The era of the Sunset Strip in the 1980s was a glorious and decadent time for rock ‘n’ roll. It was in famous clubs like the Whisky a Go Go, the Roxy, the Key Club, the Viper Room, and Gazzarri’s that glam metal and hard rock bands ruled the streets. The Sunset Strip era redefined the phrase sex, drugs, and rock ‘n’ roll. I was born in 1987, so I never got to experience that excitement (minus the drugs). However, one glam metal band looked to keep that 80s spirit alive with a comical twist. I am, of course, talking about L.A.’s own Steel Panther. They glam metal comedy rockers have been spreading their rock filth to world since 2000, and with the release of their latest album, On the Prowl, they are continuing their mission to party and rock hard. This album marks the debut of their newest member, Joey “Spyder” Lester, who has taken over for the departed Lexxi Foxx, who I wish him all the best with his newest venture, “Sexxy Lexxi’s Prettiest Pets.” The question is: is On the Prowl worth the hunt?
The album opens with “Never Too Late (To Get Some Pussy).” Raunchy and sleazy in Steel Panther fashion, frontman Michael Starr oozes out his sexy tenor voice and I can imagine women’s underwear dropping everywhere. Right off the bat, Spyder emerges as a talented bassist with his simple yet potent licks. “Friends With Benefits” follows and as soon as the first riff kicks in, you feel that 80s glory. Guitarist Satchel highlights the tune with some bolstering riffs and one mean solo that would rival that of CC DeVille. I cannot tell you which solo in the song I like more because they are both sharp. Next is “On Your Instagram,” an ingenious parody on our obsession with Instagram models and being catfished. I mean, come on! Of course, Steel Panther would sing about that. It is cleverly funny and written as a power ballad. Satchel is a blistering machine on the solo, scorching the Earth in heart-wrenching fashion. Ladies, heed Starr’s words and hold on to your man, for an Instagram model has become your nightmare. “Put Your Money Where Your Mouth Is” feels like a filler song that has some great hooks. I did not feel it was one of their strongest, but that is not to say I hated it. With time, it should grow on me.
“1987” is not only a great title, but it was also the year I was born. This tune is an ode to one of the greatest years for rock, for it was the debut of Guns N’ Roses’ Appetite for Destruction and the release of Mötley Crüe’s Girls Girls Girls. Starr loves singing about the days of listening to great metal tune and doing good blow with girls. Drummer Stix Zadinia was thunderous on the kit while Satchel muscled out a bombastic solo that one would in 1987. “Teleporter” sizzles right off the grill thanks to the spicy riff Satchel put together. This song has the markings of a classic hard rock tune in 80s fashion, just do not wear white pants. Up next is “Is My Dick Enough,” wear Frank Zappa’s own guitar virtuoso son Dweezil came into the fold and added some hot blues riffs. The way his plays is very smoldering, setting the whole song ablaze. The raunchy lyrics Starr throws out there go hand-to-hand with the blues. After all, blues back in the day sometimes sounded sexy. “Magical Vagina” is power ballad that touches on love and well…pussy! Only Steel Panther could write a song about a woman’s lady parts, give it a catchy hook, and somehow make it playful. Stix and Spyder continue to not overcomplicate the beat, yet the simplicity they bring to the song adds muscle. “All That and More” continues to assert Steel Panther’s salute to their manhood.
With 4 songs left, On the Prowl has been very sporting. “One Pump Chump” gives recognition to PE and more importantly, dodgeball. This is probably one of the few times I wish I could take PE again because I hated it back in the day. “Pornstar” is another ballad that seems to demand your lover act more like pornstars. Honestly, Satchel reached deep into his pocket of riffs, and screeched one of his best solos off the album. We now come to acoustic pleaser with “Ain’t Dead Yet.” This song shows us that no matter how old you get, you are never too old or young to rock out. Satchel does a stellar job on the acoustic while Starr becomes vulnerable with his words without sounding like a wuss. This is probably one of their best written songs to date. As the album ends, what better way to cap off a great record than with “Sleeping on the Rollaway.” It is a perfect blend of Judas Priest with Van Halen and Green Day. The group incorporated some pop rock into the tune, and the gamble pays off.
We were On the Prowl, and this record captured its prize. Steel Panther certainly know how to keep the party going. This is only their 6th album, and they do not have any intentions to throw in the towel. There are a few songs that I felt were throw aways, but I think as time goes on, I will grow to like them even more. The party never stops, and neither will these guys. To Steel Panther, I salute you. Horns up!!!
Hunnypot Approved - 8.5/10.
Nate Husser has always been a rapper’s rapper. Since the beginning, his impeccable multisyllabic flow has been a testament to this. His new single/video, “Did It B4” is the perfect exemplification of that. Straight and to the point, “Did It B4” is a braggadocious stream of conscious from front to back.
On this release, the Montreal native is depicted riding an ATV in the boonies as he delivers rapid fire verses over a beat cooked up by DJ Coco, Ajaz, and Jay Century. Directed by “Directed by Serge”, Husser can be found alone in the middle of field, rapping over a cackling camp fire, and in front an old beat up trailer. Taking flavors from the legendary Cole Bennett, “Directed by Serge” placed cut scenes where Husser is color graded like a heater sensor, with colors ranging from pink, yellow, green, and blue, giving it a real 2019-2022 feel.
Without skipping a breath, Husser lays a verbal onslaught of rhymes on the track. Over the beat, Husser boisterously claims, “Whatever [rappers] doin’ now, I done did it B4”. The hook is exceedingly catchy, and the verses have the listener bouncing through the song from beginning to end. Check this one out. It’s Hunnypot Approved!
- Kris Kuganathan
A truly unforgettable night! Hunnypot Live #480 2/13/23 Hot Tub Johnnie's Birthday, pre-Valentine Holiday Show with a successful LA Mission donation drive mixed in. Co-Hosted by music supervisor Alec Stern (Radish Music) and ALETHEA. Thanks to all who came out and celebrated and big hugs to all who donated.
Music from: Megan Graney, Alethea, James Barre, Cayden Corbett
Photos: J. Gray
Twas Hot Tub Johnnie's B-Day so we blew out a big one. Hot Tub's only belly button day wish was CHARITY! If you are able, please bring one of the following items to be donated to LA Mission
#WhereMusicLoversGoToPlay
Megan Graney is a Bay Area musician known for her healing lyrics and colorful production. She has performed a variety of genres, including jazz, americana, gospel, folk, and choral music, and has earned accolades such as singing background vocals for Rita Ora and performing at Capitol Studios. Megan has also performed at The Village Studios and The Descanso Gardens Summer Series, and has worked as a studio manager for film composer Heitor Pereira and assistant to Andrew Lockington. Her second single, "Waves," deals with the concept of grief after the passing of her father in 2020.
Alethea’s voice gives you chills. Her powerful performances leave you wanting more.
Whether with bare piano keys or dashes of ear-tingling electronica, she explores her own relationships with a subtlety that captures the raw yearning inside all of us.
Her confessional torch folk sounds like Sarah McLaughlin mixed with EDM and a touch of PJ Harvey and Shakira. On stage and in her music videos, her soul finds fiery expression.
Alethea grew up in the country of Hubbard, Oregon as well as the city of Portland, Oregon. She has performed all over the US and the world including Germany, China, Sacramento, San Francisco, Idaho, Oregon, and New York. She discovered she wanted to be a musician in a tunnel in Freiburg, Germany after writing the song “Butterflies”
This is her second concert in LA and second co-produced event.
WEBSITE INSTAGRAM FACEBOOK TIKTOK
James Barre has come a long way, starting in what is unmistakably pop, releasing his first song when he was in the eight grade. He has evolved greatly since then, finding home in an alternative, punchy sound. With lyrics like a hand grenade, his (in progress) debut album seeks to take you on a journey through his mind. The good, the bad, and the questionable.
Cayden Corbett is an Asian American Singer/Songwriter/Producer who seems to acknowledge no boundaries between styles or eras inside his music career. Creating and performing music from all forms of genres but is known best as is an Alternative Pop/R&B artist.
Originally from a small town in Utah but now based in Los Angeles, Corbett recently joined a collective of professional musicians and producers called Outdonesia. After years of writing/producing alone, as a leading artist in the new group Corbett believes his songwriting has been elevated to its full potential with "Outdonesia" and has become more personal and relatable than ever before.
I had the pleasure of sitting down with Justin Kim, Chapman University Graduate, filmmaker, and the face behind Suave Punk, an up and coming alternative solo project. What immediately struck me was Justin’s dedication to music (he even came to our interview, book in hand, entitled “Our Band Could be Your Life”, which tells the story of bands like Minor Threat and the alternative movement, a large influence on the Suave Punk sound). Justin has always been a musician, playing the piano as a child and becoming self taught on guitar at 12 years old. However, it wasn't until Kim found electric guitar in college that he found a closer bond with music stating it was the “First instrument to feel like an extension of myself, [it created], Not just a sound, but a feeling”. It was in the freshman dorms of Chapman University in Orange, California that Justin began his solo career under the name Suave Punk, it was also during this year (late 2020, early 2021), that a Suave Punk single was put onto the Spotify playlist Fresh Finds. Through Spotify’s influence, Pack Records reached out to Kim, signing him, joining the label who assists the likes of Blood Cultures, aldn, and CARR. The single in question being a personal favorite of the Suave Punk discography - “Dreams of Losing Teeth”.
I got to ask Justin about how he came to write such a beautifully dark and euphoric song. The inspiration comes from a real nightmare Kim had in late 2020 that he says “seared into my memory”, not just visually but sensory “the feeling of the roots snapping is what stood out”. Which created a visual for Kim to base his first Suave Punk release, he says he often uses similar devices for writing saying, “I like to focus on images and vignettes rather than describing parts of my life”. It was after the release of “Dreams of Losing Teeth” that Suave Punk began to grow a following. Kim explained how many people began to reach out, sharing their similar dreams of vivid gore similar to Justin. From there, along with lead man of The Incredible Purple Toad and owner of the then unknown, local venue, Steve Wehner decided to put on a show. Using out-of-pocket money, the two musicians put on a show at a Warehouse, playing for the very first time to a live audience. Thus was born a new idea that the two are still growing to this day. The Warehouse OC is the “it” place to be at Chapman University. Along with help from local bands and Justin Kim, Wehner has some expansive ideas in the works for the venue.
Suave Punk has snowballed since Kim’s freshman year of college. He has just recently played his first out-of-state venue in New York, and has his first full length album in the works. Justin is an extremely talented and incredibly humble artist. His philosophy with producing music is, in his words “do it for the homies”, always making his music not for himself or his fans, but for those he cares about most.
For me, the great nation of Australia has produced two great things that impacted my life for the better: the Crocodile Hunter and heavy music. The Land Down Under is where some of the most exciting rocking bands have come from. From Rock Hall of Famers AC/DC to new wave rock gurus INXS, I could not get enough of them. Recently, more heavy rock groups have emerged from there and the sound is just getting better and better with Airbourne, Make Them Suffer, Like a Storm, and of course the crème de le crème, Parkway Drive. Rockaholic first introduced me to the New South Wales metalcore bashers when they released their 5th album, Ire, and I fell for their brutal nature and ravaging riffs. Last time we saw them, they headlined the Hollywood Palladium in 2019 and the sound board stopped working in the middle of their set, ending the show early and bumming the hell out of me. After 3 years, Parkway Drive returns to the States with Southern metalcore outfit Memphis May Fire and progressive djent warriors Currents. First stop was the Wiltern, where Rabit, Rockaholic, and I attended.
First up on the bill was Currents. Fresh off their latest hit album, The Death We Seek, the progressive/djent masters of SharpTone Records were the perfect blend of angst and excitement. Frontman Brian Willie produced hypersonic melodies and hellacious screams that give each tune its own soul. One of the things I truly enjoyed seeing was the righteous breakdown riffs and invigorating hooks performed magnificently by guitarists Chris Wiseman and Ryan Castaldi. Bassist Christian Pulgarin and drummer Matt Young did not go too far off the rails with the beat, but they made it feel fiery with djent passion. They had a short setlist, but Currents made every second count at the Wiltern. From “Monsters” to “Into Despair,” “The Death We Seek,” “Kill the Ache,” “Better Days,” and “Vengeance,” we were in djent heaven. The song that stood out the most was their latest single, “Remember Me” because I felt the raw passion not only with the lyrics but also for the song’s tone. In a world that is riddled with metalcore artists, Currents proved that night they have boldness and stamina.
It has been a while since I caught Memphis May Fire, but I was more than ready for those guys. Hailing from Denton, Mich., the metalcore bad boys rocked the stage and brought some Southern rock flair to the mix. The Rise Records vets were guns blazing, returning to their former glory after experimenting with the nu metal sound as evidenced on their last album, Broken (2018). Frontman Matty Mullins, in all his Heavenly swagger, gave the fans a perfect mixer of clean vocals and harsh screaming, cutting straight to the point with his words. Longtime lead guitarist and sole original member Kellen McGregor blasted through the riffs with dominant force as drummer Jake Garland and bassist Cory Elder attacked the beat with sheer will. Garland stood out the most as I come to relish his vicious style of playing. Memphis for much of the evening played tunes from their last year hit, Remade in Misery, which included “Blood & Water,” “Left for Dead,” “Death Inside,” “Bleed Me Dry,” “Somebody,” “The American Dream,” “Make Believe,” and “Misery.” Of course, no Memphis May Fire would not be a true show without hearing 2 of their classic hits, “Vice” and “The Sinner.” After watching that, the stage as well as the crowd, were on fire.
With 2 bands down, out came the group that truly are metalcore idols, Parkway Drive. All I was praying for (I am sure Rabit and Rockaholic did as well) was that the Wiltern sound board did not crap out this time around. Promoting Darker Still (which happens to be album #7), they performed at high volumes and an ultra-cool set design. It is always fun to hear the first scream from longtime frontman Winston McCall. A brute force with a zeal for heavy metal, McCall wasted no time engaging the audience with his signature screams. As rhythm guitarist Luke Kilpatrick, aka Pig, fiercely laid down the main riffs, lead guitarist Jeff Ling layered in succulent solos and licks that would cross the boundaries of metalcore, classic metal, and nu metal. Dare I say, Pig and Ling are one of metalcore’s finest guitar duos to date. Drummer Ben “Gaz” Gordon wreaked havoc on the kit, all the while bassist Jia “Pie” O’Connor brutalized the beat with his swift plucks. From “Glitch” to “Prey,” “Carrion,” “The Void,” “Vice Grip,” “Dedicated,” “Boneyards,” “Imperial Heretic,” “The Greatest Fear,” “Darker Still,” and “Bottom Feeder,” simply put, Parkway Drive kicked ass!
It is safe to say that this Parkway Drive performance out trumps the Hollywood Palladium performance. Why may you ask? Well, it is because…THE SOUND BOARD WORKED THE WHOLE NIGHT!!! Memphis May Fire were full of heavy Southern charm, while Currents were progressively rancorous. There is no feeling like it, for attending a metal concert can be therapeutic. With a lot of beer and whiskey in me, we all came out of the Wiltern feeling rejuvenated, and it was only Tuesday. To Parkway Drive, Memphis May Fire, and Currents, I salute you. Horns up!!!
Photos by Matt “Rabit” Martinez
J.I.D & Smino have both been making a ton of a noise individually in the hip hop circuits as mainstage contenders. Given they have a shared fanbase within the Zoink Gang realm, it only made sense for the two of them to co-headline the JID + Smino Luv Is 4Ever Tour across North America in 2023. The 32-date tour name is a play on both of their recently released projects: JID – The Forever Story (8/26/2022) and Smino – Luv 4 Rent (10/28/2022). The last time both artists were in Los Angeles, they had strong showings individually headlining some of the smaller venues in town. This time around, combining forces and leaning into their shared fanbase via Zoink Gang, they packed out the Hollywood Palladium not once but twice on back-to-back nights on 1/30/2023 and 1/31/2023. Let’s hop into it.
First up was the Atlanta native, SwaVay. The crowd was very receptive to the opening act. Typically, due to the nature of the music, it’s not uncommon for crowds to sort of just sway back and forth when hearing out openers. If you don’t know the music or the lyrics, it’s hard to get into it. I get it. SwaVay also got it. To counter-act this, the rapper engaged the audience by physically reaching out to the rail and encouraged a higher level of energy throughout the crowd. The crowd reciprocated and set the tone for the co-headliners to follow.
I understand J.I.D and Smino have been trading off who starts and ends the night throughout the tour; JID was batting leadoff at the 1/31/2023 show. In front of two inverse heart-shaped video monitors, J.I.D dealt a wide array of rapid-fire raps and got the crowd hyped from the front to the back. A few notable moments were when he performed the songs, “Crack Sandwich” and “Stars”. He brought out a few guests as well, most known were the members of EARTHGANG. It was a Spillage Village reunion up on stage. Closing it out was Smino. Backed up by a female vocalist, the St. Louis rapper/singer brought the temperature down and set a vibey tone throughout the crowd. He encouraged everyone to chant “I love you best friend!” to all the significant others who were brought to the show. Smino nailed many moments but some of my highlights were “90 Proof”, “Settle Down”, and “Wild Irish Roses”. Both JID and Smino were backed by full bands, with drum solos and guitar solos. The crowd was very receptive to the drum solos and guitar solos sprinkled in throughout the night.
After many years of hard work, these two 30-ish year old rappers are really solidifying their spots in the big leagues of hip hop. Packing out the Hollywood Palladium two nights in a row was just the start. They have back-to-back nights in Atlanta, New York, and Toronto, among other cities on the remainder of the Luv Is 4Ever Tour. Take advantage of this opportunity to see this double header. It’s not one you’ll regret!
With twin cities folks routinely checking their phones to weather apps declaring it to be -15, it was about time that an artist rolled around whose entire modus operandi is comforting, intimate songs to warm the heart. Gregory Alan Isakov’s music is like reconnecting with an old friend you haven’t seen in the longest time and picking up right where you left off - personal and reminiscent and delicate, always welcome and always pleasant. Isakov’s winter tour - just him and his backing band, no opening support - rolled into the Palace Theatre in Saint Paul last Friday evening, bringing along with them just the shot in the arm that the frozen folks around here needed to get them through one intense winter. Isakov’s scaled down yet powerful shows certainly preceded him - despite it registering as a solid -5 outside, the door folks could barely keep up with all the people showing up to grab a good spot.
With no one opening for them, the band wasted no time getting into the swing of things. Isakov and co. opened with "San Luis”, a cut off their 2018 album Evening Machines, one of the band’s more popular cuts and one that set the tone for the evening immediately. Gently strummed guitars feed directly into Isakov’s trademark croon, simultaneously a bit slurred and perfectly clear. That song is the perfect entry into the rest of Isakov’s discography, as they flowed across their back catalog with quite a few songs off of This Empty Northern Hemisphere, like “Big Black Car” and “If I Go, I’m Goin”. While his sound has changed a fair amount of the years, that same element of music to bring you closer to the ones around you has never left his music, which made the night flow along seamlessly, as if every song had come from the same album. The feeling of attending a concert bleeds into the background and you can imagine yourself gathered around a woodfire in the remote wilderness, Isakov’s vocals fading into the vacant skies as the embers burn low - it’s a transportive experience to say the least.
Isakov and his backing band gathered together on the microphone for their final two songs - as they have done one every stop this tour. They closed the night out with a pared back, stark rendition of “Dandelion Wine” and “Saint Valentine”, leaving those in attendance far better off than when the doors had opened earlier that night and let the bare chill in.
Where do you go when you can’t take it anymore? A question posed by philosophers and loners alike for a millenia that only leads to more questions. The answers as expansive as they are limited, dictated by a moment’s state of mind and communicated solely through action. A healthy approach to such a question answers through song or any constructive activity that refuses to indulge the hopelessness that “it” entails.
‘Sanitarium’, Fencer’s lead single off their imminent self-titled debut album relegates this hopelessness to the air above. While the body lingers in its depressive state and the mind moves at a goldfish’s pace, Fencer’s resolve to ‘build a sanitarium in the sky’ is one of the more poetic solutions to the dwindling spirit of a burgeoning emo band. There have been murmurs that the analog sound formerly known as “music” is slowly gaining steam. While individualistic Emo-tech has resurrected the genre and pacified those coming of age, the pendulum is swinging back to The Industry’s public enemy number one: the band. Through thoughtful lyrics, engaging structure and shared ability to play tangible instruments, Fencer offers the feel and freshness of a garage band to a generation who would be forgiven for thinking that was just something that came on their MacBook.
Creating a through line of sound and color, the ‘Sanitarium’ video deepens the scope of Fencer’s world, building on their preceding videos and other visual aids. Opening with our aforementioned question, we meet our loner boy protagonist languishing on a solitary swing in the middle of a vast body of water. His only companion is a tauntingly distant mailbox. His head replaced by a blue box once recognized as a desktop monitor. His face, a placid black screen. The sea quickly evaporates to the next frame and our friend is now hanging out aboard a ship’s skeleton, equally as stranded on dry land. His first mate is a Donald Duck plush and his phone, once Fencer Blue, has been weathered to match its place in history. Without the possibility of a connection, our boxy friend bounces around searching for other blue things and places with vibrant color adrift in a dry, sandy gray and forgotten inland town.
Once friends are found they are equally as faceless, though much more unsettling. These players convey the feeling that when you’re searching for a break, getting kicked in the head is better than being alone. Chasing a dream can bring both things, but when you find yourself in the rubble of screens at least you have the music to come back to.
Ultimately, Fencer’s ‘Sanitarium’ despite its glorification of mediocrity transcends above its own expectations to become a solid single that builds excitement for what’s to come. Be sure to tune into your platform of choice for “Fencer” the album and come see these angsty boys and their instruments at The Mint on February 27th. Hunnypot Approved.
-Robyn Dee
The Backseat Lovers continue to find success in their second ever Album - Waiting to Spill. The opening song titled “Slowing Down” recently had a music video released on January 26th, 2023. This video is especially unique as the shots originate on 16mm film and are composed by Backseat Lover’s own Joshua Harmon and photographer Brandon J. Minton. If you are a fan of the band you may also see a familiar face or two.
This video took me by surprise as I feel most bands usually don’t pick instrumentals to showcase their album. Yet, “Slowing Down” creates such an interesting auditory environment that it sets itself in a new category of instrumentals. The music video does exactly as the song and attempts to create an atmospheric environment rather than focusing on a storyline or lyrics. The video exhibits beautifully composed shots of water, forestry, observations of humanity, and lead singer Joshua Harmon. Every shot is set in extremely harsh low-key lighting with a 4:3 frame that almost always has an elegant symmetry about it. This is a perfect example of blending old media with new. It is easy to see that this is not edited on technology from the same era as it was shot on. Some shots show reversal and the perfect cuts on the beats of the song tell us this. A great use of the imperfections and awe gathering grain of 16mm film combined with the editing techniques and technology of today.
Some interesting shots that struck my eye, are as follows. An incredibly sincere shot of a pool table and out from the shadows an arm and pool cue emerge, at the moment of contact the film cuts to a newton’s cradle in which is at the exact angle. Another shot shows 3 people walking in line, perfectly in sync with the music and one another. As well as, a ferro-fluid like sand moving around in a dance of swirls and engaging patterns. Even though there is no one thing to focus on throughout the video, this only emphasizes the beauty of the aesthetic of “Slowing Down”.
The Backseat Lovers show time and time again that they are not only astonishing musicians, but extraordinary artists too. They group is able to find a style that has never before been seen, in every piece of work they produce. I simply cannot wait to see what the future of this band looks like. Especially as whole artists constructing art of a plethora of mediums.
If you’ve never dabbled in the genre of indie-folk-pop, the best way to do so is by attending a show by The 502s and Oliver Hazard. Boy was I in for quite the surprise that night in Dallas – a GREAT one at that. I live in the hardcore world but keeping things a little spicy is never a bad thing in my opinion. I gave them a listen beforehand and def vibed to the sound. I started looking forward to the night after that. Let’s jump into it.
Arriving at The Studio at The Factory in Deep Ellum, I checked in, and did the usual prior to the first set drink to get the juices flowing, and then watched everyone pile in. Oliver Hazard was up first, and I was more so excited to see their set because their music reminded me a lot of Judah and The Lion, who I’m really into. They take the stage, and the crowd cheers them on. They start out their set and we were off to the races. Being a little unfamiliar with all of the songs, I didn’t have any specifics I was looking forward to hearing and was there to just take it all in. Sometimes that is the most exciting way to experience a band. A few that stood out were “Ballerina” and “Dandelion”. Excited to see them again and definitely added to my Spotify rotation.
And onto the sensations that are The 502s, and when I say sensation, that is 100% true. I wasn’t ready for what I was about to witness. I was chatting with the other photographer, and she mentioned they were incredible and to get ready for an awesome performance. I set up and boom, they hit the stage running. Out the gate, we had a wonderful saxophone thrown in the mix with a clarinet switched in and out the entire set. The energy was flowing through the whole room and the crowd was all about it. Whether it was synchronized dancing and jumping to kazoo solos, The 502s brought it all. Talk about being blown away the entire time – and there was no slow down. It was an hour of pure coordinated chaos. Unlike most shows I attend, and it made the experience that much better. If you want one hell of a time, don’t miss this tour when it comes to a city near you. 10/10!
