Having seen Alice Cooper dozens of times over the years, I’m always astounded when I meet people who haven’t flocked to witness his morbid extravaganza. Great music and great entertainment—what more could you ask for? The Too Close For Comfort tour is yet another opportunity to catch the Master of Macabre headlining before he joins Judas Priest this fall for a 22-city run. That tour kicks off on September 16th in Biloxi, Mississippi, with stops in Cincinnati, Phoenix, Los Angeles, and more, before wrapping up on October 26th in Houston, Texas.
Cooper has been delivering his electrifying, theatrical performances for decades, and for me, it never gets old. The outdoor venue at Atrium Health Amphitheater was dangerously close to being drenched by an extreme thunderstorm. Luckily, Alice and the gang hit the stage right at 7:30, narrowly avoiding a downpour and ensuring the audience stayed dry for the show.
From the opening chords of “Lock Me Up” into the thunderous “Welcome to the Show,” Cooper prowled the stage, sword raised, commanding attention with the ease of a seasoned magician. His voice, surprisingly robust at 77, resonated fiercely, bringing timeless classics like “No More Mr. Nice Guy” vividly to life. The crowd matched Cooper’s energy beat-for-beat, roaring their approval as the first familiar riffs pierced the Georgia night.
His performance of “I’m Eighteen” perfectly captured the rebellious spirit of his youth, with a touch of irony—most of us in the crowd were far from eighteen. Cooper himself was just 22 when the song debuted in 1970. The moment culminated in him theatrically hoisting a battered wooden crutch, a sly nod to the song’s adolescent angst. Standing so close to the stage, I almost lost my head when he swung it—it was amazing to be that close. Guitarists Ryan Roxie and Tommy Henriksen faced off in an electric duel, their guitars howling as the audience chanted along in ecstatic unison.
“Under My Wheels” and “Bed of Nails” surged with relentless energy, each song seamlessly transitioning into the next, blending musical excellence with theatrical brilliance. The stage transformed from neon cityscapes to haunting graveyards as Cooper launched into “Billion Dollar Babies,” scattering faux bills into the grasping hands of fans. For “Snakebite,” the theatrics reached a new level: a crew member delivered a live boa constrictor, which Cooper draped across his shoulders, eliciting delighted gasps and screams from the crowd.
The band’s synchronization was flawless. Bassist Chuck Garric and drummer Glen Sobel formed a powerhouse rhythm section, their grooves reverberating deep into the bones of everyone in attendance. Sobel’s mesmerizing drum solo, peppered with intricate beats and playful nods to “Black Juju,” earned thunderous applause.
Guitar virtuoso Nita Strauss took center stage next, igniting the crowd with an explosive solo that fused classical precision with raw metal aggression. Her lightning-fast fingers shredded through the “Black Widow Jam,” setting the stage for Cooper’s ominous return. Strauss is, without a doubt, one of the most captivating guitarists in the world right now, and it was an absolute treat to watch her shred all night.
As the haunting chords of “Welcome to My Nightmare” filled the air, Cooper appeared in a silk smoking jacket, lantern flickering, fully embodying the twisted showman persona fans adore. He seamlessly transitioned into the disturbingly humorous “Cold Ethyl,” waltzing grotesquely with a rag-doll corpse before flinging it dramatically into the ecstatic crowd—a morbid dance only Alice Cooper could pull off.
No Alice Cooper show would be complete without its descent into madness. “Ballad of Dwight Fry” transformed the stage into a chilling asylum, with Cooper writhing in a straightjacket as his wife Sheryl, dressed as a sinister nurse, administered a mock injection. The crowd’s excitement peaked with the arrival of the infamous guillotine. In a spectacle of perfect theatrical timing, Alice was “executed” before a stunned and cheering audience. His decapitated head—eerily realistic—was triumphantly displayed as the band thundered through “I Love the Dead,” celebrating rock’s ultimate showman.
Ever since I can remember, I’ve been a die-hard professional wrestling fan. From Ultimate Warrior to Hulk Hogan, Stone Cold Steve Austin, The Rock, Mick Foley, Triple H, Shawn Michaels, Undertaker, The Miz, and John Cena, these legends made me feel strong and invincible. Sure, there were times I drifted away, but I always found my way back. Another thing I’ve always loved about wrestling is its connection to rock ‘n’ roll and heavy metal—they’ve always gone hand in hand. One wrestler who has successfully bridged these two worlds is Chris Jericho. Not only is he one of the greatest wrestlers of all time, but he also crafted his own metal band out of his love for heavy music. Enter Fozzy.
What started as a cover band has evolved into a formidable original act with a cult-like following. In 2024, the group celebrated their 25th anniversary by hitting the road with Vegas’ The Nocturnal Affair and vamp-metal sensation Liliac. The Parish Room at the House of Blues in Anaheim hosted this epic event, so Rabit, our buddy Aflac, and I high-tailed it over there—because missing this show would’ve put us on the list!
The evening kicked off with an insane drum solo by Kyle Cunningham, a hell of a way for The Nocturnal Affair to introduce themselves to Anaheim. The dark rockers from Las Vegas fired up the metal engines with a killer cover of Depeche Mode’s “It’s No Good.” Frontman and visionary Brendan Shane delivered a strong, melodic voice that could rival Chris Daughtry. When he roared, we listened.
Guitarists Kellan Kroll and Dru Lappin shredded with precision, giving us goosebumps—especially when Kroll unleashed a bitchin’ solo during an impromptu interlude jam. Bassist Michael James added dark, sinister overtones to the beats, making the music even more menacing. From “Down” to “Unwound,” “Benefit of Doubt,” “Backbiter,” “Cross Me Out,” and a haunting cover of Haddaway’s “What Is Love,” The Nocturnal Affair left a lasting impression on the Anaheim scene. That impression? Impressive. I can’t wait to see where they go from here.
Next up was Atlanta-based Liliac, a self-described “vamp metal” group eager to sink their teeth into the crowd. Comprised of the Cristea siblings, this family band was bred for heavy metal. Frontwoman Melody Cristea was hypnotic, her alluring voice drawing us in like prey. Her stage presence was reminiscent of Evanescence’s Amy Lee, commanding and captivating.
Lead guitarist Samuel Cristea was suave and cunning, delivering slick riffs and solos, while bassist Ethan Cristea brought booming, sinister beats that crushed us. Keyboardist Justin Cristea showcased his versatility, effortlessly switching between the keyboard and keytar. Original drummer Abigail Cristea was absent, but touring replacement Paul Barnes Jr. was bombastic, keeping the energy high.
Every song Liliac performed was stellar, from “Human” to “Delusion,” “Prisoner,” “Breathe,” “Dear Father,” “Bad Boyz,” Dio’s “Holy Diver,” and “Carousel.” But for me, their sensational cover of The White Stripes’ “Seven Nation Army” sealed the deal. After tonight, Liliac turned me into a vamp-metal follower. Round and round I go on their carousel—will it stop? I hope it never does.
After a 30-minute breather, Anaheim was ready to make Fozzy’s list. Kicking things off with “Fall in Line,” the Parish Room became the Jericho Room. The Ayatollah of Rock and Rolla put us into submission with his commanding voice. Donning a sparkling dinner jacket and bedazzled pants, Chris Jericho was larger than life—a living legend.
His longtime partner in crime, Rich Ward, was a wizard on lead guitar, conjuring wicked solos and licks. He’s the soul of Fozzy. Rhythm guitarist Billy Grey delivered pulsating riffs, while bassist PJ Farley strummed with all his might, both adding tasty background vocals that perfectly complemented Jericho’s lead. Newcomer Grant Brooks on drums was steady, mighty, and cool—a perfect addition to the Fozzy express.
It may have been a Monday night, but for us, it was Fozzy Friday. Most of their set came from their 2022 release Boombox, but they also performed an eclectic array of hits. Fozzy are true rockstars, delivering bangers like “Fall in Line,” “Bad Tattoo,” “Painless,” “Do You Wanna Start a War,” “Lights Go Out,” “Sane,” “I Still Burn,” “Spotlight,” “Army of One,” “Drinkin’ With Jesus,” “Spider in My Mouth,” “Purifier,” “Enemy,” and the ever-popular “Judas.” Throw in covers of ABBA’s “SOS” and Krokus’ “Eat the Rich,” and you’ve got yourself a badass Fozzy party.
The Parish Room felt like an arena, rivaling the energy of the Honda Center or Kia Forum. Though smaller than the main stage at the House of Blues, Fozzy made it feel monumental. Jericho brought us into the fold, making us part of the band as we sang and chanted their name.
The Nocturnal Affair brought alternative hard rock swagger that resonated deeply, and Liliac sank their fangs into me, turning me into a devoted follower. This night was special, and rock ‘n’ roll… is… JERICHO!!!
To Fozzy, Liliac, and The Nocturnal Affair, we salute you. Horns up, and BREAK THE WALLS DOWN!!!
The Who, Cheap Trick, Poison, ZZ Top, Metallica, and Led Zeppelin—these legendary acts are just some of the rock ‘n’ roll my dad loved to listen to. He instilled this love in me whenever we were in his truck, running errands or heading out for fun. All these bands are great, but they pale in comparison to one group that stood above the rest: AC/DC.
This powerhouse band from the Land Down Under has been part of my musical education since I first understood what music was. Their simple, hard rock flavor has been captivating fans for more than 50 years. Their last album, 2021’s Power Up, was a testament to AC/DC’s longevity and continued success. After years away from the stage—due in part to the pandemic and Brian Johnson’s hearing problems—they are finally ready to hit the highway to hell and take us to the promised land. Sultry rockers The Pretty Reckless tagged along to power up our rock senses. Along with our pal, the Metal Samurai, Rabit and I journeyed to the Rose Bowl to experience some high-voltage excitement.
As metalheads filed into the stadium, devil horns and all, The Pretty Reckless took to the stage with “Death by Rock and Roll.” It’s still astounding that Taylor Momsen, known for portraying Cindy Lou Who in Jim Carrey’s The Grinch, has transformed into a sensual frontwoman with a captivating voice. Donning a red dress, Momsen wooed us with her temptress-style singing, like a siren pulling us into her trap with no chance of escape.
Guitarist Ben Phillips doesn’t get enough credit as a player. The way he smolders the strings on his axe brings back the good old days of grunge guitar work. In my opinion, he deserves to be mentioned alongside Alice in Chains’ Jerry Cantrell and Soundgarden’s Kim Thayil. His playing elevates Momsen’s already impressive vocals. Bassist Mark Damon and drummer Jamie Perkins complete the group with their gritty beats, taking blues rock to another level.
The Pretty Reckless were living large, playing on a grand stage shared with a legendary group like AC/DC. From “Since You’re Gone” to “Follow Me Down,” “Only Love Can Save Me Now,” “Witches Burn,” “Going to Hell,” “Heaven Knows,” and “Take Me Down,” their seductive energy was in full motion. This was my second time seeing The Pretty Reckless, and they were still pretty… and reckless.
After a much-needed breather from The Pretty Reckless, we were ready for high-voltage excitement. AC/DC opened their set with one of my all-time favorites, “If You Want Blood (You Got It).” Lead guitarist Angus Young, in his traditional schoolboy outfit, danced, duck-walked, and strummed like a bat out of hell. Arguably one of the greatest guitarists of all time, Angus remains a master of disaster with his signature Gibson SGs.
Frontman Brian Johnson belted out his iconic screams and sauntered around the stage, energizing the crowd. Even when he sang songs made famous by his predecessor, Bon Scott, the audience went wild. Rhythm guitarist Stevie Young was a steady hand, delivering the main riffs made famous by his uncle, the late great Malcolm Young, while adding his own flavor to the licks.
Noticeably absent were bassist Cliff Williams and drummer Phil Rudd, both of whom have retired from touring (though they remain in the band). AC/DC recruited drummer Matt Laug (Alanis Morissette, Alice Cooper) and bassist Chris Chaney (Jane’s Addiction) for the tour, and they brought the thunder. They played the classic beats and melodies as if they had written them themselves. Together, AC/DC was a well-oiled machine.
It was electrifying to watch Angus attempt his wildman jumps. Granted, he may be 70, but he still acts like a 20-year-old, full of excitement and passion. After performing “Let There Be Rock,” he launched into an extended solo that worked the crowd into a frenzy. Add Johnson into the mix, and you have a recipe for rock stardom.
During AC/DC’s entire set, there wasn’t a single bad song. That’s the beauty of AC/DC—their catchy rock ‘n’ roll songs never go out of style. Every loyal fan in the crowd sang along to every song while wearing glowing devil horns. While the tour was meant to celebrate Power Up, five of the songs performed came from their iconic record—if not the most iconic rock record—Back in Black.
The setlist was a dream come true, featuring hits like “Back in Black,” “Demon Fire,” “Shot Down in Flames,” “Thunderstruck,” “Have a Drink on Me,” “Hells Bells,” “Shot in the Dark,” “Stiff Upper Lip,” “Highway to Hell,” “Shoot to Thrill,” “Rock ‘n’ Roll Train,” “Dirty Deeds Done Dirt Cheap,” “High Voltage,” “Riff Raff,” “You Shook Me All Night Long,” “Whole Lotta Rosie,” “T.N.T.,” and “For Those About to Rock (We Salute You).” After the final song, the earth was quaking, and our minds were aching.
AC/DC was everything I imagined growing up and more. While I was air-guitaring with Rabit and the Metal Samurai, I could sense my dad right beside me. This is one show I know he would have loved. I’m pretty sure he would have dug The Pretty Reckless, too, as they brought rock ‘n’ roll back to a sultry place.
I didn’t want the evening to end, but the rock ‘n’ roll train had to move on from the Pasadena track. If this is one of AC/DC’s last SoCal shows, it was incredible to see them ride out into the sunset. To AC/DC and The Pretty Reckless: (fire!) we salute you. Horns up, and have a drink on me!
Only four months into 2025, the number of high-quality extreme metal tours that have passed through Southern California is remarkable. Danzig, Napalm Death, Mayhem, Machine Head, Six Feet Under, Meshuggah, Dying Fetus, Cavalera, and Kerry King are just some of the headliners making this an incredible year for live music. The killer tours just keep coming.
Florida death metal titans Obituary are celebrating 35 years since the release of their iconic album Cause of Death and are currently on the road with NAILS, Terror, SpiritWorld, and Pest Control. This stacked tour made its second of three Southern California stops at the House of Blues in Anaheim on Friday night, April 25 (following a show in San Diego the night before and heading to Los Angeles the next night).
All the way from Leeds, England, hardcore punk newcomers Pest Control opened the show with a dose of high-energy angst. With their set time at 6:00 PM and the never-ending SoCal traffic, many missed this opening set (including Hunneypot Live), resulting in no photos of the band. However, those in the venue for the start of the show seemed to be won over by Pest Control, making them a band to keep an eye on.
Up next was SpiritWorld, a band generating a lot of buzz. Their music is labeled as “Death-Western,” a blend of thrash and death metal with Western-themed imagery. Their sound is reminiscent of Power Trip and Fugitive, and they hit the stage with a vengeance, ripping through a 35-minute set. Frontman Stu Folsom fired up the crowd as the band played songs from their albums Pagan Rhythms, DeathWestern, and Helldorado. By the end of their set, even those unfamiliar with SpiritWorld were converted into fans.
This is where the night shifted from crazy to insane. When Terror founding member and vocalist Scott Vogel hit the stage, he immediately waved his arm, encouraging the crowd to crowd-surf over the barrier. As soon as the band launched into their first song, a constant wave of bodies and crowd surfers overwhelmed the House of Blues security team. It was like a waterfall of bodies for the entirety of Terror’s 40-minute set. Their relentless hardcore punk energy left the security team exhausted and tending to injuries. Terror truly lives up to their name, delivering their brand of hardcore punk like no other.
Next up was NAILS, a band with close ties to Terror, as frontman Todd Jones was formerly a member of Terror. NAILS picked up right where Terror left off, delivering their grindcore-infused punk with a sprinkle of death metal. While their set didn’t have as many crowd surfers, it did ignite a massive circle pit that raged throughout their performance. NAILS ended their brutal set with “You Will Never Be One of Us” and “Unsilent Death,” leaving the crowd thoroughly destroyed.
Over the last 20 years, Obituary has released six albums and become a nonstop touring machine. With the resurgence of many classic heavy bands, Obituary released one of their best records in 2023, Dying of Everything, and have been supporting it ever since. However, in 2025, they are celebrating 35 years since the release of their second album, Cause of Death. Following their 1989 debut Slowly We Rot, Cause of Death avoided the “sophomore slump” and remains a powerful death metal masterpiece to this day.
The band opened their set with their usual instrumental, “Redneck Stomp,” followed by “Sentence Day.” After a couple of newer songs, it was time for Cause of Death to be played in its entirety. Hearing all those classic songs live was a sonic pleasure. Vocalist John Tardy has one of the most unique voices in death metal—instantly recognizable and a defining element of Obituary’s sound. Drummer Donald Tardy (John’s brother) and bassist Terry Butler provided a rock-solid foundation, while rhythm guitarist Trevor Peres, an original founding member, delivered thick, downtuned riffs. Lead guitarist Kenny Andrews rounded out the lineup, making Obituary one of the premier guitar duos in extreme metal.
The fans were rowdy, keeping security busy with crowd surfing and highly active circle pits. After completing the Cause of Death album, the band returned for a three-song encore, including “I’m In Pain,” “Kill for Me,” and the crushing finale, “Slowly We Rot.”
This five-band tour is all killer and no filler from start to finish. The tour continues east across the U.S., with a few stops in Canada, ending in Pennsylvania on May 25. Be sure to grab your tickets and arrive early to catch all five bands.
The Darts never let up. Their standout track “Love U 2 Death”—a haunting, high-stakes slow burn—was featured in the hit series Peaky Blinders, introducing their unmistakable sound to a global audience. Now, the full album it came from, I Like You But Not Like That (Alternative Tentacles, 2019), stands as a defining moment in the band’s evolution: cinematic, fierce, and bursting with sync potential.
Recorded with Bob Hoag (The Format, Dear and the Headlights) and co-produced by Nicole Laurenne, the album captures The Darts at a creative peak. It’s grittier than their earlier work, with a darker edge and a mood that leans into noir territory without ever losing their signature swagger.
From the opening blast of “Breakup Makeup”, listeners are pulled into a world of fuzzed-out riffs, pulsing bass, and that instantly recognizable Farfisa organ. On “Love U 2 Death”, The Darts pull off a slow, tense build that erupts into a storm of emotion—no surprise it landed on a global hit like Peaky Blinders.
With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitar, and Rikki Styxx on drums, the lineup delivers pure, unfiltered chemistry. Tracks like “Don’t Hold My Hand” and “My Way” dig deep into garage rock, punk, surf, and even moments of pop noir, all while staying intensely raw.
“This record was about putting it all out there—every feeling, every scar,” Laurenne told Gearhead HQ. “There’s rage, sadness, sex, defiance—and we wanted every bit of that to bleed through.”
Critics backed it up. Louder Than War praised the record as “a full-body garage psych rock ‘n’ soul experience,” while Punknews called it “no-nonsense garage with hooks, punch, and personality.” KFJC described it best: “Tough, sexy, sassy, and smart.”
I Like You But Not Like That isn’t just a garage rock record—it’s a mood, a lens, a world. It’s cinematic by nature, making it perfect for supervisors looking to inject texture, power, or emotional edge into any scene.
Hunnypot is proud to be The Darts’ official sync representative. With a Peaky Blinders placement already under their belt among others, this is a band with proven impact and undeniable placement power.
"The Darts are a contemporary take on a nostalgic sound and prove there's more life than ever in a global scene often overlooked. I Like You But Not Like That is a solid album from front to back." GEARHEAD®
"The Darts don’t need to scream their message—they often drop a song’s core essence as an aside between new-wave-meets-Misfits keyboards and bashing drums, and that’s why this release, while rooted in ‘60s jammers, is not only more than meets the eye, but a rare form of nuance which is rarely achieved." Punknews.org
"Though The Darts' sound is often referred to as garage punk, to me it’s more reminiscent of the early Yardbirds, with strong bass-doubling riffs, a good example being the title track (possibly my favorite)." spidey.kfjc.org
"The songs all seem to center about relationships (but then again, don't they all?), with quick solos popping up here and there (organ, bass, guitar). The songs range from 2:03 ('Japan') to 4:37 ('Love U 2 Death') and are economically arranged. Short enough to make their way onto any playlist." spidey.kfjc.org
"The big takeaway from I Like You But Not Like That is the catchy factor within the songwriting and also proof that The Darts are consistent in writing catchy, good material consistently." GEARHEAD®
Sky Cries Mary has just released their new album, Immortal Jellyfish - a sweeping journey through psychedelic soundscapes, deep emotion, and sonic exploration. This project marks a powerful new chapter for the legendary Seattle band, blending their signature ethereal style with new layers of intensity and beauty.
"Storm Any Weather" — the first single from Immortal Jellyfish — invites you into the heart of these psychedelic grooves. A poignant blend of introspection and hope, the track weaves a tapestry of haunting vocals from Roderick Wolgamott and Debra Reese, underscored by hypnotic rhythms and atmospheric layers. Channeling the raw poetry of The Doors and the gritty elegance of The Velvet Underground, it's a modern anthem for navigating life’s storms with resilience and connection. "Storm Any Weather" isn’t just a song—it’s a full sonic experience. Tune in, and let it transport you.
Recorded by Jack Endino (Nirvana, Soundgarden)
Produced by Indy-legend Gordon Raphael (The Strokes, Regina Spektor) and Roderick Wolgamott
Instrumentation by Ben Ireland, guitars by Kevin Whitworth (Love Battery)
As a young music publisher, I came across Seattle’s Sky Cries Mary back in 1991, around the time they released their EP Exit At The Access. When I heard Roderick Wolgamott and his forever-evolving cast of incredibly talented creators and musicians, I instantly fell in love and became a lifelong fan and supporter. Their blend of space rock mysticism, psychedelic tribal jam band energy, and ethereal vocals has always been profound.
The film music supervisor community also has a deep affection for the group - "The Elephant Song" was featured on the soundtrack for The Harvest, "Shipwrecked" in Tank Girl, and "Cornerman" in Higher Learning.
Stay tuned for more or explore the catalog from this iconic and visionary group!
– John Anderson a.k.a. Hot Tub Johnnie
It was a perfect Sunday evening in Ardmore, PA, to catch one of Jamaica’s best voices, a rootsy local band, and an up-and-coming dancehall artist. Over the past few years, I have attended and photographed many reggae concerts, but I always seemed to miss Etana when she was touring. When I saw she was coming to Ardmore, I knew I had to finally catch her, so I reached out to Jamaican Dave, the promoter of the show, to see about getting a pass.
Jamaican Dave Productions is the Philadelphia tri-state area's (Pennsylvania, New Jersey, and Delaware) premier world music marketing and events promotion company. For years, JDP has been bringing some of the most enduring and legendary reggae and African stars, as well as promising up-and-coming artists, to the area. They host concerts, special parties, and events in partnership with some of the region's biggest venues and organizations. Jamaican Dave Productions was started back in 1998 when Dave, originally from Linstead, Jamaica, was disappointed in the reggae music scene in Philadelphia and decided to do something about it. His big breakthrough came with the Beres Hammond and Buju Banton tour in the summer of 1999 at the Pegasus Night Club, and he hasn’t slowed down since. Dave got me in touch with Etana’s manager, and all was set for a great night.
The Ardmore Music Hall is not the largest venue, but it’s a fantastic spot for a concert. The stage is low and close to the crowd, the sound is excellent, and the lighting is solid for photography. I was ready, and the crowd was ready, to hear some great reggae music!
The night began as the doors opened to the sounds of Black Widow Sounds, spinning reggae hits—old classics, roots, dancehall, and new tracks—to get the crowd warmed up. Philly’s own Tabernacle Reggae Band kicked off the live performances. I had never heard or seen them before, but let me tell you, they absolutely killed it on stage. The crowd clearly knew them, with many singing along to their songs.
Led by vocalist Mikey Luvsmith, the band put on a performance that had the crowd jamming and dancing throughout. The band sounded wonderful, and Mikey’s voice has such a great roots reggae sound. The lineup includes Buju on bass, Jason on drums, Adam and Derry on keys, and David on guitar—all fantastic musicians. I especially loved how Mikey started the night with the “National Reggae Anthem,” a unique take on the national anthem. Their message of love, hope, determination, and upliftment pulled me into each song, leaving me wanting more. Of course, I had to look them up and listen to them again once I got home. What an outstanding way to start the night and prepare the crowd for Etana.
Next up was rising star M-Gee, hailing from Maxfield Avenue in Kingston and now living in Philly. He strolled onto the stage with confidence and bravado, holding a drink and somehow managing to move around without spilling much. The ladies in the audience were thrilled, with screams erupting as he performed. His DJ played his tracks while he entertained the crowd with songs like “This Morning” and “Tie Me.”
When he performed “Things We Have,” he brought out dancehall legend Keiva Di Diva, who wowed the audience with her signature moves. Keiva rose to fame in the early 2000s as the only female dancer among a group of male dancers, including her mentor, the late Gerald “Bogle” Levy. She has appeared in over 100 music videos for artists such as Mavado, Voicemail, Elephant Man, and Mr. Lexx, revolutionizing the dance scene with moves like the popular “Online.” Seeing her in person and photographing her was an incredible moment.
As M-Gee performed his final song, a woman in the audience screamed for him, prompting him to jump off the stage and dance with her. It was a memorable and fun moment, showcasing his connection with the crowd. M-Gee is a rising star I’ll be watching closely as he continues to grow.
Finally, it was time for what we all came for: the two-time Grammy-nominated Shauna McKenzie, better known as Etana. Hailing from August Town in Kingston, Jamaica, she has been singing her whole life, first getting discovered at the age of eight while performing an Air Supply hit. With ten albums to her name, starting with The Strong One in 2008, Etana has delivered countless hits. I couldn’t wait to see which songs she would perform—I didn’t care which ones, I was just ecstatic to finally see her live.
Etana’s music breaks down barriers, elevates the soul, and inspires listeners around the globe. She is not just a reggae star; she is an international star. Her name, which translates to “The Strong One” in Swahili, epitomizes resilience and empowerment, both in her lyrics and her powerful, beautiful voice. She masterfully fuses reggae with soul and acoustic brilliance, creating a sound that transcends borders and unites fans worldwide.
Words cannot fully describe how amazing she sounded or the presence she brought to the stage—you feel it in your heart. As she performed hit after hit, the crowd was mesmerized, singing along all night. On my drive home, I tried to pick my favorite songs from the night, but they were all so good it was impossible to choose. While photographing the concert, I made sure to put my camera down a few times to simply listen and enjoy. During those moments, “Reggae” and “I Am Not Afraid” stood out as highlights.
The Raw Soul Rebel Band was phenomenal, with each member showcasing their incredible talent. It was a perfect performance, one that will stick with me—and the crowd—for years to come. It has only made me want to see Etana again.
Her captivating and soulful voice conveys powerful messages of strength, love, and unity, transcending music to become a truly spiritual experience. With mesmerizing performances, millions of streams, and a devoted global fanbase, Etana shines as one of reggae’s most powerful and enduring voices, leaving a lasting mark on the genre. Few singers can compete with or compare to her gorgeous and magnificent voice.
One Love – Todd M. Judd
Sugarshack has released their latest video featuring The Original Wailers with Al Anderson, bringing us music from the legend Bob Marley, as well as a little Peter Tosh, Bunny Wailer, and some original compositions. Bob Marley, on the brink of international stardom, went solo in 1974 and chose an American, Al Anderson, to be his lead guitarist. Anderson played with Marley until 1976, when he joined Peter Tosh’s band, Word, Sound, and Power. He later returned to Marley’s band and contributed to the live album Babylon By Bus and the studio albums Survival and Uprising. After Marley’s passing, Anderson continued to tour with The Wailers Band and remains dedicated to spreading Bob Marley’s message and music. Today, he works with a fantastic group of musicians as The Original Wailers.
The Original Wailers bring a fresh variation and vibe to these classics—not just Marley’s songs, but also those of Peter Tosh and Bunny Wailer. Al Anderson was fortunate enough to play with and be around all three of the original Wailers (the Wailing Wailers). “There are so many bands that copy Bob Marley and The Wailers,” explains Anderson. “I had the opportunity to live and perform with the iconic three original Wailers. I spent a lot of time making music with them and really cherished the thought and moments I had with them. We [The Original Wailers] don’t imitate. We improvise the legendary catalog and perform our own written compositions.”
The band is comprised of talented musicians from around the world, which is fitting considering Bob Marley helped bring reggae music to the world. The Original Wailers include Chet Samuel from Puerto Rico on vocals and rhythm guitar, Ras Klamps from Jamaica on organ, Omar Lopez from Mexico on bass guitar, and Paapa Nyarkoh from Ghana on drums. Each musician brings a distinctive set of influences and musical abilities that shine through in their performances.
The session begins with “Stir It Up,” and my first thought is how sweet the guitar sounds and how wonderful Chet’s voice is. The acoustic sound takes you to a special place. Ras Klamps kills it on the organ, and Al Anderson delivers amazing work on the strings as they transition into “Could You Be Loved.” This version has a more upbeat sound, and the band truly shines, with Al sounding incredible throughout.
Next is “Hypocrites,” a lesser-heard Marley song, and they absolutely nail this version. Chet brings great vocals:
“Dip, for diplomatic
Hyp, for hypocratic
Dry, for dry-land tourist
Top, for Topper Norris!
See the hypocrites, dem a galang deh
See the hypocrites, dem a galang deh
See the hypocrites, dem a galang deh.”
They mix in a little “Ribbon in the Sky” by Stevie Wonder, which was unexpected and awesome! Then it’s time to get us all “Jammin’” with another great upbeat take on the classic:
“We're jammin'
(see)
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too.”
I love how they stay true to Bob Marley’s original versions while adding just enough of their own style to create an amazing sound. Omar Lopez entertains with fantastic bass work, and the crowd loves it. He even gets the audience clapping along, turning it into a lively jam session. Omar is an incredible musician.
Next is an original song written by Al Anderson and Chet Samuel, “Song of the Divine.” It’s the first time I’ve heard this track, and I love it. It’s a laid-back song that blends reggae, jazz, and soul, featuring a groovy bassline, a rocking guitar solo, and Paapa Nyarkoh keeping the pace with his drums. They follow it up with another original, “Empress Omega,” a song dedicated to all the empresses out there. This upbeat groove makes you want to get up and dance with your empress.
The set continues with a fantastic combination of “Three Little Birds,” “Legalize It” by Peter Tosh, and Bunny Wailer’s “Rootsman Skanking.” You can’t help but feel carefree listening to this medley. Their version of “Legalize It” is fantastic, with Chet bringing a total Peter Tosh vibe to the vocals. Then, they channel Bunny Wailer as the band jams out with incredible energy.
The session concludes with my favorite Bob Marley song, “Redemption Song.” This track encapsulates Bob Marley’s life, and so many times when others perform it, they fail to capture the feeling, meaning, and emotion. But Chet, Al, Omar, Paapa, and Ras Klamps hit every note perfectly. If I get pulled in and feel the song, you know they did it right. Bob, Peter, and Bunny would be proud of what they’ve brought to us.
Al Anderson has continued to spread the message and love, bringing together an amazing band to carry on this journey. This collection of songs is a joy to experience, appealing to those who have followed Bob Marley, Peter Tosh, and Bunny Wailer, as well as those discovering The Original Wailers and their new music. The message hasn’t changed—it only grows stronger.
One Love – Todd M. Judd
When people think of the melodic death metal genre, it’s hard to believe Arch Enemy isn’t one of the first bands that come to mind. They’ve been going strong since 1995 and have just released their 12th studio album, Blood Dynasty. Now, they’re hitting the road again in support of that album with the North America Blood Dynasty 2025 Tour. This 29-date tour made its second stop in Los Angeles, CA, at the fan-favorite venue The Wiltern, bringing with them Fit For An Autopsy, Baest, and Thrown Into Exile. The doors opened early, giving fans plenty of time to enjoy all the music that was about to be performed, and the true die-hard fans made sure to arrive early.
Opening the show were hometown heroes Thrown Into Exile. I’ve been following this band since 2016, and it was amazing to see them hit the road on a major tour like this. Vocalist Evan Seidlitz delivered a ferocious growl and grit to his voice, the perfect battle cry to kick off the night and get the fans’ blood pumping. Guitarists Mario Rubio and Austin Monzon carried the band with their dueling guitar lines, almost like a waltz as they passed riffs, melodies, and solos back and forth. They never stepped on each other’s toes, allowing each to shine in the spotlight. Bassist Javier Quinto locked in with drummer Tom Tierney, who weaponized his kit with precision strikes and beats that attacked the crowd. This tour will put Thrown Into Exile in front of so many new fans, and I can only hope it helps them reach the heights they’ve long deserved.
Up next was the death metal band from Denmark, Baest. I was completely unfamiliar with this band and had no idea what to expect, but within moments of their set, they were there to rip heads off. Vocalist Simon Olsen delivered the fiercest and deadliest screams and growls of the night, embodying the essence of black metal vocals. Guitarist Lasse Revsbech, despite injuring his foot just before the tour, didn’t let that stop him. Hobbling onto the stage in a boot, he made up for his lack of movement by doubling as the band’s hype man, often calling for the crowd to scream, mosh, and go wild while making the craziest faces as he shredded on his guitar.
Fellow guitarist Svend Karlsson and bassist Matthias Melchiorsen made up for Revsbech’s limited mobility by being highly animated, playing to the entire crowd and often joining Revsbech to keep him involved in the show. Drummer Sebastian Abildsten looked like a technician behind the kit, his eyes focused on the beats he was laying down. While Thrown Into Exile got the fans’ blood pumping, Baest got it boiling, igniting the pit with their ferocious energy. Only two bands in, and the fans were already breaking a sweat from their passion for the music.
It was then time for Fit For An Autopsy to wreak havoc on The Wiltern. Kicking off their set with “Lower Purpose,” the moshers immediately felt the energy of the music. The pit quickly opened, with crowd killers throwing limbs in every direction. Vocalist Joe Badolato commanded the stage with a minimalist presence, holding the crowd’s attention effortlessly. Guitarists Pat Sheridan and Tim Howley slammed the audience with heavy chugs and riffs, while bassist Peter Spinazola could be seen screaming the lyrics at the crowd unamplified, his energy palpable.
Drummer Josean Orta stood out with his unique stage presence. While most drummers in heavy music are visibly working hard, Orta chewed gum and strolled across his kit with ease, as if taking a walk in the park. Fit For An Autopsy kept the onslaught going with songs like “Red Horizon,” “Warfare,” “Pandora,” “Hostage,” “The Sea of Tragic Beasts,” “Savior of None,” and “Far From Heaven.”
Finally, it was time for Arch Enemy to grace the stage. Opening with “Deceiver, Deceiver,” drummer Daniel Erlandsson kicked the show into high gear with a driving drumbeat. But it was when fan-favorite vocalist Alissa White-Gluz took the stage that the venue erupted. The crowd’s excitement was palpable as they screamed for her, knowing the ferocity she brings to her performances. Alissa layers passion, aggression, and sincerity into her death metal screams, and the audience devoured every moment of it.
Though fans tend to keep their eyes on Alissa, she made sure the rest of the band had their moments to shine. Guitarists Michael Amott and Joey Concepcion, along with bassist Sharlee D’Angelo, often took center stage, rocking out together. Amott, wielding his signature Dean Flying V blood-splatter guitar, played to the audience while shredding memorable melodies, rhythms, and wild solos.
Arch Enemy’s setlist was a masterclass in melodic death metal, featuring songs like “Ravenous,” “Dream Stealer,” “Blood Dynasty,” “War Eternal,” “My Apocalypse,” “A Million Suns,” “Liars & Thieves,” “The Eagle Flies Alone,” “First Day in Hell,” “As the Pages Burn,” “Sunset Over the Empire,” “No Gods, No Masters,” “Dead Bury Their Dead,” and “We Will Rise.” They closed the night with a four-song encore: “Avalanche,” “Snow Bound,” “Nemesis,” and “Fields of Desolation.”
With The Wiltern’s stacked standing sections, mosh pits are usually confined to the bottom level closest to the stage. But Arch Enemy isn’t like most bands—their fans opened multiple mosh pits throughout the venue, letting the energy run wild. From Thrown Into Exile to Baest, then Fit For An Autopsy, and finally Arch Enemy, each band elevated the energy on stage, creating a truly memorable night of music.
For over five decades, The Wooten Brothers—Regi “The Teacher” on guitar, Joseph “Hands of Soul” on keys, Roy “Futureman” on drums, and Victor (named one of the Top Ten Bassists of All Time by Rolling Stone Magazine) on bass—have been redefining music with their unique combination of jazz, funk, soul, R&B, rock, and bluegrass, all woven together for an extraordinary sound. The Wooten Brothers continue to honor their middle brother, Rudy, whose untimely passing in 2010 left the band without their one-man horn section.
Over the years, they have worked with and shared the stage with legends like Curtis Mayfield, The Temptations, Steve Miller, Ramsey Lewis, Whitney Houston, WAR, and Stephanie Mills, just to name a few. Their level of skill, innovation, and musical proficiency is unmatched. Recognized as some of the most groundbreaking musicians in existence, they are collectively known as one of the most talented and dynamic bands the world has ever seen and heard. Their shows are a high-powered and extremely funky blend of styles and genres, with a touch of humor added in.
The brothers started playing music at very young ages, with Regi “The Teacher” having the patience and know-how to teach his younger siblings. When Regi was twelve, he taught Victor, then just three years old, to play bass. Later that same day, the brothers played their first “concert” in their front yard. Just a couple of years later, in 1972, the brothers joined the Superfly Tour when Curtis Mayfield asked them to be the opening act for the very successful tour. Regi was fourteen, and Victor was only five. This early start is a testament to their immense musical talent, determination, and expertise.
The show I attended was at The State Theatre in State College, PA, a venue I’ve been to before and know for its excellent lighting and fantastic sound. Built in 1938 by Warner Brothers as a test market for new films, The State Theatre is now a community-owned nonprofit organization that hosts a wide variety of entertainment. It’s a great spot to catch a concert, and being just eight minutes from my house, it was a nice change from my usual three-hour drives for most shows. I was curious about the crowd, and they did not disappoint—it was a packed house, full of energy that the brothers fed off of throughout the night.
As The Wooten Brothers walked onto the stage, the crowd erupted in cheers, ready for an unforgettable night. You could see the brothers were equally excited—this was their first time touring together since 2010 and the passing of Rudy. It’s hard to put into words just how incredible this show was and how wonderful the brothers sounded. It was an astonishing and uplifting experience.
The Wooten Brothers are truly masters of their craft, each dominating their instrument and bringing out sounds my ears had never heard before. They are consistent creators and maestros of expansive aural reverberation, breaking sound barriers since their early days. Their performance featured enthusiastic vocals, crackling funky rhythms, and taut, crisp interaction between the brothers, while still leaving space for each individual’s skillfulness to shine.
Whether it was Joseph slapping the keys and delivering his sweet singing voice, Victor showcasing his fantastic bass work and unique sounds, Roy controlling the drums and stepping out front with his invention, the RoyEl (a portable guitar-like or keyboard-like instrument with a unique combination of beat and pitch), or Regi’s signature guitar style of chording, slapping, tapping, and feverish strumming—each brother brought their own unique sound, and it all blended together perfectly.
As the night went on, there were more surprises, more sounds, and more energy than I’ve ever experienced at a concert. The crowd was mesmerized, and I was completely captivated. The creativity, appeal, and sheer talent on display were unparalleled.
As the show came to a close, the crowd was in awe, thrilled by what they had just witnessed. I don’t think anyone expected to hear what we heard that night. If you ever have the chance to see The Wooten Brothers live, you absolutely must. It’s not just a concert or a show—it’s an incredible, transformative experience.
The Wooten Brothers may be the most talented (and underrated) band in the world. Each brother is an amazing artist in his own right, but together, they take music to an entirely new level.
One Love – Todd M. Jud
