always been a strong supporter of women who want to be in rock and metal bands in any capacity. Whether it’s as a singer, guitarist, drummer, bassist, keyboardist, or even dancer, if they have the goods and skills to show the world what they are made of in this genre, then I say let the girls play. One subgenre of metal I always thought was perfect for the ladies is symphonic metal. With looks that kill and voices that would echo in the Halls of Valhalla, I really enjoy listening to symphonic metal. I could not think of a better way for Rabit and me to celebrate International Women’s Day than heading to the Whisky a Go-Go in Hollywood and seeing Delain, Xandria, and Edge of Paradise. All female-fronted, all powerful, and all that alluring.

Edge of Paradise kicked off this female-led holiday show. Hard to imagine that it has been 10 years since I started following them. They have certainly come a long way since then, artistically as well as commercially. Riding high with their latest release, Prophecy, Edge of Paradise went sci-fi with their symphonic licks. Frontwoman Margarita Monet is still mesmerizing to witness. She is the rare breed of singers that is both beauty and energy with her enchanting falsetto voice. Her longtime partner and lead guitarist Dave Bates brings the "wow" factor with his tapping and licks on his green neon weapon of music. This was the first time seeing new rhythm guitarist Doug Weiand, and he is a conqueror of those bombastic riffs. During “Falling Light,” he whipped out a sensational solo that would rival Amaranthe's Olof Mörck. Drummer Jamie Moreno is a beast on the kit, while bassist Kenny Woodward thunders away at the beats. From “Prophecy Undone” to “The Other Side of Fear,” “Hologram,” “Death Note,” “Give It to Me (Mind Assassin),” “Digital Paradise,” and “Falling Light,” the Whisky crowd had entered Paradise. The horizon continues to look beautiful for Edge of Paradise, and I'm heading there with them.

Now it was time for some German-flavored symphonic metal with Xandria. It has been years since they got my attention with 2017's Theater of Dimensions, and now they returned with a new lineup and their newest record, 2023's The Wonders Still Awaiting. Starting their set with “You Will Never Be Our God,” Xandria immediately pulled me in thanks to the operatic style voice of Ambre Vourvahis. This frontwoman is the total package, and she breathes new life into these symphonic warriors. Founder and rhythm player Marco Heubaum leads the charge with his heavenly playing technique. Lead guitarist Rob Klawonn is like lightning, agile and versatile with his solos that give the band's sound a big boost. Drummer Dimitrios Gatsios is a steady force that crushes the music with melodic purpose. Notably absent was bassist Tim Schwarz, but that did not stop Xandria from blowing the roof off the Whisky. Along with “Reborn,” “Universal,” “Two Worlds,” “Live the Tale,” and the classic “Nightfall,” we all felt their awesome power. The song that did it for me, though, was “200 Years” because it had this Irish jig vibe that resonated with me. Xandria was everything I thought they would be live and more. This will not be my last time seeing this German spectacle.

Now comes the main attraction of the evening, the Netherlands' own Delain. This Dutch symphonic machine brought an epic stage presence to the Whisky. Vocalist Diana Leah has a voice that soars into the clouds, slaying the lyrics with alluring grace. Since taking over for Charlotte Wessels in 2022, Leah is carving her own legacy in Delain. Founder and keyboardist Martijn Westerholt is a maestro, blending symphony and destruction together in a harmonious nature. Bassist Ludovico Cioffi mud-stomps the hell out of the bass riffs, showing absolutely no mercy. He also shows off his harsh voice that has a vicious bite. Guitarist Ronald Landa plays big with his riffs yet contains himself enough to allow his licks to be heard without too much soloing. Drummer Sander Zoer was laser-focused on his technique and dropped the hammer to give us pulse-pounding beats. Armed with smoke machines, Delain felt far grander that night. The tunes they gave the loyal LA metalheads were both sinister and delightful. From “The Cold” to “Suckerpunch,” “The Reaping,” “Burning Bridges,” “Creatures,” “Here Come the Vultures,” “Dance With the Devil,” “Stardust,” “The Tragedy of the Commons,” “Get the Devil Out of Me,” “Your Body is a Battleground,” “The Gathering,” “Don’t Let Go,” “Moth to a Flame,” “April Rain,” “Not Enough,” and “We Are the Others,” Delain owned the night. Not only that, but they also owned our hearts.

This was a great night to celebrate International Women’s Day. The Whisky ascended above the clouds to reach Heaven thanks to the fantastic singing by these incredible frontwomen. Like the mighty Valkyrie, Margarita, Ambre, and Diana came to Hollywood ready to fight, and not only that, but they also conquered the night. Until the next showcase at the Whisky, I leave feeling euphoric. To Delain, Xandria, and Edge of Paradise, I salute you. Horns up!!!

Photos by Matt 'Rabit' Martinez

A lot of music fans are probably not aware of this, but many metal artists have said they were inspired in their musical journey by classical music. Composers from the classical era such as Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Mozart, and Antonio Salieri helped shape the music that gave artists like Tony Iommi, Eddie Van Halen, and Yngwie Malmsteen the idea of hard rock and heavy metal. There is one group of musicians from Helsinki, Finland, who dare to merge heavy metal and classical music into one. I am, of course, talking about Apocalyptica. Three cello players who had a common love for Metallica, Slayer, Sepultura, Faith No More, etc., and they have this gift for performing metal tunes neoclassical style. They recently released their latest album, Plays Metallica, Vol. 2, and decided to hit the road with guitar legend Nita Strauss to give metalheads some culture. One of their stops was the famed Orpheum Theatre in Downtown LA. Rabit and I had not been there since the G4 show in 2019, so we were excited to be heading back to hear neoclassical metal at its finest.

This is the second time this year we are seeing Nita Strauss and her group. The first time was at the Observatory during NAMM weekend, so this time around was a homecoming show for the group since each member is from Los Angeles. Getting things off to a fast-paced start with “Momentum,” Nita was firing on all cylinders. This is honestly the best I have seen her as of now, probably because the show was in her hometown. She fed off the energy of the LA crowd and viciously slayed the riffs and solos. Her rhythm guitar partner, Johnny D. Young, is a mighty force on the main riffs, and he does not play around. He gets down and dirty with his performance, making him a perfect Yang to Nita’s Ying. Katt Scarlett is electrifying on the keyboards as always, but the standout in the group was drummer Josh Villalta. Nita’s husband shows off his brute strength and precision on the kit, especially during his solo. He even had me going with some intense air drumming from my seat, like a piper musically hypnotizing a cobra. I enjoy watching Villalta for he is pure potency.

For the first half of their set, they performed their instrumental tunes like “Our Most Desperate Hour,” “Summer Storm,” the classic “Mariana Trench,” “Scorched,” and “Quest.” When they went into “Victorious,” they brought out their secret weapon in vocalist Kasey Karlsen from The Deadlands. Beautiful to watch, but ferocious on the microphone. She can be harmonious and venomous, always a fun combo. She stayed the rest of the night performing “Digital Bullets,” “Dead Inside,” and “The Wolf You Feed.” A beautiful performance by the striking and brilliant guitar goddess.

Following a brief intermission, the intro to Ennio Morricone’s “Ecstasy of Gold” played over the PA. Apocalyptica then appeared onstage and started their night off with “Ride the Lightning.” Bandleader and rhythm celloist Eicca Toppinen laid out some tasty James Hetfield rhythmic licks on his Lupot cello, while lead celloist Perttu Kivilaakso channeled his inner Kirk Hammett, tapping away at the powerful solos neoclassical style. Bass celloist Paavo Lötjönen was having a ball performing the booming end of the music that Burton, Newstead, and Trujillo helped make the classic Metallica sound. Touring with the group on the drums this time around was Mikko Kaakkuriniemi. Armed with a Viking beard and powerful wallops on the kit, he was a burst of relentless energy that would make Lars Ulrich smile.

The whole evening was dedicated to Metallica and their best hits. It is hard to describe the energy because you would have to be there to witness it. When a new song was played, the fans would sing the words with Apocalyptica’s encouragement. From “Enter Sandman” to “Creeping Death,” “For Whom the Bell Tolls,” “Battery,” “The Call of Ktulu,” “St. Anger,” “The Four Horsemen,” “Blackened,” “Master of Puppets,” “Nothing Else Matters,” and “Seek and Destroy,” we were hanging on every note Apocalyptica played with their bows and strings. They ended the night with the always fan favorite, “One.”

The Orpheum Theatre was filled with metal excitement of classic and neoclassical proportions. Thanks to Apocalyptica, they gave us an evening of sophisticated cultural experience, while Nita Strauss provided good old-fashioned metal fun. For anybody who wants to experience metal in a unique form, then look no further than these guys. To Apocalyptica and Nita Strauss, I salute you. Horns up!!!

March 7, 2025, was a legendary night that shook The Roxy. The iconic Rare Americans headlined the show, with support from Shauna Dean Cokeland and Hotel Mira—both incredibly talented artists worth checking out. The venue was packed, and the crowd had some of the best energy I’ve ever seen. It was one of those shows where you just knew you were in for a great time.

Shauna Dean Cokeland kicked off the night with her charismatic, down-to-earth energy. Playing acoustic guitar, her lyrics felt both deeply relatable and immersive, pulling the audience into a story. She is undeniably an incredibly talented songwriter. If you like artists like Madilyn Mei, Mxmtoon, Brake, and Ricky Montgomery, you’ll love her music. She performed songs such as "Electric Blue" and "Last Best Pop Stars." "Electric Blue" is one of those songs that offers comfort to anyone who’s ever felt out of place or disconnected from the world. It was also refreshing to see her smile while singing "Last Best Pop Stars"—you could tell how much she loves music. Her appreciation for her fans was clear in the way she spoke to the audience, creating an intimate and welcoming atmosphere. I love the unique poetic introspection she brings to her singing. At the end of her set, she made a heart sign with her hands to the audience—a sweet and genuine moment.

Hotel Mira was up next, and if you’ve never seen them live before, let me tell you—they will surprise you. If I had to compare their energy to something, I’d say they have more energy than someone on a sugar rush. If you took your eyes off their lead singer for even a second, you’d miss something. The entire band radiated confidence, and their infectious energy was impossible to ignore. Their instrumentals were catchy, and their singer danced across the stage like nothing in the world could bring him down. He wasn’t afraid to interact with the audience either—at one point, during "Speaking Off The Record," he jumped into the crowd, singing while fans held his hand. You could feel everyone living in the moment. When the band spoke about the importance of community, it was a touching reminder of the power of music. Seeing bands like Hotel Mira speak up gives me hope for the future. Their setlist also included "King of the World," "Making Progress," "Fever Pitch," "America’s Favorite Pastime," "Jungle," "Vampire," "Dancing With The Moonlight," and "Southern Comforting." Genuinely, their music and stage presence were top-tier.

By the time Rare Americans were set to take the stage, the crowd was hyped. They opened with two band members pounding on drums before the lead singer burst onto the stage. They had the entire audience jumping along with them. From start to finish, the crowd was fully engaged—whether through movement or singing along. During their new song "Deadly Shade of Blue," they asked the audience to turn on their phone flashlights, creating a breathtaking scene that looked like a starry night sky. Their performance of "Mr. Please" perfectly captured the frustration of living in today’s world. A special highlight was when Shauna Dean Cokeland joined them onstage for a song—an exciting moment to witness.

Their sense of humor added to the experience, with witty moments like a Q&A session and a band member playing a random instrument. A fan favorite, "Hullabaloo," was met with overwhelming enthusiasm. One of the best moments of the night was when they brought audience members on stage to sing "Cats, Dogs & Rats." Everyone up there looked like they were having the time of their lives. The crowd chanted for an encore, and Rare Americans delivered, performing three songs that told the story of Brittle Bones Nicky. The audience knew every word, singing along and throwing their hands in the air in unison. The ending of the set left me eagerly anticipating the final song in the Brittle Bones Nicky arc—I know it will be worth the wait.

Every performer that night knew how to engage the crowd and leave them excited for what’s next. Even my friend, a longtime Rare Americans fan, enjoyed the show even more than he expected. It was a night that surpassed all expectations. The sheer talent on display was unbelievable, and I can’t wait to see how these artists continue to impact the world. And of course, the final chapter of Brittle Bones Nicky is something to look forward to.

Scottish punk rock legends The Exploited packed The Observatory in Santa Ana, CA, on Thursday night, February 27, along with SoCal natives and fellow punk rock veterans D.I. and Total Chaos for a night of old-school hardcore punk rock debauchery.

Celebrating their 35th anniversary as a band, Total Chaos brought exactly that to the stage—chaos. With their home base just 40 minutes inland in Pomona, The Observatory was packed, and fans wasted no time conjuring up circle pits and crowd surfing. Many tried to get onstage, and vocalist Rob Chaos did his best to encourage the crowd to get rowdy and unruly.

Casey Royer of D.I. is an Orange County punk rock legend, with roots in Adolescents and Social Distortion dating back to 1979. With D.I. being a huge inspiration for many OC bands, it’s always an event when they play in SoCal, and this night was no exception. Royer, along with Clinton Calton and Trevor Lucca on guitars, Eddie Tatar on bass, and Joey Tatar on drums, picked up right where Total Chaos left off, whipping the crowd into an even greater punk rock frenzy.

Joining D.I. onstage for the song "Hang Ten in East Berlin" was another punk rock legend, Ross Lomas from English street punk pioneers GBH. Two hours into the night, security guards were working non-stop catching crowd surfers and trying to keep fans off the stage—and the most extreme part of the night was just beginning.

Total Chaos and D.I. surely ignited The Observatory, but the speed and aggression of the music were about to reach a whole new level. Wattie Buchan, with his iconic red mohawk, took the stage with the rest of The Exploited: Irish Bob on bass, Steve Campbell on guitars, and none other than Garry “G-Man” Sullivan from The Cro-Mags on drums. From the first notes of "Let’s Start a War" to the final sound of "Was It Me"—and all 22 songs in between—The Exploited had Santa Ana in a blazing frenzy of hostility. Buchan has not lost a step over the years and remains the same angst-driven, politics-hating, anti-religious punk who carved a path of destruction and respect all the way back in 1979 to today.

Catch The Exploited on tour until March 15, ending at the Punk Invasion at The Belasco Theater in Los Angeles.

The 70s and 80s really saw the evolution of the guitarist stepping out in front and being the star of the band. Names like Eddie Van Halen, Yngwie Malmsteen, Randy Rhoads, and Joe Satriani were masters of putting their instrument at the forefront of their music, shining with some of the best solos ever written—sometimes even overshadowing the rest of the song. Another guitar legend of the time who had a different viewpoint about how the guitar should be used was Jerry Cantrell of Alice in Chains. Cantrell has carved out a place in musical history by writing guitar tracks that create emotion and depth. If he takes the time to solo, that solo will usually enhance the overall song rather than take away from the vibe of the music.

In between touring with Alice in Chains, Cantrell has found time to release five solo albums. He is currently hitting the road in support of his latest solo album, I Want Blood, and recently made a stop at The Belasco in Los Angeles, CA. Fans packed the venue to hear this grunge legend live.

Opening the night was industrial band Filter. Right off the bat, the band set out to create a mood in the venue, forgoing the use of most of the lights except for select spotlights shooting around the room. The audience was there to get lost in the music that Filter has been putting out for decades. Founding member and vocalist Richard Patrick isn’t exactly a traditional frontman on stage but instead a being of pure musical talent. Swaying and rocking on stage while giving his all in his vocal duties, Patrick performs as a creature lost in the minimal lighting of the venue. Backed by Jonathan Radtke on guitar, Bobby Miller on bass, and Rosh Peterson on drums, the band created a bombastic wall of sound that penetrated eardrums with songs like "You Walk Away," "The Drowning," "For the Beaten," "(Can’t You) Trip Like I Do," "Jurassitol," "Take a Picture," "Drug Boy," "Welcome to the Fold," and ending with "Hey Man Nice Shot." Filter got the crowd rocking for the entire set, creating an atmosphere that was perfectly primed for the headliner.

It was then time for the headliner to take the stage. As the rest of the band walked on, the tension and excitement built for the legendary Jerry Cantrell to greet his fans. Opening the set with "Psychotic Break," Cantrell harmonized and provided additional vocals alongside lead singer Greg Puciato. Together, they created a nasally droning vocal style packed with emotional depth and feeling. But it’s with the guitar in hand where Cantrell truly shines. He may not be the flashiest guitar player, but he doesn’t need to be when crafting groove-infused rhythms and choruses that pull listeners into the music. Occasionally stepping to the front of the stage for solos, Cantrell gave fans moments to soak in his presence.

Cantrell even mixed in some Alice in Chains classics, featuring "Them Bones," "Down in a Hole," "Man in a Box," "Hate to Feel," "Would?," and "Rooster." However, it was Cantrell’s band that truly brought his solo music to life. The lineup included Greg Puciato on vocals, Zach Throne on guitar, Eliot Lorango on bass, and Elias Mallin on drums. Together, they filled The Belasco with Cantrell’s solo tracks, including "Vilified," "Afterglow," "Atone," "Off the Rails," "Held Your Tongue," "Cut You In," "My Song," "I Want Blood," "Had to Know," "Angel Eyes," "Let It Lie," and "Rooster."

For this night at The Belasco, grunge was king again. Cantrell’s writing and playing remain unmatched, and the audience was fortunate to experience his artistry for a couple of hours. His musical talents helped shape and cement Alice in Chains as the historic group they are, and his solo work continues to showcase his creative greatness. After this tour, Jerry Cantrell will continue performing in support of Bush during the summer and make some festival appearances. If you’re a fan of Alice in Chains, grunge music, or want to relive the musical height of the 90s, be sure to catch Cantrell when he coming your way and catch his show!