Shaniel Muir, the Jamaican rising star, is rapidly developing into one of the most exciting and significant singers to emerge from Jamaica in recent years. With her signature blend of dancehall and reggae, she has gained popularity by sharing the ingenuity and tenacity of the Jamaican people. Known for her undeniable ability and passion for music, Shaniel is recognized for her distinctive fusion of genres and moving lyrics that highlight the hardships and triumphs of her homeland.
After taking some time off to reflect and focus on herself and her family, Shaniel says she is returning to the music space refreshed and re-energized about her professional journey. “I needed to take some time to myself to regenerate and refresh. I felt it was necessary at the time to take a step back and regain my focus because I knew I would need that going forward. Behind the scenes during that period, I was working, listening to beats, writing, and of course spending much-needed time with family… And I came out of that season feeling so centered and renewed,” she recently told the Jamaica Observer.
Her latest EP delves into themes of love, loss, growth, and deep reflection.
The EP begins with “Next Flight,” a perfect song to kick off this journey. It sets the tone, letting us know we’re about to “embark on a magical journey through mystical skies within the stardust and love.” It’s a track that carries your heart away.
Next up is “Tell Me,” a smooth slow jam with a captivating beat that showcases Shaniel’s wonderful voice. She then brings us an upbeat tune with “Secured.” This track is a personal favorite—it keeps me grooving to the beat while highlighting her versatility. Reflecting on the song, Shaniel said, “I am happy, I’m confident, and just looking forward to all the good things that will happen as a result of that.”
Chronic Law joins her on “Disguise,” another upbeat riddim with a great beat. Chronic Law delivers his signature flow, complementing Shaniel perfectly. However, it’s her ability to change up her tempo and hit the lyrics with precision that truly makes the song stand out.
She slows things down again with “Conflict of Interest,” a track filled with strong and powerful lyrics. The EP was produced by Damage Musiq, who provided some truly exceptional riddims for Shaniel to work with.
“Protected” comes next, delivering a message of faith and resilience. In this track, Shaniel lets us know she is protected by the Most High and confident that she will be fine. Her flow over the dancehall-inspired beat is smooth and uplifting.
The EP concludes with an acoustic version of “Protected.” This stripped-down track is a standout, showcasing Shaniel’s fantastic voice in a raw and intimate setting. It leaves you wanting to hear more of her voice and lyrical flow in an acoustic format.
It’s great to have Shaniel Muir back, creating music for our ears again. She taps into themes of love, good times, and trying times, packaging it all into a sound that resonates deeply. Her fusion of reggae and dancehall is seamless, and her passion pours out through her lyrics. She not only highlights the difficulties and victories of the Jamaican people but also shares her personal journey.
Her time off was clearly much needed, and she has returned stronger than ever, ready to flourish.
One Love – Todd M. Judd
On April 12, 2025, the Moroccan Lounge lit up with an unforgettable night of comedy, high-energy movement, and music that’s bound to live in your head rent-free. Senses headlined the evening, with powerful support from Negative 25 and Mvssie. Each artist brought their own distinct stage presence, captivating the crowd in their own way. It was clear the fans loved every minute—every performance was met with energy, excitement, and genuine appreciation.
Mvssie’s drummer hit the stage first, hyping up the crowd before Mvssie herself came running onto the stage with a big smile on her face. Her setlist that night included songs such as “Therapy,” “Cold,” “Bite Me,” “Self Sabotage,” “Downfall,” “I Swear It’s Not the End,” “Stay,” and “Wonderland.” She even performed a cover of “That’s What You Get” by Paramore, during which the entire crowd sang along, and she passed the mic to fans in the audience. Mvssie moved with confidence and interacted with the crowd throughout her set. Her energy and music are reminiscent of Maggie Lindemann, so if you love Maggie’s music, you’ll definitely love Mvssie.
Her performance of “Stay” was emotionally captivating, while her drummer gave his all to every song—you could tell he was having a blast on stage. There was even a memorable moment of Mvssie interacting with the drummer during her performance of “Wonderland,” with the lights perfectly matching the music. If you’ve ever felt like you were going insane, you’d connect deeply with “Wonderland.” Her music is truly for all the fighters out there who keep getting up no matter what.
Negative 25 showed their appreciation for their fans as soon as they hit the stage. Fans at the front even gave small plushies to the band, creating a wholesome moment. The band expressed their gratitude, talking about how much they appreciated the kindness of their fans and hearing their stories while on tour. Brett and Bradley both sang and played guitar, commanding the stage with strong presence. They ripped on guitar and weren’t afraid to show off with cool tricks.
Their setlist included songs like “Are We Having Fun Yet?,” a brief cover of “Teenage Dirtbag,” “Sad Boy Summer,” “So What I Lied,” and a cover of “Shake It” by Metro Station. During “Are We Having Fun Yet?,” Brett jumped into the crowd, further energizing the audience.
Negative 25 had top-tier crowd control, getting the audience to put their hands in the air, sing along, and even crack their knuckles in unison. Their humor was infectious, capable of making even someone having the worst day laugh. Despite their self-deprecating jokes about “sucking,” the truth is the complete opposite. One girl in the audience looked like her whole year was made just by seeing them perform. Their energy was contagious, and it clearly transferred to the crowd. At one point, bubbles floated through the venue, adding to the fun atmosphere. Everything about Negative 25 screamed that they’re destined for big things, and it wouldn’t be surprising to see them headlining their own tour soon.
Finally, it was time for the headliner of the night, Senses, to take over—and they did so with a bang. Lead singer Madison Taylor moved on stage with such charisma that you couldn’t take your eyes off her. She exuded rockstar energy, often performing with her hair in her face but always making it look effortlessly cool. Throughout the set, she and her bandmates interacted on stage, including a moment where she grabbed a drumstick and joined the drummer.
Senses’ setlist included songs like “Diamonds on Your Dagger,” “Gonna Make Sure,” “Every Little Thing,” “See You Go,” “The Comedown,” “When It Rains,” “Maybe,” “Stabilizer,” “Me Against Me,” “Novocain,” “Nosebleeds,” their cover of “Good Luck Babe,” “No Fun,” “Playing Dead,” “Sleepwalking,” and “Better Than This.” At one point, Madison played acoustic guitar with an energy rarely seen in acoustic performances.
There were moments when the audience turned off their lights, creating a sense of connection that felt almost magical. The crowd came alive during their performance of “Good Luck Babe,” and by the end of the set, it felt like the entire room was sweating from dancing. Even the sad songs made you want to move.
One standout moment was when Madison kicked her foot in the air with a smile on her face, embodying the joy and energy of the night. She also brought humor into her song introductions, such as for “No Fun.” The drummer played a strong role in every song, and Madison’s spark and passion were evident throughout the performance.
The last time I saw Senses, they were an opener, but even then, they felt like a headliner. Now, they scream world tour energy. It’s hard to believe this is their first headlining tour. Their songs are beautifully written, with lyrics that stick in your head. “Nosebleeds” is a reminder to never let anyone bring you down, while “Me Against Me” is incredibly relatable for anyone going through tough times. They left the audience hooked and wanting more.
The night ended in a flash, but it was a show that will remain a fond memory. Senses, Negative 25, and Mvssie are artists you don’t want to miss. Their songs are relatable and connect deeply with their fans. Frankly, every artist deserved an encore, and I can’t wait to see what they do next.
The California Integrated Seismic Network was flooded with calls about the ground shaking in Santa Ana, CA, on Saturday night, April 5. However, it was confirmed that there were no earthquakes in the area. The disturbance was originating from The Observatory, triggered by the bands Napalm Death, The Melvins, Weedeater, and Dark Sky Burial as the Savage Imperial Death March Part II tour made its second of three Southern California stops at the iconic Orange County venue. The tour is a follow-up to 2016’s crushing Savage Imperial Death March tour and has the bands hitting cities across the USA, west to east, then east to west, ending the tour back in California on June 6.
Every stop on the tour begins with Shane Embury (bassist for Napalm Death) kicking off the night with his Dark Sky Burial project. Dark Sky Burial is an eclectic combination of electronic experiments, with Embury onstage working several gadgets, electronic drums, and providing vocal expressions throughout the set. The music ranges from the slow, haunting opening song “Nascentes Morimur Morientes Nascimur” to the up-tempo beats of the set closer “The Jewel Inside the Toad’s Head.” If you’re a Napalm Death fan, be sure to show up early to catch the experimental side of Shane Embury without his trusty bass by his side.
The Andrew Gold song (and Golden Girls theme song) “Thank You for Being a Friend” played over the PA as Weedeater took the stage and began their set with the thunderous “Hammerhandle.” Original members Dave "Dixie" Collins (vocals/bass) and Dave "Shep" Shepherd (guitars), along with drummer Ramzi Ateyeh, kicked off the night with the perfect combination of stoner metal and New Orleans sludge, erecting a massive wall of sound over The Observatory. There really is no better band to play before The Melvins than Weedeater, and they ended their set with the seven-and-a-half-minute, super-sludgy “Weed Monkey.” The Santa Ana capacity crowd fully digested the Weedeater appetizer and was now ready for the Savage Imperial Death March that was going to hit them next.
The Melvins—a truly innovative, legendary band with influences touching every sub-genre of metal out there today—were up next. You never know what you’re going to get with a Melvins live show. Along with the core members, Buzz Osborne (guitar/vocals), Dale Crover (drums/vocals), and Steven Shane McDonald (bass/vocals), there are often other “members” onstage with the band. For this tour, drummer Coady Willis is back, meaning there are TWO drummers for the live show.
The Melvins have such a huge catalog of songs, but they do a phenomenal job of mixing it up year after year for their live shows. On this night, the band began with the thumping “Working the Ditch,” followed by the equally heavy “The Bloated Pope.” While all three core members are a spectacle on stage—Osborne with his vocals and heavy riffage, McDonald with his “loud” attire and mastery of the bass—the focus on this night was watching Crover and Willis command the drums. Often in complete synchronization and other times dividing and conquering the fills, these two put on a master class in noise rock drumming.
The mosh pit and crowd surfing were alive and well during The Melvins’ set, with the intensity picking up a few notches during “Honey Bucket.” The set ended with the slow and heavy “Your Blessened.” The Melvins will release Thunderbird under the moniker Melvins 1983 on April 18, a collection of five new songs featuring original drummer Mike Dillard.
The Melvins were only the “first punch” in the “one-two punch” of sonic brutality on this night. The crowd quickly gained a second wind as the reigning kings of grindcore for the last 40 years, Napalm Death, took the stage. They opened with the sound of “Multinational Corporations” into “Silence is Deafening,” and for the next 60 minutes, The Observatory was blasted with the fastest, most orchestrated noise known to man. Vocalist Barney Greenway led the charge with his overactive stage presence, waving his hands and kicking like a person walking into a spiderweb.
The band’s music is heavily focused on political and social issues, and much of the content from years ago is still relevant today. While longtime guitarist Mitch Harris remains an official member of Napalm Death, he has retired from touring. John Cooke is the perfect guitarist to fill in, while Shane Embury on bass and Danny Herrera on drums summon up the vicious thunder that provides the foundation for the band’s sound.
Most of the band’s songs are less than three minutes long, a nod to their heavy punk influence. This brevity means they can pack more songs into their set. Like The Melvins, Napalm Death has a deep catalog of music, and they did a fine job blending all the “must-hears” with deep cuts. They even included the official Guinness Book of World Records shortest song ever recorded, “You Suffer,” which clocks in at a whopping 1.316 seconds.
The night ended with a cover of Dead Kennedys’ “Nazi Punks Fuck Off,” followed by “Unchallenged Hate” from 1988’s From Enslavement to Obliteration. The crowd gave one last burst of mosh pit energy. The California Integrated Seismic Network may get another night of earth-shaking reports as the Savage Imperial Death March Part II tour plays in Los Angeles at The Belasco Theater on Thursday, April 10. All due respect to every band out there on tour, but this is the HEAVIEST tour of the year.
Last July, Rabit and I headed to the Kia Forum in Inglewood to witness a wondrous metal spectacle. Both Mastodon and Lamb of God celebrated the 20th anniversary of landmark records that helped reshape heavy metal and launched them into greatness. I enjoy seeing these kinds of shows—not only do we get to rediscover these amazing albums, but we also relive our high school days because they made us feel powerful and invincible.
It was during my high school days that I discovered two more acts that helped define the metalcore sound: Trivium and Bullet for My Valentine. Both bands made a huge impact on my life, and this year marks the 20th anniversary of their iconic records, Ascendancy (Trivium) and The Poison (Bullet for My Valentine). When it was announced that both groups would team up with August Burns Red for a tour, with one of their stops being at the YouTube Theater in Inglewood, how could we resist? Rabit, Rockaholic, Buff Metal, our buddy Moose Metal, and I headed off to get ourselves a Vitamin Metalcore shot and feel the adrenaline rush.
Kicking off the night were the Christian-inspired metalcore juggernauts August Burns Red. It had been a while since I’d seen them spread their metalcore message of hope and positivity. Their first song was, of all things, a cover of System of a Down’s “Chop Suey!” An odd choice, but one that fired up every cylinder in my body. Right out of the gate, frontman Jake Luhrs was a heavenly force with his thunderous roars and screams. You could feel the energy he gave off through his lyrics.
His voice was matched by the shredding might of the guitar duo JB Brubaker (lead) and Brent Rambler (rhythm). Every time I hear JB pour his heart into his solos, it ignites my soul. Bassist Dustin Davidson and drummer Matt Greiner remain an insane duo, delivering blast beats and breakdowns with precision. August Burns Red played a mix of tunes that defined them as metalcore greats, mostly from their 2020 classic Guardians. Songs like “Paramount,” “Composure,” “Defender,” “Bloodletter,” “Vengeance,” “Exhumed,” “Marianas Trench,” and “Whitewashed” engulfed the LA crowd with light and energy. There was never a dull moment with August Burns Red, and I’ll be burning for more in the future.
Following the remarkable display by ABR, Bullet for My Valentine was ready to inject the YouTube Theater crowd with a dose of The Poison. As soon as the first riff of “Her Voice Resides” hit, the crowd went into a foaming frenzy. These Welsh metal warriors came to slay and conquer. Frontman and rhythm guitarist Matt Tuck was sharp as a razor with his licks, and his screams were as piercing as they were 20 years ago. No rust could be found in his roars.
Lead guitarist Michael “Padge” Paget dominated the lead riffs and showcased his insane fingering during the solos. Blisters and all, Padge remains a guitarist’s guitarist of metalcore allure. Bassist Jamie Mathias and drummer Jason Bowld bulldozed through breakdown beats and thrash-style tones like a wrecking crew. Hearing The Poison in its entirety fired up the crowd, making everyone feel like teenagers again.
Fans sang along to favorites like “4 Words (to Choke Upon),” “Tears Don’t Fall,” “Suffocating Under Words of Sorrow (What Can I Do),” “Hit the Floor,” “All These Things I Hate (Revolve Around Me),” “Hand of Blood,” “Room 409,” “The Poison,” “10 Years Today,” “Cries in Vain,” and “The End.” Bullet’s night wouldn’t have been complete without a couple of fan favorites to leave the crowd wanting more—of course, I’m talking about “Knives” and “Waking the Demon.” Bullet for My Valentine remains a driving force in the metalcore scene, and they still haven’t reached their peak.
It was then time to devour Trivium. Ascendancy was the album that not only catapulted this Orlando outfit to the top but also made metalcore sound undeniably cool. Frontman Matt Heafy, whom I like to call the Metal Samurai, was disciplined, fearless, and menacing. Heafy is the voice of my generation. Armed with his custom “Snøfall” Les Paul with two straps, his screams and riffs took no prisoners as they opened with “Rain.”
Lead guitarist Corey Beaulieu was rough and tough, going in for the kill with licks that cut through our eardrums like butter. Bassist Paolo Gregoletto, one of my favorites, dazzled us with his gallop rhythm style of playing. Whether using a pick or two-finger plucking, Paolo is the soul of Trivium. Drummer Alex Bent was a thundering machine on the kit, dominating the beats made famous by founding member Travis Smith (I wish he had been there).
A model of the burning humanoid from the Ascendancy cover hovered above Trivium, symbolizing the tribulations the band endured to reach their current heights. From “Pull Harder on the Strings of Your Martyr” to “Drowned and Torn Asunder,” “Ascendancy,” “A Gunshot to the Head of Trepidation,” “Like Light to the Flies,” “Dying in Your Arms,” “The Deceived,” “Suffocating Sight,” “Departure,” and “Declaration,” the YouTube Theater exploded with adrenaline. As the album reached its end, Trivium treated us to a special encore with “In Waves,” the perfect tune to cap off the night.
This was a monumental night for metalheads in SoCal. We were treated to not one but two iconic groups celebrating their breakthrough albums that brought them glory. Trivium and Bullet for My Valentine are quintessential metalcore bands of today, while August Burns Red continues carving out a legacy that will be talked about for years to come. I look forward to hearing new music from all of them, but until then, we’ll continue to embrace the ascendancy they’ve laid before us. To Trivium, Bullet for My Valentine, and August Burns Red, I salute you. Horns up!
Photos by Matt 'Rabit' Martinez
Kenya Eugene is a Caribbean singer-songwriter hailing from St. Croix, U.S. Virgin Islands. She is the younger sister of Dezarie, an international Roots Reggae artist. Her passions include singing, songwriting, modeling, and acting, but music has been a major part of her life for around 15 years. Her music is a perfect blend of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B. What sets this album apart is her exquisite and beautiful voice—a voice that pulls you in right from the start. Her lyrics are equally captivating, drawing listeners in with socially conscious subjects while exploring themes of individuality, love, strength, and resilience.
The album starts off with “I And I,” which establishes the album’s foundation. In this song, she explores the concept of uniqueness from a Black perspective. Kenya Eugene examines the true origins of Blackness, the years of confrontation, and the resurrection of genuine Black identity. She embraces her roots and encourages us all to do the same. This track features a great Roots Reggae riddim with an aural background sound that flows seamlessly with her voice.
“Lift Up My Head” follows, offering a peaceful and warm feel with crisp percussion that will lift your spirits in any situation. Her voice brings an emotional genuineness with a melodic flow that once again pulls you into the song, which is about perseverance and mystical strength.
The album was produced by Alfred “Tippy I” Laurent of I-Grade Records and the Zion I Kings Production Collective, who bring their distinctive sound—deeply rooted in authentic Reggae while effortlessly incorporating modern touches. This collaboration is the perfect fit for the album. Together, they crafted a creation that feels not only fresh but also timeless—a true coherence of the old and the new.
Exploring the ups and downs of love, Kenya brings us “In and Outtah Love.” This track features another sweet riddim—a Lovers Rock riddim—flowing along with her prolific vocals in this deeply emotional song. The keys and drums are delightful, adding to the track’s charm.
The album concludes with “You Are I,” a song about self-worth with magnificent, uplifting lyrics. The song features vivid guitar grooves, lavish textures throughout, and silky rhythms. Once again, what stands out most is her amazing voice.
The production of the album is clean, crisp, and exceptionally well thought out. It is a beautiful fusion of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B that matches perfectly with Kenya’s beautiful, emotional, inspirational, and warming voice. “The EP is a reflection of who I am at the core—my roots, my faith, my love for people, and the energy that connects us all,” she recently said. “Working with Zion I Kings and Tippy I has brought this vision to life in a way that feels so natural and deeply aligned.”
Her music and this album are, as she describes it, Heart Music. There is so much love, strength, resilience, individuality, soul, and consciousness that it absolutely pulls you in and takes you on a fantastic journey.
One Love – Todd M. Judd
First Listen: Tesla’s “All About Love” – A Surprising Hit from a Rock Band I’d Never Heard Of
So, I just watched the music video for “All About Love” by Tesla—and to be honest, I had zero expectations going in. I’ve never really listened to this band before, and I’m not from the generation that grew up with them. But hey, I’m always down to try something new, and this one caught me off guard… in a good way.
The video itself is super simple—just the band jamming together, no flashy edits or dramatic storyline. At first, I thought the feel of it was a little dated, but overall it came across as real and refreshingly unpolished. You can tell the band has been doing this for a while, and it shows in how tight they are as a group. The guitar solos? Absolutely solid. There’s a chemistry between the band members that feels genuine and honestly pretty rare these days.
Jeff Keith’s vocals have this gritty, worn-in vibe that gives the lyrics real weight. “All About Love” is exactly what the title says—straightforward, no frills, but somehow still emotional and easy to connect with. It doesn’t try too hard to be deep, and that actually makes it work even more.
Musically, it’s got that classic rock sound—big guitars, steady drums, a catchy melody. It’s a far cry from what’s usually trending on Spotify or Apple Music, but that’s kind of what I liked most. It’s a reminder that good music doesn’t need to be trendy to be impactful.
Bottom line: Even if you’ve never heard of Tesla (like me), this song is worth a listen. It might just surprise you.
Attending my first Andy Frasco & The U.N. concert at Paradise Rock Club in Boston on March 1, 2025, was nothing short of a full-blown sensory explosion. I’ve been to plenty of shows, but none have captured the same raw energy, unpredictability, and communal joy that Frasco and his band bring to the stage.
From the moment the band walked out to Dolly Parton’s “9 to 5,” it was clear we weren’t in for a traditional rock show. Andy—decked out in flannel and flashing a wild grin—stormed the stage like a man possessed. Equal parts frontman, hype man, and unlicensed therapist, Frasco had the whole room in the palm of his hand within seconds.
Backed by the relentlessly talented crew that is The U.N., the set was a rollercoaster of sound and soul. Shawn Eckels lit up the stage with face-melting guitar solos, while the horn section kept the groove rolling with funky blasts of brass. Each band member had a spotlight moment, but together they operated like a well-oiled, whiskey-fueled machine.
The setlist was a party in and of itself—blending fan favorites like “Crazy Things,” “The Walk,” and “Try Not to Die” with unexpected covers like Joan Jett’s “Bad Reputation” and Nirvana’s “Smells Like Teen Spirit.” Each song brought its own kind of chaos, from singalongs to Frasco leaping off his piano bench mid-key smash.
The peak came with “Circus Life,” a moment that felt like the whole room took a collective breath before jumping right back into the madness. The encore, anchored by “Somedays” and “Dancin’ Around My Grave,” was pure catharsis—Frasco sweating, screaming, and dancing like a man celebrating life itself.
And that’s exactly what this show was: a celebration. Of music, of community, of letting go. This wasn’t just a concert for me. It was a night to remember—and the kind of experience that turns a casual or first-time listener into a lifelong fan.
Paradise Rock Club, Boston, MA
With the rise of heavy metal subgenres, one that has always held a special place in the world of metal is death metal—a genre that infuses the best parts of thrash and black metal combined with morbid lyrical content. Fans have found ways to connect with this macabre subgenre and push their favorite bands to new heights. Probably the biggest death metal tour of the year made its way through the legendary Kia Forum in Los Angeles, CA, with Swedish extreme metal icons Meshuggah finally returning to America and bringing Cannibal Corpse and Carcass along for the ride. Diehard death metal fans were eager to let themselves rage with these three staples of the genre.
Opening the night was Carcass. I last saw these guys at Psycho Las Vegas a couple of years ago and was excited to see them again now that I was more familiar with their music—and they did not disappoint. Vocalist and bassist Jeff Walker has an intimidating growl, like a rabid dog ready to attack. The sneer he holds on his face while singing just adds to the intensity of his delivery. Guitarists Bill Steer and James ‘Nip’ Blackford are a dynamic duo on their axes. With many solos, you could see them almost playing catch with each other, throwing the lead line back and forth, creating a tennis audience out of the headbangers. Meanwhile, drummer Daniel Wilding maneuvered between playing in the pocket and holding the beat down to throwing out blast beats that sent the energy through the roof.
Carcass kept this momentum going with songs like “Unfit for Human Consumption,” “Buried Dreams,” “Incarnated Solvent Abuse,” “Tomorrow Belongs to Nobody,” “Corporal Jigsore Quandary,” and “Heartwork.” One unique moment I got to experience at this show was while taking the elevator down to the floor of the Forum—Steer, Blackford, and Wilding ran into the elevator with us as they were on in five minutes. How many people can say they rode an elevator with Carcass?
Up next was, arguably, one of the most controversial bands in the death metal genre: Cannibal Corpse. For decades, they have been at the forefront of the scene due to the imagery they use in album art, merch, and especially their lyrics. I was finally ready to truly experience a Cannibal Corpse show. As vocalist George “Corpsegrinder” Fisher walked on stage, you could feel his presence fill the arena. The man has one of the deepest guttural growls I have ever heard, and the resonance of it can be felt in your chest.
Meanwhile, guitarists Rob Barrett and Erik Rutan played lightning-quick riffs with the intensity and attack of saw blades cutting through steel. Bassist Alex Webster and drummer Paul Mazurkiewicz locked in together, maintaining a rhythm section that let the moshers go wild in the pit. Cannibal Corpse had the fans eating out of the palms of their hands with songs like “Scourge of Iron,” “Blood Blind,” “Inhumane Harvest,” “Evisceration Plague,” “Death Walking Terror,” “Unleashing the Bloodthirsty,” “Summoned for Sacrifice,” “Stripped, Raped and Strangled,” and “Hammer Smashed Face.”
A moment that caught me off guard was when Corpsegrinder introduced the song “I Cum Blood” by shouting into the mic, “This song is about shooting blood, out. Of. Your. COCK!” The eruption from the crowd to just this phrase rattled the Forum. And people say metalheads don’t know how to have fun.
As the arena went dark, music played over the PA, slowly building in intensity and volume, creating suspense and tension as we waited for Meshuggah to take the stage. When the band finally appeared for their opening song, “Broken Cog,” the arena was flooded with a light show. Meshuggah is mostly known for the technical mastery of their instruments and sound, not so much for their stage presence. While the band mostly stood in place to play some of the heaviest and most technical music you’ve ever heard, the lighting package they brought created the atmosphere for the show.
This is one band where being further from the stage is a benefit, as you get to take in the entirety of the energy of the show. It was unique to see for a metal concert, as at points the arena was hit with a laser light show that felt more like an EDM event. Meshuggah truly made this a special metal show to experience.
But if you managed to get close to the barricade to truly see the band perform, you wouldn’t be let down. Vocalist Jens Kidman loomed over the stage, performing with a growling scream filled with rage. Guitarist Fredrik Thordendal wove guitar lines that floated through shred, catchy riffs, high-intensity solos, and melodic rhythms. The man is a true master of his craft. Rhythm guitarist Mårten Hagström and bassist Dick Lövgren held down the melody for the band, while drummer Tomas Haake proved why he is such a revered figure in the drumming community.
The man’s precision and speed are talents placed on a pedestal that drummers yearn to achieve only in their dreams. Yet he performed with ease, as if taking a stroll through the park. Meshuggah was locked in for songs like “Violent Sleep of Reason,” “Rational Gaze,” “Combustion,” “Kaleidoscope,” “God He Sees in Mirrors,” “Lethargica,” “Born in Dissonance,” “Dancers to a Discordant System,” “Swarm,” “Future Breed Machine,” and a two-song encore of “Bleed” and “Demiurge.”
As the music faded away and the lights came on, there was a new energy in the Forum. It was a communal energy of new friends who had just gone through war together. From Carcass to Cannibal Corpse to Meshuggah, there was an onslaught of chaos and carnage happening in the Forum.
This wasn’t just a concert where we bought tickets, sang along, and had a merry old time. This was almost a rite of passage for those who could camp down in the trenches of the pit and live to see the other side. Fans left with big smiles on their faces from the almost war-like experience we all had, and stories we will pass down to our children’s children of this magnificent night.
Atlanta was ground zero for metal theater on April 2nd as Geoff Tate brought his Operation: Mindcrime – The Final Chapter tour to a packed house at Center Stage. This wasn’t just a nostalgia trip—it was a dramatic, tightly executed rock opera brought vividly to life by a commanding performance from Tate and his fierce, international band. With Operation: Mindcrime performed front-to-back for the last time, the night felt not only historic but deeply personal for the fans who’ve carried this record close for decades.
The evening kicked off with a lively set by the Irish trio Tomas McCarthy on their Fire and Water tour. The pairing of McCarthy’s vocals with Clodagh McCarthy on sax and vocals was sublime. Solid guitar work by James Keegan kept the beat going. They were a rocking band that made you crave a pint of Guinness and the rocky shores of Ireland. I’m looking forward to hearing more from them.
From the moment the house lights dimmed and the intro “I Remember Now” played over the PA, a palpable electricity settled over the room. It was clear the audience—made up of diehards in vintage Queensrÿche tees from every era—wasn’t here just to see a show. They were here to witness a legacy unfold one last time.
And what a legacy it is. Operation: Mindcrime remains one of the most ambitious and revered concept albums in metal history, telling the story of a disillusioned man pulled into political conspiracy, addiction, and eventual self-destruction. It’s part Orwell, part noir, and completely cinematic in scope. Hearing the album played live from start to finish is an immersive experience—like being dropped inside a dystopian novel with a crushing soundtrack.
Geoff Tate, as ever, was the magnetic centerpiece. At 66, his voice remains an instrument of astonishing power and control. He moved effortlessly from snarling accusations to vulnerable falsetto cries, capturing the complexity of the album’s protagonist, Nikki, with every note. “The Mission” was delivered with searing intensity, while “Suite Sister Mary” felt like a theatrical event unto itself, thanks in large part to the standout performance of Clodagh McCarthy, who handled both keyboards and the operatic vocals of Sister Mary with commanding poise. Her duet with Tate was goosebump-inducing and one of the evening’s most memorable moments.
Backing Tate was a band that felt hand-picked not just for their chops, but for their chemistry. Triple-threat guitarists James Brown, Amaury Altmayer, and Dario Parente made for an absolutely lethal trio—each one bringing distinct flavor while staying locked in step. Brown tore through solos with precision, Altmayer brought soulful phrasing, and Parente added the rhythmic backbone that made tracks like “Spreading the Disease” and “The Needle Lies” punch with grit.
On drums, Robert “Baker” delivered with relentless drive, mixing finesse and force through complex time changes and breakdowns. His playing on “Breaking the Silence” and “My Empty Room” gave the material emotional weight without ever dragging. Holding it all together with smooth authority was bassist Jimmy Wynen, whose thunderous low end kept the night grounded—even when the guitars soared into atmospheric territory.
By the time “Eyes of a Stranger” closed the Mindcrime portion of the show, the audience was already on their feet, cheering not just for a band that had nailed a flawless performance, but for the moment—a goodbye to a live chapter that has defined much of Tate’s post-Queensrÿche career.
But the show wasn’t over. Tate and his band returned to the stage for a rapid-fire encore that hit some fan-favorite highlights: “Empire” thundered with relevance, “Jet City Woman” rang out like a mission statement, and “Take Hold of the Flame” ended the night with an exclamation point. It was a fitting send-off to a tour that has celebrated not only a landmark album but an entire career’s worth of storytelling and musicianship.
Geoff Tate doesn’t just perform Operation: Mindcrime—he inhabits it. And with a band this sharp and a crowd this invested, the Center Stage show felt less like a concert and more like the final act of a rock opera decades in the making.
If this truly was the final full live performance of Mindcrime, Tate didn’t just do it justice—he gave it a hero’s sendoff.
Nothing More stormed into Chattanooga on March 28th, kicking off their Carnal tour at The Signal—and from the moment the lights dropped, it was clear the band had no intention of easing into things. They came in swinging, delivering a high-octane performance that felt more like a full-scale arena show than a club gig. If you’ve never seen them live, you’re missing one of the most electrifying acts in modern rock.
I first saw Nothing More back in 2014 when they opened for Chevelle in Nashville. At the time, all I knew was “This Is the Time (Ballast),” and it hit me like a freight train. I kept telling the friend I was with that she’d be into them—and within minutes, we were both fully converted. That show featured their now-iconic metal contraptions: elaborate, welded sculptures that doubled as percussive instruments and experimental gear. I even got to see bassist Daniel Oliver welding one of them years later at a venue in Clarksville. These guys don’t just play music—they build it.
The Chattanooga show opened with “House on Sand,” immediately setting a blistering tone. But it was “If It Doesn’t Hurt” a few tracks later that really sent the crowd into a frenzy. Frontman Jonny Hawkins, barefoot and covered in his signature body paint, led the charge with a raw, magnetic energy that’s become synonymous with the band.
While the setlist hit all the fan favorites, the standout moment for me was “Freefall,” the band’s latest single featuring Daughtry. Though Daughtry wasn’t present for this stop, the track held its own—and I can only imagine how powerful it’ll be live when the two acts share the stage on the upcoming Disturbed tour.
Guitarist Mark Vollelunga took a moment to introduce “Fade In / Fade Out,” written as a tribute to his father and son. It’s a deeply emotional piece, and one that resonates even more if you’ve experienced the kind of grief that reshapes you. That was followed by “Jenny,” a longtime fan favorite penned about Jonny’s sister and aunt and their battles with mental health—a track that never fails to land with impact.
Of course, no Nothing More show would be complete without the drum battle between Hawkins and drummer Ben Anderson. Jonny takes to his gothic-industrial drum rig while Ben mans the standard kit, creating a percussive duel that’s as visually captivating as it is sonically explosive.
They closed out the night with the track that started it all for me—“This Is the Time (Ballast).” No matter how many times I hear it, that song still gives me chills. It’s a reminder of why I fell for this band in the first place: powerful, passionate, and totally unrelenting.
Bottom line—if you’re craving a rock show that hits you in the chest and stays with you long after the lights go up, Nothing More delivers. Every time.
