There’s a saying in the music industry: “Once your work has been parodied by Weird Al, that’s when you know you’ve made it.” It must be such an honor to be renowned enough that people desire to have their work parodied by him. “Weird Al” Yankovic has cultivated that exact reputation—not only as one of the nicest people in the music industry but also as a beloved icon to millions around the world. His parodies have helped musicians reach new heights and audiences, while fans continue to laugh with him on every track. After nearly five decades of creating some of the most cherished reworks of art, Al hit the road again on his Bigger & Weirder Tour. His hometown show at the Kia Forum in Los Angeles was a sold-out celebration of a career like no other.
Weird Al has had an iconic look since his debut in the 1970s—his curly permed hair, later evolving into long, flowing curls, and his vibrant Hawaiian shirts. Walking into the venue, it was clear that fans had embraced his signature style. The audience was peppered with curly-haired wigs and a sea of Hawaiian shirts, all ready to celebrate a man who has been a musical hero to so many since childhood.
Opening the night was Puddles Pity Party, a singing clown with a melancholic twist. I first discovered Puddles years ago through his appearances with Postmodern Jukebox, and seeing him now opening at the legendary Forum was surreal. Known for reworking songs into lounge-style covers, Puddles’ baritone voice and unique stage presence have carved out a special niche in the music world.
During his cover of “Come Cry With Me,” Puddles pulled out his “Cry Cam,” live-streaming the audience onto the screen at the back of the stage. He snuck up on a security guard, who burst out laughing when he noticed Puddles inches away. Then, he turned the camera on the audience, drawing everyone into his performance.
A standout moment came during his soulful rendition of “Crazy Train,” where Puddles invited a young fan on stage. Armed with a cardboard guitar, the kid channeled the spirit of Randy Rhoads, strumming along as Puddles delivered a heartfelt performance. The crowd quickly caught on to the rhythm and sang along by the second verse.
Puddles kept the audience captivated with renditions of “I’m Always Chasing Rainbows,” “Americana Day,” “Estoy Sentado Aquí,” “Come On Up to the House,” “In the End,” “Stairway to Gilligan’s Island,” and “My Heart Will Go On.” His angelic voice contrasted beautifully with his clownish, depressive persona, creating a performance that was both humorous and moving. By the end, the Forum erupted in a thunderous standing ovation—Puddles had won over every single person in the room.
As the band stepped onto the stage, the man of the hour was nowhere to be seen—yet. Instead, the LCD screen lit up, showing Weird Al in his dressing room as the band launched into “Tacky.” Al began singing while walking through the backstage area, passing Forum workers, Puddles Pity Party, and even Jack Black. When he finally emerged on stage, the crowd erupted in cheers. The tone for the night’s kookiness was officially set.
Weird Al is known for his ability to perfectly imitate the artists he parodies, and he brought those moments to life with a series of costume changes. He dressed as Kurt Cobain for “Smells Like Nirvana,” donned a yellow radioactive jumpsuit for the Devo pastiche “Dare to Be Stupid,” and got into the iconic fat suit for the Michael Jackson parody “Fat.” He even rode a Segway in full P-I-M-P mode for the blazing-fast rap “White & Nerdy” and took us back to a rural time with long beards and candles for “Amish Paradise.”
Between costume changes, the audience was treated to video compilations of Al’s TV appearances, movie clips, and other comedic segments. These vignettes, many filmed in the 1980s, 1990s, and early 2000s, felt timeless—proof of Al’s lasting influence on modern comedy culture.
Weird Al isn’t just a one-man show. He’s backed by an immensely talented band that has been with him for four decades: Jon “Bermuda” Schwartz on drums, Jim “Kimo” West on guitar, Steve Jay on bass, and Rubén Valtierra on piano. These musicians are the backbone of Al’s ability to cover any style or genre, and they fully embraced the show’s theatricality with their own costume changes.
For the encore, Al performed “The Saga Begins” and “Yoda,” with the stage transformed into a Star Wars spectacle. Al dressed as Obi-Wan Kenobi, the band donned Star Wars character costumes, and an army of Stormtroopers flanked Darth Vader at center stage. These songs, steeped in nostalgia, felt like a perfect way to end the night.
This hometown show at the Kia Forum was more than a concert—it was a celebration of a man who turned an accordion, other people’s songs, and an endearing personality into a cherished career. Weird Al has become a cultural icon, beloved by fans and respected by the very artists he parodies. He may not be the “best” accordion player in the world, but he’s undoubtedly the most famous in his extremely specific genre.
Weird Al, you nailed it.
THE DARTS (US), now based in Seattle, Washington, formed in 2016 to make great all-girl garage-rock noise, see the world, and have a fab slumber party every night. The four women threw on vintage black slips, kicked off their shoes, and set out on the adventure. In the first year, the band released two self-produced EPs and signed with Dirty Water Records (UK), which then re-released their first full-length vinyl, Me.Ow. (2017). Dirty Water then re-released the first two EPs as a second full-length vinyl, The Darts (2017). The band immediately went on tour with The Living End and Billie Joe Armstrong’s The Longshot, and soon found themselves on big European stages like Sjockfest, Cosmic Trip, and Roots n Roses.
In 2018, Jello Biafra signed The Darts to his label, Alternative Tentacles, released their first 7-inch, "Bullet" (2018) and then put out the third full-length record, I Like You But Not Like That (2018). The band supported their heroes The Damned on a US tour, performed on main stages at big festivals like Punk Rock Bowling, Hipnosis Fest and The Bash, and got placements on top TV shows like Peaky Blinders and reviews in top publications like Rolling Stone. During the pandemic, Vox hosted an Instagram Live session with over fifty thousand viewers. In 2022, The Darts released the EP Love Tsunami on Adrenalin Fix Music (France), toured it around the US and Europe, and performed on KEXP.
In 2023, Alternative Tentacles Records released The Darts’ fourth LP, Snake Oil, funded entirely by fans and co-produced by Jello Biafra himself. The band went on a 100-day European tour, with unique European editions of Snake Oil and sold-out shows in Madrid, London, France, and Scotland, plus appearances at top festivals Munster Raving Looney Party (Spain), Relache Fest (France), Festival Beat (Italy), Loungefest (Holland), and Muehlen Madness (Germany). The first pressing of Snake Oil sold out in both the US and Europe in less than two months, and second pressings were rushed out on both continents during the tour.
While juggling the Snake Oil tours, the band recorded their fifth full-length record, Boomerang, with Grammy-winning producer Mark Rains (Hoover iii, Death Valley Girls) at Station House Studio in Los Angeles. Once again, the album was released by Alternative Tentacles on different US and EU editions in March 2024 – and again followed by over four months of touring in Europe, UK, and USA. The album catapulted the band into feature articles in Rock n Folk, Rolling Stone, and many other major publications, plus appearances on France 24 television, BBC Radio, a live show at Barlinnie Prison in Edinburgh, and inclusion on numerous best-of 2024 lists. During the massive tour, the band recorded two new singles in Lyon, France.
In 2025, The Darts released the new singles on a compilation of sold-out essential tracks, Nightmare Queens (2025) Adrenalin Fix Music. The band completed significant US tours with Dion Lunadon and SERVICE and performed at many more huge international festivals (Binic Blues Fest in France, BearStone Fest in Croatia, Relache Fest in France, Celebration Days Fest in France, Boneyard Fest in UK, LunaFest in Portugal, CornRock fest in Switzerland, Dollfest in USA, Tough Enough Fest in Belgium, and more).
"Nicole Laurenne is a playful minx, luring fans into her grasp. Dancing and bouncing across the stage, she captivates anyone who happens to lay their eyes on her. - Hunnypot Unlimited
"Gets even the most apathetic nerds moshing. Crank it!" - Rolling Stone (FR)
“Intoxicating..a completely wild ride from start to finish..best of 2024.” - Vive Le Rock (UK)
“Such f**king energy..damn, this blast of rock'n'roll is so good” - La Grosse Radio (FR)
"They have clearly conquered Europe..incandescent..these four girls kick ass." - Rock n Folk (FR)
“Songs like ghost trains on mushrooms and the manifestos of bad girls. The albums get better each time.” - Rolling Stone (FR)
"One of my new favorite bands." - Dave Vanian, The Damned
“The Darts put on an incredible live show.” - BBC Radio (Scotland)
"The Darts smolder and shine like a serpent at the end of a rainbow." - Blag Dahlia, The Dwarves
"The Darts 'Take What I Need.' Very cool." - Stephen King, author
"Fabulous...I'm hooked." - Ken Foote, CBS (Dallas)
"The Coolest Song In The World" - The Underground Garage (SiriusXM Radio)
"Cramps' spooky punk and Stooges/ raw chaos, by a quartet of garage goddesses." - RockNYC
"A majestic album of aggressive, wild garage rock. Explosive." - Rockerilla (Italy)
"The talent in this band is off the charts." - 50thirdand3rd (FL)
"Like getting hit by a freight train full of inflatable dolls." - Rumore (Italy)
"One of the most exciting bands on or off the stage" - Turn Up The Volume (Belgium)
"One of the greatest revelations of dirty American rocknroll" - Musica Inclasificable (Mexico City)
"The Darts f*ing rock" - Phoenix New Times
"Best new band I have seen." - John Carlucci, The Underground Garage
"A knock-out punch." - Rich's Rants n Raves (Las Vegas)
"The best girl band in the universe." - Blog Da Buzzo (Brazil)
"Exciting, sweltering..consumes all of your garage rock desires." - Java Magazine
"Move over Vincent Vega, I'm going with The Darts. Bloody Ace." - Mass Movement (UK)
"Oh yeah, Nicole Laurenne does it again!" - Genya Ravan, Chicks and Broads"
Damien Beckett, better known as Baby Cham or simply Cham, hails from Saint Andrew Parish, Jamaica. With a career spanning 30 years, Cham has solidified his place as one of Dancehall’s most celebrated artists. His fourth studio album, Sherlock, is a testament to his enduring creativity and ability to evolve. Over the years, Cham has collaborated with numerous Hip-Hop and R&B artists, including Alicia Keys, Carl Thomas, Foxy Brown, Mis-Teeq, Shawn Mims, Akon, Che’Nelle, Jentina, Keke Palmer, T-Pain, and Rihanna, as well as countless Reggae and Dancehall legends.
The album cover features Cham’s silhouette against an aerial view of his hometown community, Duhaney Park, located in Sherlock Crescent, a Kingston neighborhood that significantly shaped his music and identity. In a recent interview, Cham explained, “The cover is inspired by the community I grew up in for most of my life—Duhaney Park, Kingston 20. Some call it ‘the ghetto,’ some call it ‘inner city,’ but I call it ‘home.’ I wanted people to see the streets that made Baby Cham, the avenues I walked as a child. I want the youth to know I walked the same roads as them, but I didn’t succumb to them. They can make it too.”
Sherlock opens with a commanding intro that sets the tone for the album, showcasing Cham’s signature style and offering insight into his background and the challenges he has overcome. The hard-hitting anthem “Hustling in My Blood” kicks off the journey, featuring Stephen “Ragga” Marley on the hook and Damian “Jr. Gong” Marley delivering an impressive verse. Cham’s vivid lyrics capture themes of street survival and resilience, making this track a standout. It has already amassed over 250,000 views on YouTube within its first two weeks, proving Cham’s ability to stay fresh and relevant.
In “Maddest Life,” Cham explores his fearless lifestyle, delivering a powerful flow over a strong beat and rhythm. His bold persona aligns perfectly with the production, creating a track that exudes confidence. No Dancehall album is complete without a romantic or sensual track, and “Miss Seductress” delivers just that. Cham’s sizzling lyrics and the sultry rhythm make this song an irresistible addition to the album.
Another standout is “Lamborghini Boy,” where Cham emphasizes his global superstar status over a marching band-style drumbeat with strings floating in the background. The impressive production and captivating storytelling quickly earned the song spots on key Apple Music playlists.
The club-ready, high-energy track “What’s Poppin” is designed to get crowds moving. Its infectious call-and-response section, featuring “Ho! Hey!,” makes it a guaranteed hit in clubs across Jamaica and beyond.
In “Hall of Fame,” Cham slows things down, paying tribute to a special muse with a smooth groove and a beautiful hook. The track’s heartfelt tone adds depth to the album, showcasing Cham’s versatility.
The album concludes with “Starlight,” a melodically haunting and reflective track that evokes feelings of gentle sadness, longing, and nostalgia. This final song leaves listeners with a lasting impression, closing out the album on a poignant note.
At just eight tracks and 21 minutes long, Sherlock is a concise yet impactful project. Cham brings an intensity rooted in Dancehall, delivering sharp, fearless, and brazenly real lyrics while displaying a willingness to evolve. For Cham, the focus has always been on the lyrics and their message. “Songwriting,” he stated, “remains a central pillar of my artistry. I’ve got a degree in Literature and two in English,” he joked. “Writing has always been important to me. You’re not always going to write your best song today, but if you keep writing, you might create something great tomorrow. Dave Kelly probably has 1,000 songs with me that never got released—but that’s quality control.”
Cham’s latest work, Sherlock, marks a new chapter in his career and life, emphasizing his status as one of Jamaica’s most celebrated Dancehall artists. With its blend of resilience, storytelling, and musical craftsmanship, Sherlock is a must-listen for fans of the genre and beyond.
One Love – Todd M. Judd
Smooth sailing and rocking nostalgia took center stage tonight as Toto, Christopher Cross, and Men at Work shared the stage for a spectacular evening of new wave humor, progressive pop brilliance, and yacht rock greatness. This lineup felt like a time machine, transporting fans to an era when FM radio was king, yacht rock ruled the airwaves, and arena rock anthems reigned supreme. Fans packed the Toyota Amphitheatre for a night of sing-alongs, soaring musicianship, and a celebration of why these artists are the undisputed kings of smooth rock from the '70s and '80s.
Men at Work kicked off the evening with Colin Hay leading the charge. The band brought a storm of familiar songs from the past, with Hay guiding his group through an upbeat set featuring hits like “Overkill,” the super hit “Who Can It Be Now?,” and the universally beloved “Down Under.” These classics reminded fans just how deep the Men at Work catalog runs.
Hay shared the stage with a group of spectacular musicians, and their camaraderie and sheer talent were palpable. The crowd joined in with enthusiastic sing-alongs, setting the tone for an evening of nostalgia. Though Hay is the only original member of the band, it didn’t matter—his timeless vocals and dynamic stage presence captivated the audience. His wife, Cecilia Noël, added an extra layer of energy with her impressive dance moves, infectious enthusiasm, and playful use of maracas and a cowbell. Men at Work delivered a performance that was both nostalgic and electrifying, proving why they remain a standout band and a cherished part of the '80s soundtrack.
Christopher Cross took the middle spot, seamlessly delivering the calm seas of yacht rock. Backed by a full band and backup singers, Cross transported fans into a sweet sailing experience through soft rock classics. Opening with timeless hits like “Sailing” and “Arthur’s Theme (The Best That You Can Do),” Cross impressed the crowd with his understated yet masterful musical craftsmanship.
The setlist continued with fan favorites, as Cross’s velvety vocals and smooth melodies created a dreamlike trance. The energy turned up a notch when he performed “Ride Like the Wind,” a track that had the crowd swaying and singing along. With no need for flashy production, Cross and his band delivered a seamless performance that celebrated the timelessness of his music. The audience was left in awe of his ability to evoke nostalgia while showcasing his enduring talent.
The night reached its peak with powerhouse headliners Toto, led by the legendary Steve Lukather. From the moment they took the stage, the band delivered a masterclass in musicianship and technical brilliance. Joseph Williams, one of the best vocalists in rock and roll, flanked Lukather for an unforgettable performance.
The setlist was perfectly curated, featuring extended versions of hits like “Rosanna,” which included a jaw-dropping guitar solo from Lukather. Other highlights included “Pamela,” “99,” and the emotional “I Won’t Hold You Back.” The band got funky with “Georgy Porgy” and impressed with the deep cut “White Sister,” showcasing their dynamic range and ability to captivate the audience.
The night ended with a triumphant performance of “Africa,” where members of Men at Work and Christopher Cross joined Toto on stage. The arena buzzed with nostalgia as fans sang along to the iconic anthem, celebrating the hits that defined a generation.
This show was more than a concert—it was a celebration of an era and a reminder of why these bands remain legends. The charisma, musicianship, and timeless hits brought the '80s back to life, leaving fans both old and new in awe. If you have the chance to catch this lineup, don’t miss it. This is a must-see show that will leave you reminiscing about the golden age of smooth rock and arena a
What is the most random way you’ve ever discovered an artist? For me, it was reading a review of Cal Jam 2018, an event I didn’t even attend. Among the major artists that performed that year, one up-and-coming artist stood out to me. The photos showed a young man with red, manic-styled hair, bright-colored shorts, and a crop top shirt, running around the stage and flailing like a madman. These images captivated me, and I had to know more. That curiosity led me down the rabbit hole of discovering Yungblud, and his music turned me into an instant fan. Ever since that day, I’ve been anxiously awaiting the chance to see him live. That opportunity finally came when Yungblud hit the road on his Idols World Tour, with the second stop bringing him to the Observatory North Park in San Diego.
Opening the show was Sawyer Hill, an artist hailing from Fayetteville, AR. I hadn’t heard of him before, but within moments, I was blown away by his sound. Hill’s warm baritone voice crept into my ears, commanding my body to start bopping and moving with the music. While Hill describes his music as alternative rock with a progressive twist, to me, it carried a 1950s crooner aesthetic, as if he were whispering soft nothings to each of us.
Hill’s energy was infectious, and his ability to connect with the crowd was undeniable. Playing guitar while delivering his smooth vocals, he exuded a bit of early Elvis mojo, enticing the screaming women in the audience to go wild. His setlist included songs like “Firestarters,” “For the Hell of It,” “Need Me Now,” “Aiming at My Head,” “Folsom Prison Blues,” “Masochistic Lover,” “Nothing Matters When I’m With You,” “Look at the Time,” and “High on My Lows.” Sawyer Hill was the perfect foreplay to warm everyone up for the electrifying experience we were about to have.
As we eagerly awaited the headliner, the front row of the venue was overtaken by screaming fans. When Yungblud finally took the stage, opening with “Hello Heaven, Hello,” the energy in the room exploded. The surge of excitement was reminiscent of Beatlemania, with fans screaming so loudly that it overpowered the music coming from the speakers.
Yungblud started the set wearing lowrider pants, a vest, and sunglasses, but within moments, the vest and glasses were gone, leaving him shirtless and exuding raw sexual magnetism. Even with earplugs, the deafening screams of joy, excitement, and hysteria rattled your eardrums. Fans were crying, overwhelmed by the chance to see him live.
Yungblud wasn’t just a performer; he was a magnetic, sexual fiend, gyrating and thrusting on stage. Channeling the energy of Iggy Pop and iconic English performers like Robert Plant and Mick Jagger, he teased the crowd, knowing they wanted him but couldn’t have him. During “Fleabag,” he gave himself over to the audience, walking over the crowd as fans held him up, basking in their cheers. He had us wrapped around his finger, and we were ready to follow him wherever he wanted to take us.
A poignant moment came when Yungblud paused to talk about the passing of Ozzy Osbourne. Over the past few years, the two had cultivated a strong friendship, and Yungblud had even performed at Ozzy’s farewell show. Acknowledging that many fans may have discovered him through that performance, Yungblud expressed his eternal gratitude to Ozzy.
It was clear how deeply the loss affected him, as he struggled to hold back tears while giving his speech. To honor Ozzy, Yungblud performed a heartfelt cover of Black Sabbath’s “Changes.” The entire crowd joined in, singing with him as tears streamed down his face. Looking around, many fans were crying too. It was a beautiful, unifying moment, allowing everyone to grieve together while celebrating Ozzy’s legacy.
After the emotional tribute, Yungblud kicked the show back into high gear, returning to his enigmatic, sexual stage presence. The palpable tension between him and his fans fueled the energy in the room. The setlist kept the crowd on their toes, featuring songs like “The Funeral,” “Idols Pt. 1,” “Lovesick Lullaby,” “Strawberry Lipstick,” “Lowlife,” “Fire,” “Tin Pan Boy,” “Braindead!,” and “Loner.”
For the encore, Yungblud returned with two final songs: “Ghosts” and “Zombie.” The crowd erupted, giving every ounce of energy they had left.
When the music finally ended and the lights came on, the entire venue was drenched in sweat, as if we had just experienced the wildest one-night stand of our lives. Where Sawyer Hill was the clean-cut nice guy we arrived at the bar with, Yungblud was the charismatic, dark, and sexual being we went home with.
This was the type of musical high that every concertgoer chases—a one-night stand with an artist that will never be forgotten. You’ll go to other concerts, and you’ll have a great time. But you’ll always reminisce about your night with Yungblud and wish to experience it just one more time.
Dancehall artist Jahmiel has released his latest six-track EP, Sound of Greatness. This courageous and melodious collection reflects themes of resilience, love, and personal growth, showcasing his unique creativity and versatility. The EP features a mix of motivational tracks alongside heartfelt love songs that honor women, creating a well-rounded offering for both longtime fans and newcomers. Jahmiel’s music effortlessly blends dancehall with elements of hip-hop, R&B, and authentic island rhythms, making Sound of Greatness a standout project in his discography.
The production, led by Minto Play Da Riddim, combines sharp beats and riddims that enhance the depth and sonic appeal of the songs. Drawing from his life experiences—emphasizing fortitude, validation, and self-assertion—Jahmiel’s lyrical storytelling remains personal and relatable. Minto’s smooth and polished production style provides the perfect backdrop for Jahmiel’s vocals, allowing the themes of the EP to shine through.
The EP opens with “Can’t Fail,” an inspirational tune set to a sweet riddim. Jahmiel delivers incredible lyrics right from the start, encouraging listeners to persevere and believe in themselves. The song’s message is impossible to ignore, leaving listeners feeling uplifted and motivated.
In his previously released track, “Self Worth,” Jahmiel addresses overcoming challenges, recognizing who is genuine and who is not, and promoting love over conflict. The lyrics remind us that time continues to pass, whether we come first or last, so it’s essential to love ourselves. Once again, Minto’s production brings a smooth and relaxing vibe, perfectly complementing Jahmiel’s reflective lyrics.
The love song “Girl It’s You” features a collaboration with Projexx, where Jahmiel showcases his lyrical flow over a captivating beat. Projexx complements Jahmiel perfectly, smoothly flowing over the riddim and adding depth to the track. The chemistry between the two artists is undeniable, making this song a standout on the EP.
“Leave Me Alone” takes a slightly different approach, featuring a stronger riddim and beat. The guitar guides Jahmiel as he delivers emotionally intense and imaginative vocals, creating a track that is both powerful and deeply personal.
One of the most heartfelt tracks on the EP is “2025,” a plea for a better year. Jahmiel’s lyrics are raw and honest, reflecting on past struggles while holding onto hope for the future:
“Dear 2025, We passed Di Past. Been Through a lot, and I’m alive. A worse, but me out here. A survive, and is a true fight. All me see, when me look pon me lyff. Dear 2025, Yo Patriots. A nuff me go through, ina me past years. Me hope this year better than last year.”
The vulnerability in Jahmiel’s delivery makes this track a deeply moving highlight of the EP.
The project concludes with “Jeezam Peez,” a track featuring a smooth, engaging rhythm that allows Jahmiel to flow effortlessly with the beat. The phrase “Poverty Is A Disease, Success Is The Cure” encapsulates the song’s message, leaving listeners with a sense of hope and determination.
Jahmiel’s talent for combining inspiration, creativity, and educational entertainment has firmly established him as a key figure in the revitalization of modern dancehall. His ability to seamlessly blend meaningful content with captivating sound sets him apart from his peers. In Sound of Greatness, Jahmiel continues to redefine what it means to be a dancehall artist, showcasing a productivity that is both symbolic and expressive.
The themes of resilience, love, and personal growth explored in this EP reinforce Jahmiel’s position as a trailblazer in the genre. His music not only entertains but also inspires, making Sound of Greatness a must-listen for fans of dancehall and beyond.
Jahmiel’s Sound of Greatness is a courageous and melodic exploration of life’s challenges and triumphs. With its blend of motivational anthems and heartfelt love songs, the EP offers something for everyone. Whether you’re a longtime fan or new to Jahmiel’s music, this project is sure to leave a lasting impression.
If you haven’t already, take the time to listen to Sound of Greatness. Jahmiel’s ability to inspire and connect through his music is unmatched, and this EP is a testament to his growth as an artist. Don’t miss out on this incredible collection of songs—stream it today and experience the greatness for yourself.
One Love – Todd M. Judd
When you think of 80s metal singers, a handful of names immediately come to mind: Ozzy Osbourne (RIP), Rob Halford, Ronnie James Dio, and Bruce Dickinson. These legends have defined the genre with their iconic voices and larger-than-life personas. Among them, Bruce Dickinson stands out as one of the most influential figures in heavy metal history. His powerful vocals and commanding stage presence have been instrumental in Iron Maiden’s enduring popularity, captivating fans across generations.
When Iron Maiden takes a break, Bruce doesn’t rest. Instead, he carves out time to explore his solo career, experimenting with diverse musical styles that go beyond Maiden’s signature sound. His latest release, The Mandrake Project, has taken him on a global tour, and now he’s back in the U.S. for the second leg of his journey. On Friday, August 15th, Bruce kicked off his American tour with a show at the House of Blues in Anaheim, CA. The venue was packed with fans donning Maiden shirts, ready to witness one of metal’s greatest frontmen in action.
Opening the night was Combustion 96, a supergroup featuring members of Warbringer, Soulfly, Threat Signal, and Carnifex. Their mission was clear: to get the crowd fired up with some heavy metal mayhem. Vocalist Jon Howard brought a gritty, 2000s metal edge to the performance, delivering clean yet aggressive vocals that resonated with the audience.
The band’s triple-guitar attack, featuring Niklas Rubensson, Ben Lechuga, and Neal Tieman, created a wall of sound that was both powerful and dynamic. Each guitarist had their moment to shine, trading solos and leads while the others held down the rhythm. Meanwhile, bassist Chase and drummer Yoyo Bianchi anchored the performance with a thunderous backline that kept the crowd headbanging. Combustion 96 was the perfect warm-up act, setting the tone for what would be an unforgettable night.
Having seen Iron Maiden live a few times, I’ve always been impressed by Bruce Dickinson’s theatricality—costume changes, elaborate stage setups, and larger-than-life performances. Naturally, I was curious to see how his solo show would compare. Bruce’s solo performance strips back the theatrics, putting the focus squarely on the music. But make no mistake: Bruce is still every bit the showman.
From the moment he stepped on stage, Bruce was a whirlwind of energy. He worked every inch of the stage, locking eyes with fans, striking Tai Chi-inspired poses, and delivering a performance that was as visually captivating as it was musically impressive. Even without the elaborate production of a Maiden show, Bruce’s charisma and stage presence were more than enough to hold the audience’s attention.
With the spotlight on the music, Bruce’s incredible vocal talents took center stage. From high-energy tracks like “Chemical Wedding” to the softer, more introspective “Shadow of the Gods,” Bruce’s voice was nothing short of awe-inspiring. His powerful high notes and emotional delivery brought tears of joy to even the most hardened metal fans. It’s no exaggeration to say that Bruce’s voice could part the clouds and make angels weep.
Of course, Bruce wouldn’t be able to deliver such a stellar performance without his talented band. Guitarists Chris Declercq and Philip Naslund, bassist Tanya O’Callaghan, keyboardist Mistheria, and drummer Dave Moreno provided the perfect foundation for Bruce’s vocals. Each band member had their moment to shine, particularly during a cover of The Edgar Winter Group’s “Frankenstein.”
Declercq and Naslund traded blistering solos, O’Callaghan headbanged with her dreads flying, and Mistheria shredded on his keytar. Meanwhile, Bruce alternated between keeping rhythm on a stripped-down drum kit and going wild on the theremin. It was a moment of pure musical joy, and the audience responded with thunderous applause.
Bruce treated fans to a two-hour set that spanned his solo career, featuring songs like “Accident at Birth,” “Abduction,” “Laughing in the Hiding Bush,” “Resurrection Man,” “Rain on the Graves,” “The Alchemist,” “Book of Thel,” and “Road to Hell.” A special highlight was the inclusion of an Iron Maiden deep cut, “Flash of the Blade.” The crowd erupted in excitement, as many were hearing this rare gem live for the first time.
The show concluded with a three-song encore: “Tears of the Dragon,” “Gods of War,” and “Starchildren.” Each song was delivered with the passion and intensity that only Bruce Dickinson can bring, leaving the audience in awe.
Whether performing with Iron Maiden or as a solo artist, Bruce Dickinson proves time and time again why he’s one of the greatest heavy metal frontmen of all time. At 67 years old, he outperforms many younger stars in the scene, delivering a show that is both musically and emotionally powerful.
This was just the first stop on his U.S. tour, which runs through September and October, including a few festival appearances. If you’re a fan of metal—or just great live music—don’t miss your chance to see Bruce Dickinson in action. His voice, energy, and stage presence are unmatched, and once you see him live, you’ll understand why he’s a true legend.
Hot off the release of their new album, I Love You So F**ing Much*, Oxfordian pop-rockers Glass Animals have been traveling the globe, sharing their bouncy, anthemic hits with as many arena-sized venues as they can. The aptly named Tour of Earth took a break from insane festival appearances and headlining moments at Madison Square Garden to stop at Minneapolis’ wonderful Armory, bringing Irish sensation Orla Gartland along for the ride.
Orla’s opening set was—borrowing the pastiche of reviews—absolutely electric. There’s an immediacy and intrinsic charisma to Orla’s give-it-all performance that makes it irresistible. Featuring a delightful, star-studded stage with just enough negative space for Orla to prance about and strum her guitar with elbow-driven emphaticness, she and her backing band quickly took the little space available to them and made it feel as grand as possible.
Through a brief 7-song, 30-minute set, including one particularly daring and arresting Chappell Roan cover (“Red Wine Supernova”), Gartland and company left an unforgettable impression. This is something she’s apparently been an ace at ever since dropping Everybody Needs a Hero last year. Someone to keep an eye on, Orla Gartland will certainly be back soon and bigger than ever.
Ever ones for spectacle, Glass Animals’ arrival on stage was preceded by a celebration of a pineapple—as is tradition—before the massive I Love You So F**ing Much* banner dropped, and they launched into “Life Itself.” Retrowave patterns in impeccable blues created a scene of neo-futurism, contrasting beautifully with the surreal song content. It felt like a crossroads between a small, intimate show and a massive production, which is the fine line Glass Animals have been walking ever since ZABA catapulted them to meteoric success.
The Tour of Earth tour (a fun sentence to say) showcases the band’s dedication to bringing their sound to as many places as possible. The setlist mirrored this journey, offering a tour through their discography. Each time Dave Bayley made his way into the crowd for an up-close and personal rendition of “Gooey,” you could feel the connection they strive to create—and Minneapolis was no exception.
Some might say that Bayley wearing a Vikings jersey that evening was lazy pandering, but I think it’s a testament to how much these fellas from England genuinely love and care for their fans. Despite their meteoric rise, they’ve managed to maintain a sense of humility and connection.
Certainly, Glass Animals don’t have to put as much effort into their live shows as they do, but every performance is an absolute treat for the eyes. This tour’s charming focal point was a giant Tesla-coil-style glass sphere at the center of the stage, customized to display whatever the band desired—starting the night off by displaying “Minneapolis.” The synchronicity between sound and sight was a masterclass in precision. More than just boastful and explosive, the lighting design was thoughtfully crafted to complement the chosen setlist.
The group ended their night with a necessary rendition of “Heat Waves” for their encore, elevating the already rapturous crowd to previously unimagined levels of excitement and screaming.
The next time Glass Animals visit the Twin Cities, I expect they’ll be playing at Xcel Energy Center or Target Center. Fans should hold on to the memories of this show fondly, as it’s going to become harder and harder for the group to maintain the intimate connection they’re angling for.
In late 2023, Creed surprised the world by reuniting after over a decade-long hiatus. This was a reunion that many people never saw coming. In 2024, they hit the road on their Summer of ’99 Tour across North America, bringing back the classic sound that made them legends in the music scene. The tour was so successful that they announced a second Summer of ’99 Tour for 2025. This time, they aimed to hit new venues and cities they missed last time, including a stop at the North Island Credit Union Amphitheatre in San Diego, CA. Their Southern California stop featured hard rockers Daughtry and the legendary Wolfgang Van Halen with his band Mammoth as openers. Fans packed the outdoor venue for a night of dad rock classics.
Opening the night was the musical prodigy Wolfgang Van Halen with his band Mammoth. Wolfgang has been carrying on the legacy of his namesake with pride and determination. He’s set out to make a name for himself, refusing to play any Van Halen music and only performing songs he writes with Mammoth. This is incredibly commendable, and he doesn’t need the gimmick of playing his father and uncle’s music. Instead, Wolfgang infuses the spirit of Van Halen into his own music, creating the next evolution of the Van Halen legacy.
From catchy choruses to driving guitar lines and finger-blistering solos, Wolfgang delivers everything a rock fan could want. He’s essentially a one-man wrecking machine of a musician, who would play every instrument on stage if it were physically possible. Backing him is a stellar band featuring Frank Sidoris on guitar, Jonathan Jourdan on guitar, Ronnie Ficarro on bass, and Garrett Whitlock on drums. Together, they brought Wolfgang’s music to life with songs like “Another Celebration at the End of the World,” “The Spell,” “Epiphany,” “Take a Bow,” “Don’t Back Down,” and “The End.”
Wolfgang is set to hit the road on his own headlining tour later this year, supporting his upcoming third album, The End. If you love Van Halen or just rock music in general, Mammoth is worth the price of admission.
As the sun set behind the stage of the amphitheater, fog and lights filled the space as Daughtry took the stage. Led by vocalist Chris Daughtry, his energy was palpable, and fans screamed as the band launched into their opening song, “The Reckoning.”
One of Daughtry’s strengths is crafting big, catchy choruses that had the entire crowd singing along. Guitarist Brian Craddock wrote melodies that perfectly complemented Chris’s vocal lines, elevating them to a majestic tenor. Bassist Marty O’Brien was the biggest performer of the band, dancing and posing across the stage while plucking his instrument and playing up to every fan in the theater. Keyboardist Elvio Fernandes locked in with the melodies, adding brightness to the songs when needed. Meanwhile, newest drummer Anthony Ghazel easily found his footing, keeping the music rocking and staying in the pocket.
Daughtry had the crowd rocking out, swaying, and even shedding a few tears with songs like “The Day I Die,” “Separate Ways (Worlds Apart),” “Pieces,” “It’s Not Over,” “Waiting for Superman,” “Home,” “The Dam,” “Over You,” “Heavy Is the Crown,” and ending with “Artificial.” Daughtry has proven to be a standout support act for some of the biggest rock tours every year, but it feels like we’re overdue for a Daughtry headlining tour.
When Creed went on hiatus back in 2012, many fans weren’t sure if they’d ever get the chance to cheer for them again. Over a decade later, in San Diego, the name Creed was emblazoned on 30-foot-tall LCD screens as fans rhythmically chanted the band’s name. The anticipation was palpable as fans who had waited so long finally got to see these generational artists.
Opening their set with “Bullets,” vocalist Scott Stapp began with a somber build at the center of the stage before stepping to the foot of the stage as the chorus kicked in. Fifteen-foot pyro blasts ignited along the backline, signaling that Creed had officially returned to San Diego.
Hearing Stapp’s signature baritone voice live carries a presence that doesn’t fully come across on record. Fueled by the live crowd, Stapp is the perfect frontman, consistently playing up to the audience as a larger-than-life entity while frequently interacting with his bandmates to draw them into the show.
Guitarist Mark Tremonti has written some of the most iconic post-grunge riffs of the ’90s, and he still performs them night after night with passion and energy. His smiles and snarls on stage show just how much he enjoys performing this music again. Bassist Brian Marshall is calm and collected, delivering basslines filled with groove and feel that the crowd unknowingly locks into. Drummer Scott Phillips adds texture and nuance to his beats while staying in the pocket.
These four men have been performing together for three decades, and their tenure shows. They are locked in tight, knowing when to take the limelight and when to pull back to let others shine. Creed was in top form, performing all their classics, including “Ode,” “Torn,” “Are You Ready?,” “Never Die” (dedicated to Brad Arnold of 3 Doors Down, who is currently battling stage four cancer), “My Own Prison,” “Freedom Fighter,” “Say I,” “What If,” “One,” “What’s This Life For,” “With Arms Wide Open,” “Higher,” and closing with a two-song encore of “One Last Breath” and “My Sacrifice.”
During their heyday, Creed often found themselves the butt of jokes from hard rock gatekeepers. But there’s something you can’t deny: the longevity of their music. Fans turned out in droves to sing along with the band and experience one of the best live shows touring this summer.
If Creed really were a joke, there’s no way they’d be performing to massive amphitheaters and arenas on the second leg of this comeback tour. I can guarantee that even those old gatekeepers have been in the crowd, singing with their arms wide open
In recent years, we’ve seen some old-school Hip Hop acts release albums, bringing a resurgence to the classic era of Hip Hop. These albums have received mixed reviews; longtime fans and enthusiasts tend to rate them highly, while others have a more varied perspective. A few months after Wu-Tang Clan released Black Sampson, The Bastard Swordsman, the 55-year-old MC from Staten Island, NY, Raekwon launched his eighth album, The Emperor’s New Clothes.
This isn’t a case of an artist returning after a long hiatus and going through the motions or losing their edge. Instead, the album strikes a perfect balance between freshness and old-school authenticity. It’s impressive how Raekwon has managed to age gracefully within the Hip Hop industry, creating streetwise boom-bap tracks that feel contemporary rather than outdated.
After a brief introduction, Raekwon delivers a powerful boom-bap beat in “Bear Hill.” The sound is fresh and crisp, with Rae skillfully working the lyrics to provide us with a classic ’90s hook.
In “Pomegranate,” featuring Inspectah Deck and Carleton Fisk, we experience more boom-bap production as the trio exchanges impressive lyrics in a song that emphasizes the idea of the Dons never being compromised.
After the “Veterans Only Billionaire Rehab” skit, we are introduced to a soulful boom-bap track titled “Wild Corsicans,” featuring Conway the Machine, Benny the Butcher, and Westside Gunn alongside Raekwon. While the trio delivers impressive bars, Raekwon ultimately dominates the song.
Next is “1 Life,” which features Stacey Barthe and is produced by J.U.S.T.I.C.E. League. This track is a soulful exploration of how Hip Hop is often exploited for profit. Stacey provides beautiful vocals, while Raekwon once again delivers powerful verses.
The “Barber Shop Bullies” skit introduces the track “Open Doors,” featuring Tommy Nova. This song captures the essence of the classic Wu-Tang sound, with lively horns and a fast-paced beat. Raekwon delivers sharp and impressive lyrics while Tommy Nova handles the chorus.
In “600 School,” produced by Swizz Beatz, the track has an orchestral vibe that brings the original crew together. Ghostface Killah and Method Man trade verses filled with classic gangsta rap alongside Raekwon. This is undoubtedly one of the top lyrical tracks on the album.
“The Guy That Plans It” brings us back to the boom-bap beat, featuring a sample of Marvin Gaye’s “I’ll Never Stop Loving You.” This track delivers a concise and vivid crime narrative centered around a street fight, showcasing Raekwon’s storytelling skills.
On “Da Heavies,” Raekwon reminisces about the past, delivering more excellent storytelling over classic ’90s production, characterized by powerful drums.
Another skit, “Officer Full Beard,” leads us into one of the standout tracks, “The Omerta,” featuring Nas. The two artists trade verses over a beat by Nottz, discussing the importance of living up to their promises. This track may be the only one where Raekwon is somewhat overshadowed, as Nas delivers an outstanding performance with his flow and lyrics.
“Get Outta Here,” featuring Ghostface Killah, showcases Raekwon’s signature glamorous portrayal of crime while presenting more compelling storytelling from the duo.
After the skit “The Sober Dose Gift,” we are treated to Marsha Ambrosius delivering beautiful vocals over a soulful, old-school Mary J. Blige-inspired groove from the ’90s with the track “Debra Night Wine.” In this song, Raekwon guides us through his soulful and introspective lyrics.
The album concludes with Ghostface Killah joining Raekwon on “Mac & Lobster.” This track discusses their lives, successes, and possibly hints at sexual innuendo. With another slower R&B beat, it provides a fitting conclusion to the album.
Raekwon continues to showcase his ability to weave together images of glamour, crime, life, and death through his textured and intense lyrics. His well-crafted and unique verses are complemented by contributions from fellow Wu-Tang members, who bring their own distinct vibes that mesh perfectly with Raekwon’s style.
The inclusion of Griselda artists—Conway the Machine, Benny the Butcher, and Westside Gunn—and Nas adds an extra layer of depth and street credibility. As someone who appreciates the classics, I can confidently say that Raekwon has delivered an album that is fresh while still capturing that old-school essence and vibe.
One Love – Todd M. Judd
