A Saturday night in downtown Los Angeles is always a good time . . . throw in Heavy Metal masters Machine Head playing a show at The Bellwether and the fact that it is the last night of their North American Slaughter the Martour and you have one hell of a party. Add in that Los Angeles natives Fear Factory, Sweden’s Orbit Culture and Louisville's Gates to Hell are opening the show making it a total banger from start to finish.
February 24, 2024 – a cool Saturday night had the “Head Cases” (Machine Head die-hard fans) lining up early at The Bellwether to be the first into the venue to get that front row rail spot. The Bellwether is a new venue in downtown Los Angeles that opened in 2023 with a 1500-person capacity, has convenient, inexpensive parking and a nice layout with a spacious balcony and outdoor patio – this venue looks to be a great new spot for national touring acts hitting SoCal.
The five week Slaughter the Martour started in San Francisco back on January 19 where Machine Head kicked off the tour with a hometown show and then crossed the US into Canada and is now ending in Machine Head’s “second hometown” of Los Angeles.
Gates to Hell opened the show at 6:30pm to an already packed house and kicked off the night with some brutal Death Metal. Los Angeles traffic prevented Hunnypot Live from witnessing this onslaught, but they certainly created a buzz in the venue after they left the stage.
Next Orbit Culture kept the brutality going but with a bit of a more melodic approach and opened their 40-minute set with “Saw” from 2018’s Redfog album and they crushed Los Angeles throughout their set. Vocalist/guitarist Niklas Karlsson was very thankful to Machine Head for taking them on this tour and to the fans for their support. Karlsson had the maniacs on the floor do a “Wall of Death” at least 2 times if not more and had the thrashers on the floor getting extremely rowdy. The night ended with “Vultures of North” and this set was the perfect segway into Fear Factory hitting the stage.
Fear Factory . . . always a huge draw in Los Angeles, such an innovative band that set the bar high for industrial metal. The machine gun riffs and drumming combined with the Death Metal growls and clean vocals put them in a league of their own. While Dino Cazares remains the sole original member, the band is at the top of their game with Milo Silvestro now on vocals as he brings a well-received spark to the bands live performance.
The night started with “Shock” then into “Edgecrusher” that had Brandan Schieppati from Bleeding Through join Silvestro on vocals. Cazares continues to have a magical right hand rifling those riffs on his seven string Ormsby guitars and also smiling endlessly while doing so. With Tony Campos out touring with Static-X, Javier Arriaga is filling in for the current live shows in place of Campos and doing a fine job doing so. And on drums – Pete Webber (also plays in Havok) . . . Webber is a small man but GEEZ he is a total animal smashing those skins – WOW!!!
The fans have quickly taken to Silvestro on vocals as this must be the 4rth or 5th time Fear Factory has played SoCal in the last year and the hometown crowd is loving this version of Fear Factory. The night ended with the 1-2 punch of “Demanufacture” and “Replica” and the stage was now set for Machine Head to destroy Los Angeles.
At 9:30pm the lights went dark and the guitar intro to “Imperium” played as Robb Flynn strolled out to his microphone as the rest of the band (Jared MacEachern on bass, Reece Scruggs on guitar and Matt Alston on drums) took their places and all hell broke loose as the song picked up its pace and Flynn barked out “Hear Me Now” . . . instantly a huge mosh pit erupted and the crowd surfing started. The elaborate stage backed with a large video screen played images pertaining to each song as the band played. Flynn asked Los Angeles “If You Motherfuckers were ready to have a good time with Machine Head tonight” and then if “They wanted it Heavy” before launching into “Ten Ton Hammer” which electrified the crowd even more.
Machine Head and especially Robb Flynn is one of if not the most ferocious and aggressive bands to play on a live stage. This band just makes you want to bang your head and pump your fist and Flynn knows how to work the crowd into a frenzy. The band played a perfect mix of songs from the majority of their records equaling a head-crushing setlist.
MacEachern now 11 years into his tenure with the band has a very dynamic stage presence often interacting with fans in the front. Reece Scruggs has been filling in for Wacław "Vogg" Kiełtyka while he was unable to attend some shows in the USA but since Vogg recently announced his departure from Machine Head – it is unclear who the permanent guitar player will be – Scruggs would be a perfect fit for Machine Head but he also plays in Havok so we are all eager to see what happens. On drums Alston holds his own as he pounds the crap out of his kit during every song – a very dynamic drummer.
It's great to hear “Bulldozer” and “From This Day” in the set and the fans went batshit crazy during these songs, “Aesthetics of Hate” was dedicated to Dimebag and the solo tradeoffs between Scruggs and Flynn during “Locust” were magical, Milo from Fear Factory came out to sing the second verse on “Davidian”, so many epic moments during this show . . . THAT is Robb Flynn, he makes EVERY minute on stage something special.
Flynn thanked all the bands out with them, and all the fans of Los Angeles and the band went into an epic version of “Halo” to end the night and the tour. Machine Head proves once again they are the kings of all things HEAVY and delivered a 90-minute masterpiece of a show.
Machine Head Set List:
Imperium | Ten Ton Hammer | CHØKE ØN THE ASHES ØF YØUR HATE | Aesthetics of Hate | Old | Locust | The Blood, the Sweat, the Tears | NØ GØDS, NØ MASTERS | SLAUGHTER THE MARTYR | Bulldozer | From This Day | Davidian | Halo
Styx graced us with their magical and stunning presence last Tuesday night at Hard Rock Live in Sacramento. What can I say about Styx that anyone older than 40 doesn’t already know? They are an amalgam of yacht rock and progressive rock mixed in with heavy guitar from the 1970s. This band effortlessly defies the odds, their ages, and has kept their pitch harmonies, melodies, and rock thunder rolling since 1972. Originating from Chicago, Styx has been impressing its fans for over 50 years. They are a powerhouse ensemble and a real 'heavy outfit' as I would call them. Although they began in 1972, Styx really didn’t come into their own until the addition of Guitarist and main songwriter, Tommy Shaw, in 1975.
Checking out the stage prior to liftoff, fans were presented with the familiar 'Styx' logo along with two ramps on either side of the drum riser. As lights dimmed, fans knew it was time for a true rock and roll show here in Sacramento. The show kicked off in true Styx form with one of my favorites, “The Grand Illusion”. This song truly showcased Lawrence Gowan and his amazing talents (on vocals and keys) from the very first note, demonstrating his charisma and stage presence (which I believe are second to none.) 'Dennis who' is what I was thinking as Gowan demonstrated in spades his incredible showmanship for the now packed theater. Wow!
The timeless ballad “Lady” was next up next. I really love this song (written by former founding member Dennis De Young for his wife, Suzanne.) Being the oldest song on the set list (from their second album, Styx II,) it took us all back in time and was a song I won't soon forget. Tommy Shaw took over on lead vocals for “Too Much Time On My Hands” (from the album Paradise Theater) which was the first album I bought with my own babysitting money the day it came out in 1979. Next up on lead vocals was James “J.Y.” Young for "Miss America” (also off The Grand Illusion). So good.
Throughout the evening, James Young and Tommy Shaw shared guitar duties and traded off leads like complete pros, mesmerizing fans with their incredible guitar prowess. Bassist Ricky Phillips (who has played with heavyweights such as Ted Nugent, Jimmy Page and was formerly with bands Bad English and The Babys) held down the low end while Drummer Todd Todd Sucherman (the 'baby' of the group at age 54) absolutely killed behind the skins.
Many songs from Pieces Of Eight were to follow, giving the new guy, Guitarist Will Evankovich a chance to shine. “Rocking The Paradise" from the same titled album was amazing, with Gowan and his keyboard doing 360s and he showed us he must be keeping up with his yoga by playing the keys behind his back (in addition to running all over the stage without breaking a sweat.) Taking it down a notch or two was an amazing instrumental, “Khedive”, a stunningly beautiful piano piece.
Next up was “Lost At Sea”, then of course the amazing hit “Come Sail Away” (made famous by South Park - lol). I couldn’t help but laugh a tiny bit during the song, but I truly love it and the whole arena was provoked into an unplanned sing along w/ Gowan. Wrapping up the evening was a two-song encore consisting of "Mr. Roboto" and “Renegade”, which had everyone on their feet even more so than the whole night.
Bottom line, Styx's show on Tuesday night at Hard Rock Live was a testament to a legendary band that has withstood the test of time (and then some). They highlight what's great in Rock and Roll today, and continue to electrify fans with performances that transport fans of all ages to a place and time where all that mattered was the music itself. Thank you Styx for one incredible evening!
The final show of Chance Pena's I Am Not Who I Was US Tour at the Teragram Ballroom in Los Angeles was a night filled with music that transported you to the nostalgia of childhood while also filling you with dreams for the future. The evening kicked off with Hayd, an artist celebrated for his emotive songwriting and a fine blend of sorrowful tunes and witty humor.
Opening with the song "Airplane Mode," Hayd connected with anyone who's felt the pain of drifting apart from close friends due to life's inevitable changes. He shared anecdotes about his travels to Los Angeles, enchanting the audience with his entertaining storytelling. Laughter rippled through the crowd as they engaged with his narrations.
Hayd's performance of "Don't Go, Don't Leave" was a poignant moment, eloquently capturing the fear of loss and the desperation to hold on. Another moving moment was when Hayd crooned a cover of "A Team," creating a sense of unity as the audience joined in, their voices weaving together in harmony.
Perhaps the most memorable aspect of Hayd's set was his vulnerability when he revealed feelings for a girl, sharing the story behind a song he had written for her. He then performed the song "Atlanta," its emotional depth magnified by the backstory. It's true—the more open an artist is, the deeper the connection the audience feels.
After Hayd's exit, anticipation built up for Chance Pena. This marked my second opportunity to witness his live performance, and it was delightful to see familiar faces from his previous LA show. With a full band backing him, there was a noticeable surge of vibrant energy.
Chance's growth in confidence was palpable; he exuded an air of belonging on that stage, especially when bathed in red light that seemed to echo his dynamic presence. His song "Sleep Deprivation" resonated with many, its message a reminder that persistence is key to reaching one's aspirations, one step at a time.
The high-octane "Upside Down" electrified both the stage and the audience, followed by an intense rendition of "Bleeding Out," which tugged at the heartstrings of anyone familiar with the desperation to save a crumbling relationship.
An unexpected birthday celebration for Chance ensued, causing a heartwarming pause before he performed "In My Room." Another collaborative piece with Hayd, "Highs and Lows," proved catchy, its melody lingering long after.
Yet another birthday surprise unfolded as a cake appeared on stage—a charming repetition of past experiences at the Teragram Ballroom, coloring it as a venue of celebratory serendipity.
Towards the finale, Hayd rejoined the stage for "I Am Not Who I Was," a track whose poignant lyrics provided a fitting anthem for the tour. The camaraderie between Chance and his friends, palpable throughout the show, spoke volumes of their bond.
Reflecting on the evening, it was one of those exceptional events that serves as a heartfelt reminder to cherish our personal voyages and the companions we meet along the way.
Dalton & the Sheriffs are a rare thing: a country band from Boston. Through steady live work, both at local bars and opening for national acts, the quintet built up a strong regional following. Singer Brian Scully started the band in 2012 and began playing a local acoustic residency on Sunday evenings, eventually building to a regular weekly gig at the House Of Blues where 1000's attend every show. A debut album titled East of Broadway arrived in 2013. Over the next few years, the band gigged regularly across the East Coast, building up a solid fan base. Currently, Dalton & the Sheriffs have Released 3 Studio albums, a LIVE album, and several singles. Their current release We’re Still Here, is fueled by the brazenly infectious pop-country euphoria of the singles “Better Than OK” and “Wide Awake”. The vibrant nine-track LP was written during a trip to Granite Hill Lodge in New York State, and recorded at The Halo Studio in Maine with producer Kevin Billingslea.
“We’ve been lucky enough to write and record a ton of music,” says Dalton & the Sheriffs ringleader and frontman Scully. “What stands out to me about this recording is how collaborative it was from the very beginning. We’ve built up a ton of trust amongst the band members while working together at The Halo. It’s the most fun we’ve ever had making a record and I think it shows.”
Hunnypot is proud to be DALTON & THE SHERIFFS official sync representative Masters & Publishing, ask us about LICENSING!
I often wonder how hard it must be for young artists coming up to find a voice in the new corporate world of packaged media and streaming. The idea of the 70’s and 80’s and garage bands seems such a thing of the past, and much of the fun has been taken out of the industry. The angst of the 90’s grunge was replaced with the apathy of the 2000’s and whatever happened in the 2010’s… seriously an entire decade went by without creating it’s own vibe. I mean, really, what was the rock style of the 2010s? Sadly, we are almost halfway through the 2020’s and the industry is still struggling to figure out what it is, or more importantly what it isn’t. But there may be some hope.
Blowing out of Rochester, New York comes a breath of fresh air, Wicked. On the face, this foursome looks like a vintage 80’s band that, when they take the stage with shirtless swagger, could almost be compared to the parody of “Steel Panther”. Brothers Daniel Martin (bass) and Chad Michael (lead vocals), are joined by Scotty B, (lead guitar) and Gunner (drums), and the foursome’s onstage looks like Vince Neil and the band Nelson had quadruplets (and it’s epic). Their flowing platinum blonde hair and shirtless swagger would give Kane Roberts a run for his money. Lead singer Chad Michael captures a perfect Val Kilmer / Jim Morrison vibe, and works as the perfect front man, but that’s where it gets surprising. Wicked is a band that feels like it was stuck in a time capsule in 1988 and has come out into this new Millenium ready to party. They are the Encino Man of Hair Bands. It’s that unapologetic vibe that I think hits hardest. They aren’t a tribute band, they are just Wicked. I liken them a more energetic Greta Van Fleet, and whereas the Kiszka Brothers are surely talented, I would rather join the Wicked brothers on the road as you know it’s going to be crazy. They would fit in perfectly on Sirus XM: Hair Nation, and get a huge following… if the industry wasn’t so incredibly broken.
Before delving into their music I checked Wicked out on Social Media and their media game is solid. Their self produced BTS, “Rock n Roll Circus Show”, showcases the personality of the band and truly gives you that garage band fun vibe. You can feel the comradery and the energy.
Their new album Sunburn drops March 1st on Apple, Amazon, Spotify, Deezer and Tidal. The videos for “Sunburn” “Gorgeous” and “Lost in the Dark” have already dropped on YouTube and give a good look at the vibe. The title track is a perfect introduction to the band. It has instant hooks and a catchy chorus that you can’t get out of your head. I would liken it to some early Sum 41 work like “In Too Deep”, with a bit of a heavier guitar riff. The lyrics delve into the hazards of having too much of a good thing, a perfect fit for Wicked. “Seal It With A Kiss” leans into the traditional Hair Metal vibe with Chad Michael showing his impressive range and a solid rhythm section. Fans of the Canadian band Brighton Rock will feel like it’s a track that dropped right off one of their albums. “Gorgeous” needs to be watched to be appreciated. This band is so visual and entertaining. The would have been huge on MTV, and the video’s production value is solid. They are ticking all the boxes.
“Nightmare” and “Lost in the Dark” are really showpieces for Scott B on guitar, a great mixture of riffs and solos. “Cali” is a playful piece with solid vocals and great rhythm by Daniel Martin with a heavy driving bass and Gunner’s solid drum work. The band worked ten time Grammy Winner Nacho Molino to produce the album and it was time well spent. As you get deeper into the album, tracks like “My Little Rock n Roll” and “Dude” are solid while lacking some of the hooks of the earlier tracks, one of my favorites on the album is “Get Away with Enough” which has some great time changes and Chad really leaning into his vocal range. The album finishes up with “Summer and Sun” a light playful tune with some great blues guitar work by Scotty B. I had hoped for a classic 80’s Ballad but alas it was not to be, maybe on the next album. A solid effort that really deserves to get some attention.
Bottom line, Wicked's latest release, Sunburn, is a solid effort that pays homage to the glory days of hair metal while infusing a modern sensibility. With their infectious energy, charismatic stage presence, and undeniable talent, Wicked is poised to make waves in the rock 'n' roll landscape. It's time for the world to take notice of this electrifying quartet and join them on a journey back to the golden age of rock.
The last time Rabit and I were at the Toyota Arena in Ontario, it was to see pop violinist Lindsey Stirling for her Christmas show in 2019, 4 months before the pandemic started. It was an emotional time for me at that as well because 2 weeks later my father passed away. I had not been back since, but an opportunity presented itself to us as a chance to somewhat heal and reflect (not to sound macabre). By chance, Rabit and I got approved for Tool on February 17th. The enigmatic progressive/alternative metal legends graced Ontario with their presence as part of their current winter tour celebrating Fear Inoculum. Opening for them this time was stoner metal outfit Elder. This will be my second go around with Tool as I covered them once in 2019 at the Crypto.com Arena (back when it was the Staples Center), but this was Rabit’s first go and boy was he excited. Time to experience the wonder of Tool once again.
Before Tool, Ontario experienced a new high with Elder. Having been around since 2006, Elder has an interesting blend of stoner metal and doom metal, like Black Sabbath meets Kyng. Frontman/lead guitarist Nick DiSalvo had a more harmonic style of singing that is not always common in a stoner metal group, but he makes it unique and vibrant. Also, when comes to the long solos, he hypnotizes the metalheads in the arena, drawing them into a new realm of consciousness. Along with longtime bassist Jack Donovan, 2nd guitarist Mike Risberg, and drummer Georg Edert, Elder dazzled the crowded with their eclectic sound and glorified jam session that included the songs “Sanctuary,” “Merged in Dreams – Ne Plus Ultra,” and “Halcyon.” As I got lost in their sound, I felt so at ease thanks to Elder. This helped us all prepare for the journey we would take with Tool.
After a brief intro into “Third Eye,” Tool walked onto the stage one by one. As soon as frontman Maynard James Keenan entered, “Fear Inoculum” kicked into high gear. During the whole set, he would alternate between two side platforms while bobbing his body to the motion of the music. A mohawk silhouette with a masterful voice, Maynard lived up to his reputation as an eccentric outsider of the world of rock ‘n’ roll, who also insisted (or ordered, lol) the fans to put their phones away and enjoy the ride (of course a small handful did not listen). Guitarist Adam Jones was visually stunning with guitar prowess and playing technique, making each song he plays visionally mesmerizing. Personally though, I was more amazed by bassist Justin Chancellor. His lead bass riffs put me in a trance that dances between euphoric and spiritual. Chancellor’s insane licks went along nicely with drummer Danny Carey’s bombastic technique. Watching him behind the kit is like watching a magician showcase his tricks. It is no wonder Carey is considered one of the greatest drummers around, mixing rock, jazz, metal, progressive, and alternative into one delicious stew for our ears.
Tool’s set was split into two parts that included an intermission after six songs. That makes sense given that Tool’s tunes are usually between 7-11 minutes. During the first part of the show, it was a mixture of songs from Fear Inoculum, 10,000 Days, and Lateralus. They included “Jambi,” “Rosetta Stoned,” “Pneuma,” “Descending,” and my all-time favorite, “Schism.” I do not know what it is about “Schism” that cranks up my engines, but it has one of the greatest bass riffs ever that puts my mind to ease. Following the intermission, Carey comes back out in a muscle body suit that resembles the artwork from the Lateralus cover. From there, he went into the instrumental “Chocolate Chip Trip,” showcasing his talent. In the middle of the set, he attached a GoPro camera on his chest to show how he works. It was out of this world; not even Tommy Lee could not come up with that. Tool performed three more songs following Carey’s performance, which included “Culling Voices,” “Invincible,” and “Stinkfist,” which was when the crowd was allowed to film their performance. I already did that in LA four years ago, so this time, I enjoyed the final voyage of Tool’s voyage.
I have to say, that was a fun show to be a part of. Being back at the Toyota Arena brought back some memories, but Tool really helped me heal in some weird way. Their music really touches me. I admit, it was not really into them until their music was released on Apple Music and gave them a chance. As I have seen, they are good on record but even better live. Elder provided the right kind of high for me, and I dug their set. Overall, that was a perfect evening to take an acidic-like expedition, especially running into Rockaholic and Papa Metal (Marto). To Tool and Elder, I salute you. Horns up!!!
Photos by Matt 'Rabit' Martinez
During NAMM week, the first event to kick off the festivities is the annual Metal Hall of Fame ceremony. Everyone that knows me well knows how I feel about mainstream music award shows and hall of fame ceremonies. They basically shun out the hard rock and heavy metal artists like they are afterthoughts. So, to have this event is a huge deal for us. Unlike the Rock N’ Roll Hall of Fame, this is where us metalheads get to see our favorite headbanging heroes get their long awaited due. Past inductees included David Ellefson, Marty Friedman, Saxon, Joe Satriani, Uriah Heep, Anthrax, Lemmy, and Lzzy Hale to name a few. This year honors Mick Mars, Tom Morello, Sebastian Bach, Eddie Trunk, Tim “Ripper” Owens, and Biohazard.
On Wednesday, January 24, Rabit and I attended the ceremony at the Anaheim Hyatt, where he and I took to the red carpet to show off our alluring good looks. Hahaha just kidding. Rabit took the photos of those who entered through the doorways, while I got to interview a handful of them Sergio Michel to Sebastian Bach, the band London, Mayra Valentine, and Tim “Ripper” Owens. It felt good to chat with these talented musicians, getting their input on what they were looking forward to that evening as well as what the future holds for them. I especially loved interviewing Keith Brock of Kings to Rock, a man of style and rock magnetism. The performances for the evening were good with Sergio and London. It was a grand night for hard rock & heavy metal, and a great way to kick off NAMM week. Be sure to check the interviews below. To all the inductees into the Metal Hall of Fame 2024, I salute you. Horns up!!!
INTERVIEW LINKS:
Adrian Dev: https://www.youtube.com/watch?v=1Ztxh01PWk4&ab_channel=BrandonMcCarthy
Jake E Cyhra & Amaranthe: https://www.youtube.com/watch?v=7TM_99AeUPk&ab_channel=BrandonMcCarthy
London: https://www.youtube.com/watch?v=DesO_iUQE4s&ab_channel=BrandonMcCarthy
Tim Ripper Owens: https://www.youtube.com/watch?v=rFrrvpZ2H0g&ab_channel=BrandonMcCarthy
Sebastian Bach: https://www.youtube.com/watch?v=78WdS6-yRCI&ab_channel=BrandonMcCarthy
Keith Brock: https://www.youtube.com/watch?v=a9ym_UE1I6M&ab_channel=BrandonMcCarthy
Billy Biohazard: https://www.youtube.com/watch?v=oqy_6eX3AIk&t=1s&ab_channel=BrandonMcCarthy
Wendy Dio: https://www.youtube.com/watch?v=TckrtJHpFBU&ab_channel=BrandonMcCarthy
Mayra Valentine: https://www.youtube.com/watch?v=bserGHGtHB4&ab_channel=BrandonMcCarthy
Photos by Matt 'Rabit' Martinez
On March 1st, Romain Virgo will be releasing his 4th studio album, The Gentle Man. We’ve waited quite a few years for this new album, and I'm here to tell you, it is well worth the wait. This 12 track release gives us Romain’s wonderful Lover’s Rock stylin’ but he brings us a little more with Reggae Roots, Afrobeats and more. This album shows a leap of growth in the song writing, compositions, voice and over-all feel. This is his most personal and complete album to date. “The Gentle Man is Romain Virgo’s most candid body of work to date. The singer questions, deconstructs, and affirms his beliefs, sharing clear-eyed perspectives across a dozen tracks. He challenges what it means to be a man in Caribbean culture, explores the highs and lows of ‘Afromantic’ relationships, and, in the process, blends classic, foundational sounds with modern sonics.” This taken from the press release, I had to include it because it is so perfectly put. “I kept some important questions in mind while working on this album. Who am I to my fans? To those close to me? To myself? People saw me go from this inexperienced youth with a gentle way of doing things to a man with the same morals, but new understanding. With this project, I present my full, authentic self. This is who I am,” said Romain Virgo.
We start off with “Been There Before” featuring Masicka, what a perfect song to start off this journey. Musically, such a great sound and the way Virgo’s voice flows in and out with the riddim is so great. One of my favorite tracks on this and Masicka and Romain work so well together. I caught myself singing the chorus all day, it just sticks with you, “I’ve been there before, Everything a go alright, memba di darkest part a di night, Is just before daylight.” Next up is another great song, “Switch You On” I love Virgo’s voice throughout this joint, his tone and tempo changing up to this upbeat song flowing along with the beat and rhythm. I got to get up and dance to this. You really feel the growth and maturity of his voice in this song. “Switch you on like a stereeeooo, turn you all the way up, when you feel loooowww.” We slide into “Good Women” with a nice bouncy jam, a nice ode to a good woman. You can’t stop moving to this, such a sweet, happy feel, just puts a smile on your face. Once again, his voice is so great and powerful in this song. We have “I Believe” featuring Patoranking and Silly Walks Discotheque up next. A nice Afrobeat sound in this tune. This has a wonderful, almost gospel-like hook that just hits so nicely. Patoranking works really well with this track and, this is a theme, works so well with Romain. I love Romain moving into a different style with this, but also still holding true to his Lover’s Rock style.
We go back to what Romain is all about with “Want You Now” when he really belts it out and sounds fantastic. His voice really flashes in this song, flowing through the music with ease. It is a recurring theme, his voice playing right along with the beat, riddim, bass and guitar. The growth is so evident. “Red Dress” is next and is a more simple groove, but Virgo hits so well. It’s a song that all men can relate to, thinking back to seeing our love one in that dress or outfit that, after all these years, we still think about. Wear that Red Dress again. “Driver” gives us another one of my favorites, with a really nice drum line and sweeping chorus, produced by Don Corleon. This is another one of those songs that just sticks with you, “Baby I can be your Driver, Drive you anywhere you want to, I can be your soldier, yes Imma fight for you, fight fi your love like….oh oh oh oh oh oh, oh oh oh oh oh oh, oh oh oh oh oh oh.” We come to “No Curfew” another Roots Reggae Lovers Rock tune showcasing his versatile voice. The highs, the lows, the tone, the tempo, just so so sweet and perfect.
“Take It Or Leave It” is his most intriguing and versatile song on the album. This is a Reggae, Hip Hop, R&B and Trap groove, mixing these different styles throughout. Virgo even giving us a nice flow of a mix of rapping and singing. A great change for this album and really shows the excellence of Romain’s voice and flow; it is not forced, it comes with ease. We get another Lover’s Rock groove with “10 Just Like That.” That guitar hitting throughout, a nice chill song, the flow from Romain is so nice, it just flies right through this joint. Next up is another one of my favorites, “Bridges” featuring Jesse Royal. Just a real nice rhythm to this, the music just seems to take you away. I love Virgo in this and when Jesse comes in, it just takes this to another level. I really hope we see a lot more collaborations between these two. Their voices and styles compliment each other so well. I have seen Jesse Royal many times live, I close my eyes and picture seeing Romain and Jesse on stage doing this live. Love It! The album is finished off with “You Must Pay” featuring Capleton, and what a wonderful way to close this out. While I love how Romain and Jesse Royal compliment each other, this is on a whole different level. Capleton with his ruff and growl voice is a perfect mix with the soulful sound that Romain brings. On the surface it would seems these two shouldn’t work, but it is almost a perfect combination. Yet again, another one of my favorites on this fantastic journey.
Bottom line, Romain Virgo's latest, The Gentle Man, is one incredible album. There is truly so much to like in this release. I tend to judge an album on how many songs I start to skip over, I am very particular and even with artists/bands I love there are usually one or two songs I don’t get into and skip over. This is one of those albums that you wat to listen to each and every song, every time it comes on. I noticed in a few songs, he has a sound of another singer, a slightly different sound, and this is not a bad thing. It goes to show the control he has over his voice. I love the growth in Romain on this album, coming out of his comfort zone and trying some different styles and ideas, while not major changes, just enough to make each song work so well. The growth and maturity of his voice has really hit me, while he has always had a beautiful voice and has been one of the best voices in Reggae music for years, there is something different this time around. This is a must listen, you will want to add it to your play list. I have to be honest, while I have always loved his voice, I really haven’t had Romain on a regular listen. That will change now, he will be added to my playlist for sure. I feel privileged to get an early listen, I’ll be listening to this all week before it is released, and well after.
One Love – Todd Judd
Pop punk is a genre that seems to ebb and flow through the zeitgeist of the world. But to the true fans, the genre is never dead, and there are always bangers coming out. Ray Hawthorne is setting out to make a name for himself with his new solo EP Heartbreak Feels Good in a Place Like This and with his second single “Heartbreak Feels Good in a Place Like This (I'm NOT Ryan Gosling)” is set to be a pop punk banger.
The song delves into the idea of real-life romance vs romantic movies. With the music video framed as a video dating interview. Ray introduces himself to the camera with the tropey charismatic charm you would expect of a hunky guy flirting with the camera. But it’s when the lyrics kick in that Ray gets into the real aspect of what a relationship might be like with lyrics like:
“And I'm gonna be an asshole sometimes”
“My dogs gonna be a cock block sometimes”
“We're all gonna be a lost cause sometimes”
“We're all gonna be fucked up sometimes”
These lyrics are juxtaposed with imagery of Ray green screened into movies like Barbie, Spider-Man, Pretty in Pink, Ricky Business, and others. Seeing him alongside these leading men helps set the image in your mind that he is perfect like Ryan Gosling. But it’s the lyrics of him crying out in earnest, expressing that he has faults and is human. Singing “I'm NOT Ryan Gosling.”
Ray Hawthorne crafted a fun upbeat pop punk sing a long song. But it’s when you pay attention to the lyrics that you realize the truth about how we all get compared to these perfect movie characters that we can never live up to.
While growing up, you get introduced to music and all of it is new to you. You can fall in love with it, or it may not be your thing. You may love the music, but since you’re still young you only hear the song or band in passing, and may never get a chance to really save that memory. The song or band is then lost to the sands of time as it fades from your memory. That is, until one day you are shuffling music on Spotify, and you hear a familiar tune. It can re-awaken memories you didn’t know you had and take you right back to your childhood. One of those bands for me was Porno for Pyros. I saw that they had announced a farewell tour, and though I didn’t currently listen to them, something deep in my mind had a fondness associated with this name. After looking them up, I rediscovered music I hadn’t heard in literal decades. I couldn’t miss my chance to sing a long with music I found so much enjoyment from when I was younger. Coming to the Observatory in Santa Ana to start off their Horns, Thorns, and Halos Farewell Tour and bringing with them Tigercub and Glossy. I was ready to relive my childhood.
Opening the night was a band known as Glossy. As these three stepped on to stage, the audience had no idea what to expect, but Glossy was there to play some punk rock loud and blast it right into our faces. Opening with “Sleep Sacrifice,” the lead singer and guitarist was nearly throwing a tantrum as he sang into the mic. All the while creating a distorted mess of guitar licks that still carried a melody to them. The drummer kept the pocket grooving while the bassist seemed to be the most cool, calm, and collected person on stage as she just vibed to the music. Sadly, I could not find the band members names, but their music came pre-loaded with a fat tone of groove. Playing songs like “Sinaloa,” “5th Loko,” “Drop the Ball,” “Substance Abuse,” “Up and Up,” “MDMA,” “Didn’t Plan to Stick Around,” and ending with “Emily.” Glossy was a fun way to start the night.
Up next was a band from Brighton, UK called Tigercub. This trio was helmed by guitarist and vocalist Jamie Stephen Hall who towered over his stacked cabinet of amps. So much so a fan shouted out “How fucking tall are you!” I imagine he gets that often. Opening with the song “Swoon” you could hear the fuzz radiating out of Jamie’s guitar. As bassist and backing vocalist Jimi Wheelwright joined in to sing the harmonies, Tigercub could be felt channeling the power of the band Muse. Complimenting them with tone and style, Tigercub has the finesse to write big stadium anthems. None of the members could be contained on stage either, as Jimi was constantly wriggling his body around the stage while playing. Drummer James Allix elevated his playing with high energy style coming down on his kit with emphasis. The music also had such different movements to it. You never felt like you were listening to the same song over and over again with different lyrics. Tigercub’s music had layers, tempo changes, and James handled the push and pulling that the flow of the music brought with it. Gifting us songs like “Dark Below,” “Dopamine,” “Control,” “Show Me My Maker,” “Beauty,” “Play My Favourite Song,” “The Perfume of Decay,” “Shadowgraph,” and ending with “Stop Beating on My Heart (Like a Bass Drum).” I’ve seen the name Tigercub before, but after this show I am now keeping a closer eye on the evolution of this band as I know they are going places.
Finally, it was time to see the band we would be bidding farewell to, Porno for Pyros. The venue was illuminated as the members walked on stage. You can hear the passion in the cheers and cries as vocalist Perry Farrell specifically walked out. This was my first time seeing Farrell live, and when he started to sing their opening song “Meija,” I was awe-struck with just how powerful of a voice this man has. Farrell can belt and sustain his vocals with such power that he pulls the microphone over a foot away from his face, and yet his voice still carries and can be heard by every single person in the crowd. It also lets him emote with vigor through the lyrics of each song. But Farrell isn’t a one man show, and the rest of the band has their moments to shine. Guitarist Peter DiStefano handles the style of the band dressed in a 3 piece suit and shredding on his axe all at the same time. Drummer Stephen Perkins is a multifaceted percussionist as he handles the different styles that Porno for Pyros blends. From playing in the pocket, to an alternative rock style, bleeding into funk metal, and grooving with a psychedelic vibe. Bassist Mike Watt appears to have injured himself as he was relegated to a seat while slappin’ the bass. But that seat could not confine his energy, as he was bouncing with the rhythm of each song. Dressed in a vibrant yellow shirt and tie, he had the charisma and energy of SpongeBob. Playing songs like “Wishing Well,” “Sadness,” “Agua,” “Tahitian Moon,” “Porpoise Moon,” “Porno for Pyros,” “Pets,” “Good God’s://Urge!,” “Blood Rag,” “Little Me,” “Orgasm,” “100 Ways,” “Cursed Female,” “Cursed Male,” and ending with a two song encore of “Hey Gypsy Boy,” and “Bad Shit.” Porno for Pyros crafted their setlist to create a melody that moved with an energy that ebb and flowed, but never gave the audience a chance to lose interest in what they were experiencing.
Porno for Pyros isn’t a band name I feel you hear talked about all that often. But the sold out crowd at the Observatory was filled with die hard fans that have been with Perry and the boys for the long run. Getting to hear so many of these songs live, I rediscovered songs that I haven’t heard since my childhood. I also developed such an appreciate for Farrell as a vocalist. He’s always had an instantly identifiable and standout voice, but finally experiencing it firsthand was a trip I’m glad I got to go on. This was just the first stop of their farewell tour, and I highly recommend anyone and everyone to make sure they catch a show before Porno for Pyros are gone for good.
