Lucia Cifarelli’s latest album, No God Here, is an electrifying testament to her evolution as a powerhouse in the modern rock scene. No God Here engulfs the listener in a whirlwind of raw emotion and unbridled energy, and what I feel is a storm brewing in the depths of her creative soul. As the album unfolds, it becomes clear that Cifarelli has crafted a sonic landscape that is both hauntingly beautiful and fiercely rebellious. This is not KMFDM, but Lucia on her own amazing journey, meticulously traveling down a road less traveled and one that she ultimately revels in.
The album kicks off with "Paper Tiger," a track that sets the tone with pulsating rhythms and a tone that is uniquely Lucia. Cifarelli’s vocals soar with an intensity that is both commanding and vulnerable, drawing listeners into a world where light battles darkness. Her voice is an instrument in itself, weaving through the track with a dynamic range that is as unpredictable as it is captivating.
"High On You" captured me from the very first spin and was nothing short of mesmerizing. The track balanced Cifarelli’s tenderness and grit with her effortless precision. This songs soundscape is a rich tapestry of atmospheric synths and driving percussion, creating an immersive experience that lingers long after the final chord fades.
Another highlight, "Believe," delves deep into introspection, with Lucia's voice echoing like a distant memory through a canyon of reverb-laden synth layers. The song's haunting melody and fresh lyrics convey a sense of longing and introspection, offering a glimpse into the artist's past but also her hope for the future. This one immediately transported back to an early 90’s sound (but in an amazing way). One of my favorites on the album.
On "No God Here," the album’s title track, listeners are immediately transported to a hauntingly familiar place that most will immediately resonate with. Lucia’s vocal prowess captures one’s soul from the very first note and ultimately won’t let go. The song demonstrates in spades Cifarelli’s ability to intertwine amazing songwriting with powerful relevant themes that resonate with the listener and won’t let them go.
Now back to the album as a whole. No God Here explores existential themes with a fearless honesty that resonates powerfully with both longtime fans and new listeners alike. Cifarelli’s ability to convey complex emotions with such clarity and conviction elevates the release to new levels, making this album a significant addition to her discography. It stands as a bold statement that challenges the conventions of rock music, pushing boundaries with its innovative sound and thought-provoking content.
In the context of her career, No God Here might be a defining moment for Cifarelli, showcasing her growth as an artist while solidifying her place as one the most remarkable female vocalists out there today. This album is not just a collection of songs; it's a journey through the human experience, marked by a fearless exploration of life's chaos and beauty. Its impact will be undeniable, breathing new life into a genre that thrives on authenticity and passion. This is Lucia.
When the dust finally settled, it was clear to me that Lucia Cifarelli ultimately delivered an album that is as profound as it is powerful, capturing her unique essence with every beat and breath. No God Here is a sonic odyssey that demands to be heard, felt, and experienced—a true testament to the enduring power of music to move and inspire. It’s one of my favorites in 2024, and highlights why Lucia is so special to so many all around the world. Grab a copy of this gem when you can, you won’t be disappointed!
- Matthew Belter
I headed from State College, PA east to Holmdel, NJ to The PNC Bank Center Amphitheatre, a 4-hour drive for me, Monday September 23rd. Why drive 4 hours for a concert? This was no ordinary concert; this wasn’t really even a concert. It was The Marley Brothers performing together, beside closing out one night at Cali Vibes in 2022, for the first time in two decades. This was to honor the legacy of one of music’s most influential, instrumental, and important figures, one of society’s most important figures; this was about unity, togetherness, peace, upliftment, unity and LOVE. This was about Bob Marley, as we get closer to what would have been his 80th birthday. But this was also about Bob’s lineage and history. There aren’t many better line-ups for a concert you will find than the five Marley brothers performing together.
Between them, Ziggy, Stephen, Julian, Ky-Mani and Damian, have amassed 22 Grammy Awards, but it is not the awards that make them stand out. Each and every one of them have amazing talent, talent they of course got from their father, but have taken that talent and made it their own. Talent grown over the years to become some of reggaes best artist, talents that have taken them from making really good music to making amazing music, and growing into top producers, not only for each other, but so many other artists. My anticipation and excitement was growing as I waiting to get my photo pass so I could enter. I arrived about two hours before the gates opened, talking with others just as excited for what we were about to witness. The smiles from everyone were amazing, you felt love everywhere. As if we were all on the same mission, the same wavelength. Red, gold and green everywhere, Bob Marley shirts, Jamaican flag bandanas, Rasta inspired clothes, that sweet Mary Jane in the air, Jamaican and Ethiopian Flags flying, and talking with friends you have never met before. The line to get in was steady and moving, and finally after waiting a couple of hours, I got my pass.
As I was walking around the venue (I’ve never been there before) I started thinking about the set list; what are they going to play, will it be more about the popular Bob songs, will we get some of, in my opinion, better songs, the ones the masses don’t know as well. I ran into quite a few people I have met over the years while going to reggae concerts. Once you meet someone at a reggae concert, you pretty much have a friend for life. No exaggeration, this is how it is. We all had the same thought about what songs would be played, we also had this feeling in us, this anticipation and sensation like this was going to be special. I’ve said this before, but it is so fitting; there was a natural mystic flowing through the air.
As we neared show time, the crowd was pretty filled in, with others still coming through the gates. The capacity at The PNC Center is 18,000 and it looked like it was mostly filled. There is a big yard area in the back, so it is hard to get a true count with my eyes. But it was a great turn out, no surprise there. Geefus from the iconic Jamaican sound system Stone Love was playing reggae tunes to entertain the crowd as they filtered in. Old school reggae, new reggae, all kinds of reagge coming through the speakers. You could feel the crowds’ vibes as it got darker out and closer to the show. I was brought down to the “pit” shortly before the start. It really isn’t a pit, you stand in one of the rows near the stage and don’t move for the first three songs that we can photograph. I say we, it was only myself and the house photographer, so I am fortunate to be the only photographer doing pictures and a review. At 8:45 exactly the lights went down with only one spotlight, Sky High the Mau Mau walks on the stage….IT WAS TIME! The crowd erupted! Sky High asking if we are ready for this journey. As a video of Bob Marley is shown on the backdrop, we hear Bob chanting;
“Hail Rastafari
I-tinually
Ever faithful
Ever sure
Jah live children
And there's a natural mystic blow through the air (Yeah)”
The crowd of 18,000 is silent, eyes wide open, ears wide open, hearts wide open. We hear the unmistakable bassline of Aston “Family Man” Barrett flowing as Ziggy, Stephen, Julian, Ky-Mani and Damian walk on stage……the crowd still silent, as if in a trance from the bassline. And then they erupted with cheers and screams as Ziggy takes the first verse of “Natural Mystic.” Each brother taking turns on vocals, the way they work on stage together with the synergy and love is amazing. Not just during this song, but all night long. “Natural Mystic” is one of my favorite songs of Bob and I loved that they started this off with such an amazing song. It set the tone for the night. They hit us with “Get Up, Stand Up” all performing on this singing together with so much energy and force, the crowd’s energy was crazy. Damian rally’s the crowd with; woy yoy….woy yoy yoy yoy, woy yoy….woy yoy yoy yoy! I am trying to enjoy, but I know I have three songs to get some great photos, so while I am dancing and singing, I’m trying to focus on the Marleys. They move onto a song that had so much meaning when Bob wrote it, but still has so much meaning today, “So Much Trouble In The World.” Once again performed by all five brothers, each taking their turn, so much passion and love from each of them. As I was escorted away from the stage, they start “Coming In From The Cold,” surprised to hear this one, but didn’t get to really enjoy since I had to leave the area. I made my way up to the yard to intermingle with the crowd, pretty much everyone singing and dancing. “Positive Vibration” is next with Julian taking the lead. What stood out to me with this song, but also all night, was the way Julian moved and danced on stage. So much like Bob did on stage, it was as if Bob was guiding his movements. A very cool feeling seeing that. Ky-Mani is next up with “The Heather” another one of my favorite songs of Bob. Ky-Mani did such a great job on this, flowing so well but when Ranoy Gordon hits us with the guitar solo, wow, the song was taken to another level. Visions of Junior Marvin playing the guitar solo!
I need to mention the band, this is no ordinary band, these are all amazing musicians brought together by The Marley Brothers because of their talent, their work ethic, their love of Bob Marley and the message. We have three amazing voices filling in for the I-Three’s; Tammy, Sherita and Rose. Their voices are beautiful, and their moves are fantastic. Sean “Young Pow” Diedrick on piano and Llamar “Riff Raff” Brown on keys, keeping the flow going. Kawain Williamson doing his thing on the bass, standing there leading the charge like “Family Man.” Two amazing guitarists taking turns with some amazing solos, Tekeshi Akimoto and Ranoy Gordon. They are both so talented. Norman on percussions and the greatest reggae drummer out there, Wilburn “Squdly” Cole, keeping the beats on point like “Carly” Barrett. And the horns bringing it all together; Glen Holdaway on trumpet, Wesley Etienne on trombone and Oshane Love on sax. And of course, Flagman Judah doing his thing, waving the flag for the two plus hours of the show! WOW, they sounded amazing, I’d put this group up against any band out there today!
Stephen brings us one of my all-time favorites, “Rebel Music.” Stephen really hits on this one, you can’t help but get chills while listening. I admit, I got a little chocked up listening to this one. Tekeshi hits us with a fantastic guitar solo, sounded like Al Anderson out there playing next to Bob. The first part of this show was amazing to me, so many songs I just love, and Damian brings us another of my favorites, “Concrete Jungle.” What I love about listening to the brothers do these songs, they bring out a vibe of Bob, an essence of Bob, but they still have their own unique styles flowing through each and every song. Damian killed it on “Concrete Jungle”, and I know the crowd agrees with me. All five brothers gave us a great rendition of “Wake Up And Live,” the crowd singing right along to all the words, dancing in their seats, dancing in the lawn, dancing every where. They were awake and alive! Ziggy brings us his song for peace, “Shalom Salaam” from his Dragonfly album. Are we going to see each brother do one of their own songs, was going through my head, or is this played because we need this right now in the world? Ziggy stays up front and is joined by Stephen for “War” and wow did this song hit so well. The message Bob brought us, and now hearing Ziggy and Stephen carrying this through:
“Until the philosophy which hold one race
Superior and another inferior
is finally and permanently discredited and abandoned
Everywhere is war, me say war.
That until there are no longer first class
and second class citizens af any nation
Until the color of a man's skin
is of no more significance than the color of his eyes
Me say war.
That until the basic human rights are equally
guaranteed to all, without regard to race
A dis a war.”
And in true Bob Marley form the band takes us straight through to “No More Trouble” with Damian taking over. There were moments through the night where you just felt Bob Marley in the air, this was one of those moments. Damian finishing it off with some help from the crowd;
Damian: “WE DON’T NEED”
Crowd: “NO MORE TROUBLE”
Julian steps up and brings us “Running Away.” What a great sound and vibe coming from Julian. I love watching Julian dance on stage (more on that later). A song that my son loved when he was little, “Crazy Baldhead” was next up with Ky-Mani leading the way. This is a perfect song for Ky-Mani to bring us, that awesome raspy voice works so well. His younger brother Damian joins him for his version of “Me Name Jr. Gong,” a nice idea bringing the crowd some old school Damian. Ziggy and Stephen are back for a crowd favorite and one that had the crowd singing loudly, “Three Little Birds.” Next up is Damian with “Is This Love” another crowd favorite, as it started to rain on us up in the lawn. But the rain only made the experience better, the entire crowd singing with Damian; “Love, love, love that I’m feeling!” And another amazing guitar solo by Ranoy. We hear Stephen belt out “Oh, please don't you rock my boat, (Don't rock my boat), 'Cause I don't want my boat to be rocking, (Don't rock my boat), Oh, please don't you rock my boat, (Don't rock my boat) No, no, 'Cause I don't want my boat to be rocking (Don't rock my boat).” As he brings us “Satisfy My Soul.” Another song where you can just feel Bob flowing through the air. Another perfect song for Ky-Mani is next, “Buffalo Soldier,” dread lock Rasta! The crowd singing right along with Ky-Mani. I remember the first time I heard this song when I was about 14, it’s the first song from Bob Marley I can remember and first I truly loved.
Julian brings us the classic and crowd favorite “Jamming.” I’ve seen Stephen and Damian many times performing live, Ziggy a few times, but Ky-Mani and Julian only once before. With Stephen, Damian and Ziggy I can see some Bob characteristics in them, whether it is the voice, the movements, the vibe, there is something there. But watching and hearing Julian, wow, he has the Bob dance moves down and brings that Bob vibe completely to the stage. So much fun watching him do his thing. It was time to take it easy with Ziggy and “Easy Skanking.” The crowd loved when Ziggy hit them with the first lines; “Excuse me while I light my spliff (spliff), Good God I gotta' take a lift (lift).” Julian hits us with his classic “Boom Draw,” the crowd loving this, so nice seeing them mix in their own songs. Time for Ky-Mani to bring us his hit “New Heights” the crowd singing along with Ky-Mani; “Pass me the blunt and the rolling paper! Me a go get high like a plane, high like a sky scraper!” As Damian steps to the stage to preach about the health and medical benefits of marijuana, so we were all ready for his and Stephens hit “Medication.” The crowd erupted as soon as Stephen stepped up; “Medication…your medication makes me high!” I’ve heard this live a few times and this time the energy from Stephen and Damian was off the charts.
All the brothers are back for a great rendition of “Kaya,” with Damian hitting us with an amazing flow. They bring the energy to another level with “Iron Lion Zion,” having so much fun on stage together, dancing, vibing and showing so much love to the crowd, but also you can see the love they have for each other. They were showing the strength of Bob and themselves (Iron), the praise and admiration to Haile Selassie (Lion), and praising the Holy land of Ethiopia (Zion). Stephen yelling; “Yeeeaaahhhhh I’m gonna be an Iron like a LION”…..and the crowd responding “IN ZION!” This was a moment that sent chills down my spine. 18,000 people yelling In Zion! We knew this was coming at some point, and we thought this was it, what a way to finish off the night, all five brothers on stage for “Exodus.” They poured their heart souls into this song, and night, and the crowd was right there with them. The backdrop had an image of Bob Marley and The Wailers with Exodus on top. Throughout the night the backdrop had striking visual images of Bob Marley, Marcus Garvey, Haile Selassie I, and the amazing artwork by Neville Garrick of the album covers. It really tied the performances, the songs, the mission, the vision of Bob all together perfectly. I only wish I paid more attention to the backdrop; I was so into the show I am sure I missed some great images. The Marley’s walked off the stage as “Exodus” ended, the crowd going crazy with applause. We just witness an amazing performance, an amazing dramatic show, an amazing journey, and an amazing mission!
As some of the crowd started to filter out, I knew and so did many others, that we were not done quite yet. Sky High comes back to the stage, the crowd that was filtering out stopped, it got silent, as he asked, “Do you want some more?” YES rings through the air. “Could You Be Loved” starts pumping through the speakers as the brothers make their way back out on stage. All five brothers taking their turn on this classic and crowd favorite. Every single person singing along with the brothers! Damian getting the crowd to dance and then JUMP up and down, over and over, the energy was crazy. Stephen takes the mic to ask the crowd; “DO YOU LOVE REGGAE MUSIC?” The crowd says YES! Stephen, I don’t think he was happy with the response says; “NO….do you LOVE reggae music?” The crowd yells…..no screams at the top of their lungs; “YES!” Then he adds, say “LOVE,” the crowd responds, say ‘LOVE,” the crowd responds. You could feel the love between the Marley’s and their adoring fans. They finish off the night with “One Love” the crowd singing right along with the brothers, this was an old school version of the song, this could have been played 50 years ago by Bob Marley and The Wailers, the perfect way, the perfect song to end the night.
This night, this tour is about the continued mission of Bob Marley, the classic and timeless songs, the message of love and hope and upliftment. But it is also about Bob’s sons, they have been such an intricate part of reggae music and have been carrying the torch and message and mission on. When Bob left this world, he said to Ziggy; “On your way up, take me up. On your way down, don’t let me down.” There is a spiritual connection between Bob and all his children, they don’t have to think about what they are doing, he is with them, guiding them through life, they don’t have to think about it. Everything they do is part of the whole, it’s a part of Bob Marley, and Bob Marley is a part of them. This was one of the greatest experiences I have ever seen. The music was outstanding, the theatrics was superb, and the brothers were amazing. People thought I was nuts for driving so long for this, but this was more than worth it, I remember this forever, it was truly an emotional, heart pounding, amazing night.
One Love – Todd Judd
What do you get when you combine two members of King Crimson, guitarist/vocalist Adrian Belew, Chapman Stick/bass player Tony Levin, with ace guitarist Steve Vai and Tool drummer Danny Carey?
You get musical genius. And a sold-out show at the City National Grove of Anaheim. One could easily put the word legend in front of every member of this group. The die-hard King Crimson fans could only imagine what would happen at what was only BEAT’s fourth show together. This was billed as a “creative reinterpretation of the three iconic 80s King Crimson albums” which made sense since that is when Belew and Levin joined the guitarist Robert Fripp-led progressive King Crimson. Fripp had led versions of King Crimson from 1968 to 1974. After a long hiatus, in 1981 Fripp decided to form a new group and brought in Belew and Levin. They recorded three albums together, Discipline, Beat, Three of a Perfect Pair. These three albums were the foundation of the Anaheim show’s set list.
With no opening act, the concert was divided into two sets with a short intermission between. While there were obvious hits played from the albums, the group was able to both stretch themselves and surprise the audience by pulling out some deeper cuts. As Belew mentioned, the Anaheim show was only BEAT’s fourth, so while major KC fans can identify certain areas that seemed “off”, one also has to remember that this is once again, a “creative reinterpretation” and the band could be trying something along the way.
Belew came out in an all-red suit and porkpie hat. He mostly played his Parker Fly guitar throughout the evening, but sitting to his left, under wraps, was his Twang Bar King which he tried unsuccessfully to unveil in a dramatic fashion. Belew laughed it off and had fun with the effort as he did with the entire show. How much fun was he having? He joined drummer Danny Carey at the front of the stage for a little tandem drumming until one of the sticks fell out of his hands. These minor setbacks in no way belie Belew’s abilities throughout the evening. He made his guitars howl, bringing out sounds from fretboard and whammy bar use that showcased his true mastery of the instrument. His love and respect for these albums and songs were evident.
Which brings us to the second guitarist who is second to none: Steve Vai. Vai was ultra-stylish in a black embroidered suit, floral shirt, with a black hat and cool shades. The man was gunslinger/guitarslinger personified. Vai played an Ibanez PIA that was custom-made for this tour and featured his own art on it. Prior to the tour, Vai worked extremely hard to learn the intricate Fripp guitar parts and it showed. But there were also moments when certain songs became Vai-ed, which once again, keeping with the “creative reinterpretation” became a treat.
On bass, Chapman Stick, and vocals, Tony Levin delivered and then some. He also added some synthesizer work as well. His contribution is incredibly important to the BEAT sound. His usage of his signature Funk Finger Sticks on “Larks' Tongues in Aspic Part III” drove that song.
Speaking of driving songs, some felt like drummer Danny Carey had the toughest role to play. Fans on YouTube have been comparing his work to not only Bill Bruford, but also Pat Mastelotto, who did not play on the albums. Carey was up for the challenge. His work both anchored and drove the music. And his smile showed how much fun he was having. All four members of BEAT broke into smiles throughout the evening, whether those smiles were due just having fun or due to having survived playing some of the most intense and intricate music on earth could be up for “creative reinterpretation.”
Either way, the band and the audience knew that something special had just occurred. As one audience member gushed on the way out, “Oh my god, I can’t believe what we just saw!”
SET LIST
SET 1
Neurotica
Neal and Jack and Me
Heartbeat
Sartori in Tangier
Dig Me
Model Man
Man With an Open Heart
Industry
Larks’ Tongues in Aspic (Part III)
SET 2
Waiting Man
The Sheltering Sky
Sleepless
Frame by Frame
Matte Kudasai
Elephant Talk
Three of a Perfect Pair
Indiscipline
ENCORE
Red
Thela Hun Ginjeet
Special note: The first song of the encore, “Red” was a break from the three albums from the 1980’s theme. “Red” is from the King Crimson 1974 album of the same name.
Even though summer is almost over and fall is nearly upon us, 39-year-old Aaron Smith, better known to his fans as Shwayze, he has given us the summer anthem album of the year. What I’ve always liked about Shwayze is his unique style, blending reggae, hip-hop and pop into a Malibu beach party vibe. This album, Shwaycation, is no different and may even take that party to another level. This is his 8th album and 5th solo album, and you can see and hear the growth after each one. He brings a ton of confidence to this project and invites the listener to ride the wave of a good time.
The album starts off with one of my favorites “Tequila La La La La,” a perfect way to start off the summer party. Just has a sweet flow and vibe. You know we about to have fun. Great melody to this joint. Next up is “Single for the Summer” featuring Bryce Vine, keeping with the summer party vibe with a nice rap flow that works so well. Bryce Vine sounds great and is a nice compliment to Shwayze. “I Pray” featuring Ripe has a great reggae riddim, but like all his songs, mixes in with that pop hip-hop beach groove. I get this cool Dirty Heads feel with this one, which is a very cool sound. Shwayze brings us to “Mine,” he’s got a secret for us in this joint; “I gotta secret that nobody knows/I want your body wanna hold it close/Does he care for you? I know he don’t/But you’re my best friend’s girl/My best friend’s girl/I want my best friend’s girl.”
We come to another one of my favorites, “West Coast” featuring Common Kings and KES, this just keeps with the summer party vibes, Shwayze with a nice rap flow again, and Jr. King sounds so sweet with the chorus and KES absolutely kills his verse. This is an amazing collaboration; I’d love to hear more from all of them. Wiz Khalifa joins Shwayze on “Smoke Too Soon” and the flow between them works so well. Their styles compliment each other, I think they should do an album together. Could be the bomb! “Promises” is next, and has that nice reggae beat but with a nice hip-hop flow and rhyme. “Kick Back” brings us back to what this album is all about; a Malibu Party! This is such a fun song, I’m driving down the coast with the top down, hangin’ at the beach with friends and just having a great time with a few drinks. Makes you smile!
Grammy winner J. Lauryn joins him on “Champagne Problems,” another one of my favorites. She sounds so good on this track, Shwayze giving us his rhyming and singing, matching up with her sweet vocals. I’d love to hear more from the two of them. “Book a Flight” is up next, his singing on the chorus is mellow and nice and his rap verses really hit on this one. We finish off with a perfect song to end this beach party, “Party in the Hills.” A little slower sound and vibe, the party is almost over, Shawyze taking us to the end of the night. It feels like we are sitting on a Malibu beach with a fire burnin’ thinking about the amazing day we just had.
Fun. Relaxed. Mellow. Chill. Truly genuine. These words describe the album, but also describe Shwayze. He really brings a fresh sound, fresh feel, and fresh vibe to the music industry. He was recently quoted as saying; “I don’t even know if I fit in the industry, so I’m not really concerned with it,” he admits. “I think just doing my own thing and focusing on my core fan base has served me well. I don’t care if it’s 100 or 1000 fans. My focus is on them and not the industry.” He’s right, he is very unique and doesn’t really fit anywhere in the industry, and that is perfect. He continues to put out great music and his fans love him for it. This is a great, fun, chill album, an album so many will like.
One Love – Todd Judd
Since the death of Bob Marley, Aston “Family Man” Barrett and his brother Carlton “Carly” Barrett kept the message of Bob Marley and The Wailers alive by touring, making music, and spreading the word. Over the past few years Family Man’s son, Aston Barrett Jr., has taken over the reins of The Wailers and has pushed forth keeping that message alive and well. And just a quick shout out to Aston Jr., his depiction of his father in the Bob Marley: One Love movie was fantastic and moving. While the band has been touring pretty much non-stop over the years, with a changing line-up, the Barrett's and Owen “Dreadie” Reid has been the constant. Today’s line-up consists of Dreadie, Mitchell Brunings, Wendel “Junior Jazz” Ferraro, Andres “Ipez” Lopez, Teena “Tamara” Barnes, Richard Walters, along with their crew Christian Cowlin, Lennie Chen, Anthony “Ants” Donaldson and Matt Denison. While many call The Wailers a cover or tribute band, they are a very talented group of musicians who put out their own music. I am always excited when The Wailers put out a new song or album, because being a huge Bob Marley fan and reggae fan, I want to hear what they are putting out, and how they are evolving, but still staying true to the one love message.
Evolution starts with “Love Should Be Free” featuring Black Uhuru legend Mykal Rose, an up-tempo It's a song that flows really well to get this started off. Mykal sounds fantastic. One of my favorites is next, “Give It Up” features an original I-Threes member, Marcia Griffiths. She sounds absolutely awesome and brings a great vibe to this song and album. She brings that Wailer's vibe to the song and album. “Love Without Pain” featuring Emily Estefan, daughter of Gloria and the producer of the album Emilio Estefan Jr., under his independent label, Crescent Moon Records. Estefan Jr. also produced The Wailers 2020 One World album. Emily has a fantastic voice, she really belts it out in this song. This has some horn play, the sax is awesome. The brass section on the song and album consists of Dean Fraser on sax, Randy “Trumboclaat” Fletcher on trombone, and Okiel Mcinrtye on trumpet. We flow into another song featuring Mykal Rose, “Close My Eyes.” A real sweet roots reggae flow to this song, Mykal taking over with his vocals.
The title track, "Evolution” is next, led by Aston Jr. on vocals, this is a wonderful song and Aston does a nice job as the lead. This sums up The Wailers to this point. “Love Surrender” is next up, a nice slower riddim and vibe. They pick up the pace a little with “You Belong to Me” lead by singer Mitchell Brunings. His tempo changes as does his vocals, flowing right along with the beat and horns. Great song! We move to another one of my favorites, a song that has a great happy vibe, a vibe that makes you want to dance and groove, “Get It On.” Another song led by Brunings, it just puts a smile on your face. “Unpredictable Heart” with jazz singer Nikki Kidd taking over the lead. A great flow and rhythm to this song, she has a sweet voice that just sticks in your head. A wonderful song about moving on in difficult times and circumstances,
“Holding On” has Aston Jr. on lead vocals again, accompanied by Gramps Morgan. I really enjoy the way Aston’s and Gramps's voices and flows work together. This one really hits! Next up, a song with a message for future generations about hope and optimism, “Generation.” Another song featuring Mykal Rose, and e once again he kills it! Such a great groove and flow to this one, it is the genuine spirit of emotional reggae, while it is the same instrumental group, they add in Llamar “Riff Raff” Brown on keys and Hector “Roots” Lewis & and Ras Perty on percussions. The album is finished off with “Sins,” also lead by Barret Jr. on lead vocals. We get more of that soulful roots reggae we have come to know from The Wailers.
This album gives us some great true Wailers vibes we have always gotten since the days of Bob Marley, but the title, Evolution, is so fitting. With the different artists, from different times and different styles coming together to create this different-sounding Wailers groove, it has a little something for those die-hard Wailer fans but has a vibe to bring in other reggae and pop fans as well. The Evolution of The Wailers is evident and not only needed to be done but is very welcomed by this listener.
One Love – Todd Judd
If you were one of those kids that got way too into a fandom to the point that your friends wish you would stop talking about it, have a meme page, were a theater kid, or just love music that's whimsical and makes you feel as if you’re in a storybook, you should have been at the House of Blues in Anaheim on September 18th for The Rick Tour: One Rick to Rule Them All. Headlined by the legendary Ricky Montgomery, with support from Ray Bull. Yes, that is the tour name, and I have a gut feeling it was inspired by Rick and Morty, the TV show. Since Ricky has made a joke about the show before, and if you’ve watched Rick and Morty, you’ll also get what I mean. It’s related to something specific in the show that I will not say because it's a spoiler, but if you want to understand, go watch the show. This was a night that wasn’t just filled with music but laughter as well. If you were having a bad day and you walked into this show, I guarantee your night would have ended with a smile on your fact.
Now, what kind of band opens for Ricky Montgomery? Well, needless to say, one with a sense of humor. Ray Bull and Ricky Montgomery both have the type of humor that makes you wonder if these guys are secretly related to each other. A lot of people in the crowd were fans of Ray Bull, so there was already excitement in the air. Ray Bull made the joke twice during the beginning of the set, after a song, that it was the end of their set. The crowd played along with it, which made the joke funnier. Their music has a nostalgic folk-pop feel to it. They knew how to hype up the audience, such as when they started clapping on stage and got the audience to clap along with them. You could also tell they were having fun from the smiles and silly faces they made on stage. It was refreshing to see. I loved that the band has two vocalists that work really well together. They ended their set with their song Name Something Better, which has lyrics that will make you miss camping and spontaneously want to go camping just to see the start.
For our headliner, to get us prepared for his arrival while music was playing during the time in between, there would be moments where the song would stop, and Ricky’s name would be said over and over again. The audience would also randomly scream a lot, so it made you think Ricky was going to jump out at any moment. The set started with the band playing behind a curtain that had psychedelic visuals on it. For a moment, you’d think, "Oh, Ricky is going to pop out from behind there." Well, if you thought that (which I don't blame you for, I thought that too), you’d be incorrect. Instead, he popped out from a door in the center of the stage and initiated one of the most energetic openings to a headliner’s set that I’ve seen in years. Like, if you came in late, you could easily think, "Damn, I missed everything, and they're already on the encore."
His opening song was "Line Without a Hook", which is one of those songs that, even if you don’t know Ricky, you’ve at least heard this song somewhere at some point in time. Heck, even your grandma has probably heard this song. It’s a classic that deserves to be a classic. During "Line Without a Hook", Ricky even jumped into the barricade, which was a field day for photographers in the photo pit. We rarely get such a sick moment in the first three songs. All the fans he interacted with during this moment were incredibly excited too. The rest of his setlist included songs such as "Cabo" (which is one of my personal favorites), "One Way Mirror", "Talk to You", "Ed "Sheeran (SUPERFAN)", "Black Fins", "I Don’t Love You Anymore", "California, Unknown", "Phantom", "Snow", "My Heart Is Buried in Venice", "Boy Toy", and for the epic three-song encore: "Sometimes I Need to Be Alone", "This December", and Mr. Loverman". The lights on stage helped enhance the energy, especially with Ricky jumping around. At one point, Ricky was by the door frame that was lit up, and he gave off the vibe of a powerful video game character. During "Black Fins", the audience had their phone flashlights on, and the whole room filled up with lights as they moved their arms along with the song.
One of the best things about Ricky is his sense of humor, but also how much he cares about his fans. He reminded everyone to embrace their weirdness no matter what and has been a really supportive artist to the LGBTQ+ community. I saw some fans with pride flags in the audience as well. During his performance of his unreleased song "Ed Sheeran (SUPERFAN)", at a certain point, he ended up with a giant flag on him too. A fan gave him a toy to hold when he sang his song "Boy Toy". He even made a joke that he wasn’t going to have an encore, then hinted at it being a three-song encore. Although one of the funniest moments would have to be when he made a joke about money to encourage people to buy merch. The joke clearly worked because it was a packed line for merch by the end of the night. The scenic visuals on the curtain during the encore were beautiful to watch as well. For his song "This December", he had the whole audience jumping, so if you felt an earthquake...that was the reason. All of his songs feel poetic in a way and paint a whole story. You can tell a lot of work goes into the songwriting. It was also fitting for "Mr. Loverman", one of his most iconic songs, to be the last song. To wrap up the set, he threw paper airplanes that were signed setlists into the crowd, and everyone had their hands up.
Everything about the show made for a perfect night, and Ricky is one of those artists that is always doing something interesting on stage. So it’s never a dull moment for a fan or a photographer. Ray Bull also has a lot of potential, and I’m excited to see what they do next. Both artists are highly relatable. I also thought it was wholesome that Ricky encourages his fans to show up in cosplay; he’s a big fan of anime. He often talks about different shows on TikTok, and his fanbase is made up of a lot of anime fans. So I ended up seeing fans in cosplay by the end of the night as well. There are many shows you can see, but few can make you laugh like a Ricky Montgomery show.
Alison Moyet has one of the most distinguishable female voices in all of music. Her latest album Key marks the return of the iconic singer songwriter since she dropped Other back in 2017. The album highlights songs she found worthy of a resurrection across her incredible 40 year career. Moyet admits there are certain songs she won’t sing again simply because they no longer resonate with her. Instead, she chose songs that have withstood the test of time and resonate with her still.
Starting with “Where Hides Sleep,” her soulful voice sets the tone for listener. Co-produced with her longtime collaborator Sean McGhee, the music combines synth with poignant instrumentation which gives the senses an interesting tingle. In “All Cried Out,” Alison's voice is blazingly bold just as you would expect. The music itself definitely resonates with the past, if not a tad bit too polished in its recreation. The song lacks the daring tone she is known for in her earlier work. “Such Small Ale” (one of her new songs on this album) starts out with her beautiful, moody voice sounding surprisingly reminiscent of Joni Mitchell. The music again is nice, but lacks the risk. "The Impervious Me" (the other new track) was similar, but a bit more daring and one that resonated more closely to me.
After giving this album a number of listens, “Love Resurrection” finally gave me what I was really looking for, that classic Alison Moyet sound. The incredible electronic music of this song pairs perfectly with what Alison does best, which is bring her 'diva' power to alternative electronic. It makes us realize what we have been missing in the genre for so many years. It was truly powerful and brought an immediate smile to my face. “You Don't Have to Go” is a haunting revisit of a love lost, and is a perfect ending for the resurgence of this female powerhouse. It clearly demonstrated Moyet's vocal prowess and amazing song writing ability. It was a great song to end Key, and one fans will really appreciate.
Alison Moyet proves once again that music from the past (that many might categorize as irrelevant) can become refreshed and yes, relevant, once again. Combining nostalgia and innovation, Moyet's Key is set to please her fans (and capture newcomers alike) with an 18-track album that dazzles the senses and feeds one's musical appetite for even the pickiest of fans. It put an immediate smile on my face, and believe it will for you too. Moyet is truly legendary, and this album reintroduces us to one of the best female vocalists in the modern era of music, bar none.
- Alli Richards
Recorded a week after his release from prison, Vybz Kartel released the video for his latest single on Friday Sept. 13th. Within a few hours of its release, it amassed over 67k views and within less than 24 hours after its release, World Boss’s “The Comet” surged to number 1 on YouTube’s top 50 trending videos in Jamaica. It also surged into iTunes Top 100 Reggae Songs chart, currently placing at number 5. So to say Vybz fans were waiting for new music from the artist is a huge understatement.
The video starts with footage of his release from prison, to the chants of thousands of fans…..”FREE WORLD BOSS, FREE WORLD BOSS!” This has a typical Vybz beat and sound, this is what the fans wanted. It let us know, I’m back, I’m the same Kartel, I’m going to hit you hard, and I’m already back on top. This track is a diss to Alkaline and other dancehall artists that, as he says, stole his style and didn’t want him released from prison. He tells them, I was making millions, US dollars, while in prison.
"All inna prison, me a mek millions/Me a talk 'bout U.S. dollar ni**a/A bagga big song, watch 'e Fever/It sell 'e gold and it sell 'e silver.” He is ready for a global takeover, and if anyone can do it, it is the World Boss.
This is a great song, and one we have all waited for - nice beat, great lyrics, and a video that just makes sense. But now at 48 years old, and coming out of prison after 13 years, I understand the song and the stance, but I am hoping to hear a new style from him, more uplifting, an evolution for him, one that will make him the king of dancehall once again.
One Love – Todd Judd
Zeren Zia is a Brooklyn native with Pakistani and Irish-American heritage. She is an extraordinary singer-songwriter known for her ability to create captivating, emotional, and atmospheric music.
Following her graduation from the prestigious LaGuardia High School of Performing Arts in NYC, Zeren Zia burst onto the city's music scene in 2023 with her infectious track "Such a Shame," and subsequently released the empowering anthem "Chase You Down."
SOUNDS LIKE: Taylor Swift, Ariana Grande, Katy Perry. Approaching 1 million streams on 4 single releases by 18K active listeners from 115 countries.
Photos by Yelena Ku
Labor Day weekend delivered an unforgettable experience for metalheads, with a double-shot of legendary metal bands Accept and KK’s Priest lighting up both the iconic Whisky A Go Go and the annual Rainbow Bar & Grill Backyard Bash. Kicking off Saturday night with a blistering performance at the Whisky, and wrapping up on Sunday under the scorching sun at the Rainbow, it was two days of metal mayhem that left the crowd drenched in sweat and satisfaction.
The night began at the legendary Whisky A Go Go, a venue that has seen its fair share of rock history. But even with its storied past, this was a night that felt electric from the start. The crowd packed into the intimate venue, and with the sweltering heat, the atmosphere became an intense, almost primal experience. Sweat dripped from every corner, and it was impossible to move without bumping into someone else who was just as soaked—exactly what you expect from a pure metal show.
Accept took the stage first, showing off the prowess that has kept them relevant since their 1980s heyday. Hailing from Germany, Accept is known for pioneering the speed metal genre, and their decades of experience shined through. They delivered crushing renditions of fan favorites like "Fast as a Shark" and "Restless and Wild," songs that continue to resonate with both old-school fans and newer generations. Vocalist Mark Tornillo, who has been with the band since 2009, sounded as fierce as ever, proving that Accept still has plenty of fire left.
Then came KK’s Priest, the brainchild of former Judas Priest guitarist K.K. Downing. The band, which also features ex-Judas Priest vocalist Tim "Ripper" Owens, brought the house down with their powerful blend of classic and modern heavy metal. Downing’s guitar work was as blistering as ever, and Ripper’s vocals soared over the wall of sound, with the crowd erupting to songs like "Hellfire Thunderbolt" and "Raise Your Fists." If Saturday was a warm-up, KK’s Priest made sure it set the bar sky-high.
The metal festivities continued on Sunday at the Rainbow Bar & Grill’s Backyard Bash, a staple event that marks the end of summer with a mix of nostalgia and rock chaos. This year’s lineup featured an impressive roster, with performances from Zack Kirkorian, Sunset Riot, Prima Donna Rising, Ted Poley of Danger Danger, Warbringer, Bulletboys, Accept, and KK’s Priest.
Prima Donna Rising, one of the standards of the Sunset Strip these days was in top form as were, Sunset Riot. I had never seen Ted Poley live and I was so impressed by his positive attitude. He jumped into the crowd and sung along with the fans, allowing them to take selfies. He said that they didn’t bring any Merch, as they wanted people to make donations instead to their local animal shelter. Warbringer was a bit of a THRASHING outlier as they had a huge fanbase there that whipped the parking lot into a massive mosh pit. They thrashing continued for a for their solid set, and then the more relaxed but fun, The Bullet Boys with Ira Black on fire on guitar and Marq Torien’s rocking vocals are always great fun. By the time the headliners returned, the Backyard Bash was in full swing, packed with rock fans of all ages, baking under the unforgiving afternoon sun. Despite the heat, the energy was contagious. Accept and KK’s Priest came back for slightly shorter sets compared to their Whisky performances, but the atmosphere was supercharged. The larger outdoor crowd fed off the energy, belting out lyrics to classics like Accept’s “Princess of the Dawn” and “Balls to the Wall,” and KK’s Priest’s electrifying “Sermons of the Sinner.”
The Rainbow Bash crowd sang every word back to the stage, creating an epic sing-along moment that epitomized the unifying power of rock music. Fans of all ages, from die-hard metalheads to those who discovered these bands more recently, were brought together in a celebration of the music that’s kept rock alive through decades of change. Despite the shortened setlists, the headliners gave their all, with performances that were as tight and energetic as the night before, and the audience responded in kind.
What made this weekend truly special was not just the raw power of the music but the sense of legacy and community that came with it. Accept and KK’s Priest are bands with deep roots in metal history, and seeing them perform back-to-back—first in the intimate Whisky A Go Go and then at the expansive Backyard Bash—was a reminder of why these bands have endured.
The Rainbow Bash’s diverse lineup also paid tribute to the wider rock and metal scene, with bands like Warbringer bringing thrash energy, and Bulletboys delivering glam rock nostalgia. Ted Poley of Danger Danger brought some melodic rock to the mix, and Prima Donna Rising and Sunset Riot gave the day a fresh, modern edge.
The weekend was a perfect blend of old-school and new energy, showing that metal is far from dead. From the sweaty walls of the Whisky to the sun-baked grounds of the Rainbow, Accept and KK’s Priest led a celebration of the music that has defined generations and continues to evolve. It was a reminder that no matter the venue, no matter the decade, rock and metal still have the power to unite, uplift, and—most importantly—bring the house down.
