Hip-Hop has been around for just over 50 years now, and 40 of those years have seen LL Cool J as one of the most prominent Hip-Hop artists ever. Think about that—he’s been doing his thing for 80% of the life of a music genre. And doing it well!
With LL’s 40-year anniversary in Hip-Hop this year, he reimagines his legacy with a vinyl reissue series. A 40-year journey resurfaces in a new era, kicking off with All World: Greatest Hits and Phenomenon, set to be released on April 11th.
But first, he debuts his first-ever “Rock the Bells” music video, bridging generations. Strange to think that he never made a music video for this classic when he released his debut hit album Radio. Released on February 21st, the black-and-white video, filmed in a classical style, goes back to the streets of the city that made him, with a cast of subway dancers, local MCs, young kids, and street performers rapping the lyrics to the track.
It gives a youthful excitement of mid-80s Hip-Hop in the modern age through the fresh and spirited performances of the cast. It's a brilliant tribute to the music, to LL Cool J, to New York, and to “Rock the Bells.”
The video's director, Gregory Brunkalla, tells The FADER in an exclusive statement:
"I pitched LL this idea of having real [New Yorkers] rap lyrics all over the city, and he thought it would be perfect to celebrate the 40th anniversary of 'Rock the Bells,' which came out in 1985. I think it works so well because it’s a song so many people already know. On the day we were filming the shot in the basketball court, we showed up to the location, and a random Jeep drove by with the windows down blasting 'Rock the Bells'—that’s some crazy synchronicity. Makes you feel like things are truly lining up!"
“Rock the Bells” is a classic, but it is not just a classic—it’s power and force in motion, feeding the next wave of artists and fans who will carry Hip-Hop forward.
LL Cool J not only changed Hip-Hop—the way we hear it, view it, and think about it—he took it and himself to a different level. James Todd Smith was one of the first to achieve commercial success in Hip-Hop. It took a long time for Hip-Hop to be recognized, and LL was the one to do it.
Along the way, he became a Rock & Roll Hall of Fame inductee, NAACP Image Award winner, two-time Grammy Award winner, and a Kennedy Center Honoree. So naturally, he released a greatest hits album only 11 years after entering the game. But when you have so many hits, it’s not a surprise.
Released on November 5, 1996, All World: Greatest Hits brings together LL Cool J’s era-defining anthems, including “Rock the Bells,” “I Can’t Live Without My Radio,” “Mama Said Knock You Out,” “I’m Bad,” “Around the Way Girl,” “The Boomin’ System,” “Doin’ It,” and “I Need Love.” There are not many greatest hits albums that have a better line-up than this, in any music genre.
A year after releasing his greatest hits album, he released Phenomenon on October 14, 1997, showcasing LL’s ability to reinvent Hip-Hop storytelling with tracks like “Phenomenon,” “Candy” (feat. Ricky Bell & Ralph Tresvant), “4, 3, 2, 1” (feat. Canibus, DMX, Master P, Method Man & Redman), “Don’t Be Late, Don’t Come Too Soon” (feat. Tamia), and “Hot, Hot, Hot.”
After the success of his previous studio release Mr. Smith, the same philosophies ring true with Phenomenon—some sweet R&B-influenced tracks and a few more hard rap tracks, while adding a more personal song in “Father.” While the production (executively produced by Sean “Puffy” Combs) may not be as solid as on his past albums, LL kills it on his lyrics and flow, taking us back to what made him such an amazing rapper from the start.
The video is a must-watch. It is produced and directed perfectly—so much feeling, so much love, so much New York, so much LL. Videos are not made like this anymore. While there was never a video made for “Rock the Bells” back in the day, this certainly could have been created 40 years ago, which makes it an instant classic.
As for the vinyl reissue series, if you are a classic Hip-Hop fan—especially a fan of vinyl like I am—you will need to pick these up quickly. Both albums will be available as limited-edition color variant 2LP pressings and standard black 2LP pressings, allowing fans to own a piece of history while celebrating LL Cool J’s ongoing influence.
Is LL Cool J the G.O.A.T? I don’t know the answer to that, but I do know that he has done his thing well for most of Hip-Hop’s life. Not many have been able to maintain an amazing career like he has.
One Love,
Todd M. Judd
The Signal in Chattanooga was alive and well with Divorced Dad Rock on Saturday, March 8th.
What is that, you ask? I recently learned it’s a term for early 2000s rock music. Not sure if there’s a female equivalent, but I’d imagine it would be Lower Back Tattoo Rock or Low-Rise Jeans Rock.
At any rate, it was a solid night of rock, both old and new.
San Antonio rock band Kingdom Collapse kicked things off. I recently discovered them, and as a fan of radio-friendly rock infused with metal, I was an instant convert. I also have a soft spot for bands that have built their success independently, as Kingdom Collapse has. It’s always great to see a group with the work ethic to grow a following without a major label. That said, these guys aren’t strangers to major radio play—songs like their opener (and current single) “Elevate” have already found chart success.
They also performed tracks from previous releases, including “Save Me From Myself,” “Uprise” (their breakout 2020 single that charted on Billboard’s Mainstream Rock chart), and “Suffer.” A surprise highlight? Their rocking rendition of Natasha Bedingfield’s “Unwritten”—not gonna lie, I loved that one. They closed their set with “Unbreakable,” a powerful anthem of resilience that’s become a fan favorite and one of their most-streamed tracks.
Next up was Saliva, fronted by Bobby Amaru. It had been a long time since I’d seen them live—and my first time with Bobby on vocals. I wasn’t just impressed; I was blown away. This lineup of Saliva is powerful and brought the Scenic City crowd to life.
They opened with “Superstar,” followed closely by my personal favorite, “Ladies and Gentlemen.” Next up was their current single, “Timebomb,” from their latest album Revelation: Retold. One of the night’s standout moments came when Amaru brought his daughter onstage to sing with him on “High on Me.” Her vocals were so impressive that a friend later told me to check out his Instagram, where they post a lot of videos singing together. Let me tell you—the apple does not fall far from the tree. If she chooses, that young lady could have an incredible future as a rock frontwoman!
Another killer moment was a mash-up of “They Don’t Care About Us / Lose Yourself / One Step Closer,” which had the crowd completely fired up. They closed with “Click Click Boom,” and not only was it a crowd-pleaser, but Amaru showed his #GirlDad side one more time—bringing a 10-year-old fan named Adelaine onstage to throw up the rock horns. It was her first Saliva concert, and judging by her reaction, it won’t be her last.
Hinder closed out the night, hitting the stage full throttle with “Get Stoned.” Frontman Marshal Dutton commanded the crowd with gritty vocals, leading a setlist that blended early 2000s hits with a solid representation of the band’s newer material. Like other bands from this era, it’s refreshing to see they don’t just rely on nostalgia—they’re still evolving their sound.
The set included “How Long,” “Without You,” “By the Way,” “Better Than Me,” “King of the Letdown,” and of course, “Lips of an Angel.” While some might wrongly dismiss them as a one-hit wonder, this performance proved otherwise. They haven’t missed a beat, bringing the energy and leaving us all satisfied with a dose of nostalgia mixed with the present.
DOROTHY, the band, absolutely took over the El Rey Theatre in Los Angeles on Friday, March 21st. DOROTHY is fronted by its namesake, Hungarian-born Dorothy Martin. DOROTHY (the band and the singer) are Los Angeles-based, and this was the opening show for the Redemption Tour in support of the new album, The Way.
Formed in 2014 and with four albums under her (their) belt, DOROTHY’s sound has evolved into a blues-rocker vibe. As good as the music is, Dorothy Martin’s voice is a gift—powerful when it needs to be, subtle when it has to be. She is right up there with any lead vocalist, male or female.
When Dorothy (the singer) came out on stage in a black leather jacket with fringed sleeves, she was ready to show the packed audience of DOROTHY faithful that their faith in her talent was well-placed. They tore into the 2017 single, “Down to the Bottom,” which set the stomping tone for the entire evening.
The four-piece band featured bassist Eliot Lorango (fresh off a tour with Jerry Cantrell). While Lorango is a mainstay and band director of DOROTHY, drummer Jake Hayden and guitarist Sam Bam Koltun were not playing that evening. They were ably filled in by Nick Annis on guitar and Chris Reeve on drums.
The show was a 12-song set, with four coming from The Way. This also meant they were the live debuts of the tunes. While the songs might have a slightly different tone to them when Hayden and Koltun return to action, nothing at all seemed amiss. That, in and of itself, is talent and professionalism.
If you saw the ads and social media posts for this opening night show, you knew there was a guest player that was going to make a “special appearance.” The Gibson-wielding man in the hat, known as Slash, came out for the final three songs of the evening, starting with the Charles Segar classic, “Key to the Highway,” followed by the title track from DOROTHY’s last album, Gifts from the Holy Ghost, and finishing with an encore of the burner “Tombstone Town.” (Slash plays on that cut on the album.) It’s always a treat to see a legend like Slash tear it up in a venue of the El Rey’s size.
It was pretty obvious the audience didn’t want the evening to end. Comments like, “Oh my God” and “She’s amazing” could be heard as people exited onto Wilshire Blvd. DOROTHY now heads off on a tour that has them bouncing back and forth across the country. See them whenever and wherever you can. This band, this singer, rocks.
The opening act was Pistols at Dawn, who have toured with Fozzy and Alter Bridge, so they know how to get an audience going from minute one. From Atlanta, the band features Adam Jaffe on drums, Will James on guitar, Gabriel Cuevas on bass, and Jonathan Sookdewsing on lead vocals. They packed a lot into a short set with a guitar solo, a bass solo, and debuted some music that they have been recording in Los Angeles.
Rock and metal flagship AVANTASIA just dropped their bombastic 10th studio album and Napalm Records debut, Here Be Dragons, on February 28, 2025! Featuring absolute AVANTASIA essentials such as spellbinding choirs and theatrical symphonic metal elements, multitalented mastermind and frontman Tobias Sammet also surprises fans old and new with plenty of intriguing fresh soundscapes. Here Be Dragons gives the celebrated Avantasia sound that has been carefully crafted over a quarter of a century an exciting and powerful spin. The new album probably the most consistent and concise piece of art that the band has crafted. It’s solid start to finish
Anastasia is similar to Ghost in that they have been churning out quality progressive metal for over 15 years, yet are mostly unknown on this side of the pond. Ghost has finally cracked the North American nut and has moved out of clubs to headlining stadiums. Avantasia could follow suit with There Be Dragons The band’s impressive success story has seen nine previous studio albums (including the 2019 offering Moonglow that charted at #1 in Germany), gold awards, hundreds of millions of streams, as well as headline shows at all important metal festivals and worldwide sold-out arena tours with tens of thousands of devoted fans. Avantasia is not showing any signs of slowing down—soon after the release of Here Be Dragons, the band will embark on an extensive arena tour across Europe, with their past albums they have had a handful of US dates, but as of now, there are none.
With a lineup featuring some of the most legendary vocalists in rock and metal, Here Be Dragons takes listeners on an unparalleled musical journey through epic landscapes, thrilling adventures, and deeply emotional storytelling. Their live shows are simply epic as they bring all the guest musicians out and really put on a show. Below, we break down the album track by track, highlighting each song’s unique character, guest performers, and lyrical depth.
1. Creepshow (feat. Ronnie Atkins & Michael Kiske)
The album opens with an electrifying burst of energy in "Creepshow," a song that immediately grips the listener with its galloping pace and soaring melodies. It has measure similar to Tobia’s other band Edguy, and really kicks the album into gear. Featuring a powerhouse duo—Pretty Maids' Ronnie Atkins and Helloween’s Michael Kiske—the track layers Sammet’s signature storytelling with a sense of urgency and theatrical grandeur.
2. Here Be Dragons (feat. Geoff Tate & Jorn Lande)
The title track is an ambitious nine-minute epic that fully embraces the symphonic grandeur of Avantasia. Queensrÿche’s Geoff Tate and Masterplan’s Jorn Lande bring their unmistakable vocal prowess, elevating the song to cinematic heights. The operatic storytelling is front and center here. This song brings me back to albums like “Operation Mindcrime” where you would listen and pour over the lyrics and go down the rabbit-hole of the storytelling.
Musically, the track is a masterclass in dynamic shifts, moving between soft, orchestral passages and full-blown metal intensity. Lyrically, the song serves as an allegory for venturing into the unknown:" Now you feel like a soul in a plaything, A hoop in the street beneath a dowel to beat
And you ain’t got no choice, Cause you know you ain’t free, I know what it’s like cause you’re just like me" With its sweeping orchestration and dramatic narrative, "Here Be Dragons" stands as one of the most compelling moments of the album.
3. The Moorland At Twilight (feat. Bob Catley)
Long-time Avantasia collaborator Bob Catley (Magnum) lends his distinctive, storytelling-rich voice to this haunting ballad. The song conjures images of desolate landscapes and lingering ghosts, perfectly captured in lyrics such as:" Afraid to remember, yet scared of the brume
Swallowing instant and afterglow. It beggars belief, bearing tangible proof" With its melancholic melodies and Celtic influences, this track provides a stark contrast to the album’s bombastic opening numbers.
4. The Witch (feat. Tommy Karevik)
Kamelot’s Tommy Karevik takes center stage in "The Witch," a song dripping with gothic atmosphere and brooding intensity. The track’s dark, cinematic soundscape supports its eerie tale of persecution and fate. For me it was the highlight of the album. The chorus, featuring layered harmonies, is chillingly memorable. This song is a standout due to its theatrical storytelling and commanding vocal interplay between Karevik and Sammet who really work as a vocal dual.
5. Phantasmagoria (feat. Roy Khan & Adrienne Cowan)
This mid-tempo track is a mesmerizing journey through surreal landscapes, with ex-Kamelot singer Roy Khan and Seven Spires' Adrienne Cowan delivering spellbinding vocal performances. Cowan is a standout in the live performances as well. Incredibly powerful.
6. Bring On The Night (feat. Kenny Leckremo & Ronnie Atkins)
This high-energy rock anthem features H.E.A.T’s Kenny Leckremo alongside Ronnie Atkins, driving home an uplifting message of resilience. The chorus is pure stadium rock magic:" In search of their place. They came from afar. Await the night to rain its soothing gloom" Fans of classic Avantasia anthems will find themselves singing along immediately.
7. Unleash The Kraken (feat. Michael Kiske & Geoff Tate)
An exhilarating track that lives up to its name, featuring Kiske’s soaring high notes and Tate’s theatrical prowess. With a pounding rhythm section and aggressive guitar work by Sascha Paeth who is the true unsung hero in Avantasia. Sammet gets most of the ink for the band but musically Paeth’s contributions can’t be overlooked.
8. Avalon (feat. Adrienne Cowan & Tobias Sammet)
This emotional ballad sees Sammet and Cowan delivering one of the album’s most breathtaking performances, it is more symphonic, and truly soars. The lyrics paint a dreamlike picture of a mystical journey:" There in the distance a spire is dividing the night
Calling you into the dawn light”. With its lush orchestration and chorus vocals ethereal harmonies, this track provides a stunning moment of beauty. Cowan’s vocals are simply epic.
9. Against The Wind (feat. Kenny Leckremo)
A heavy metal powerhouse, this track showcases Leckremo’s gritty yet melodic vocals. The lyrics center around perseverance. Felix Bohnke on drums really kills on this track. Another part of the Avantasia team that doesn’t get enough attention. His driving beat his the highlight of this track.
10. Everybody's Here Until The End (feat. Full Ensemble Cast)
Closing the album with grandeur, this ensemble piece brings together all the guest vocalists in a climactic operatic finale. Songs like this really play so well live as it showcases the massive effort that goes into these albums. So many artists all working in harmony, and playing off each other and elevating the experience.
With Here Be Dragons, Tobias Sammet has crafted another solid symphonic metal album that should help open the door to the west for this solid Metal Band.
Alliance’s Before Our Eyes is a masterclass in melodic rock, the kind of album that feels like a lost gem from the golden era of AOR but lands with the force of a band still hungry to prove something. There’s no rust here—Gary Pihl’s guitar work is crisp and full of life, Robert Berry’s vocals soar with an effortless richness, and David Lauser’s drumming locks everything in with an energy that keeps things fresh. It’s big, bold, and brimming with the kind of songwriting that makes you want to roll the windows down and let the music take over.
From the opening moments of “Tell Somebody,” you know you’re in for something special. It’s got that signature Alliance mix of chugging riffs and sweeping vocal harmonies—a song built for arenas that still comes through with just your car speakers. “Nothing Will Make You Change” slows things down but never loses its momentum, with a chorus that could stand shoulder to shoulder with anything Journey or Toto put out in their heyday. The melodies here are pristine, effortlessly weaving between nostalgia and something undeniably fresh.
Then comes “Too Many People,” bringing in a bluesier, funk-infused groove that sounds like it could have been cooked up in a jam session with Bad Company. The swagger is infectious, and just when you think the album might settle into a groove, “Face of Justice” steps up with a killer little banjo moment that you just have to hear—it absolutely rips. And then there’s “Good Life,” a sun-soaked slice of optimism wrapped in layers of harmonized guitars and the kind of major-key magic that makes it impossible not to smile. It’s the album’s most purely uplifting and cinematic moment, the kind of track that could have been blasting on FM radio in the late ’80s between Foreigner and Night Ranger.
Things take a cinematic turn with “Joan of Arc,” a slow-burning epic that leans into atmosphere, building from a haunting, almost Pink Floyd-like intro into an explosive chorus of emotion and love. There’s a weight to this one, something grand and mythic that sets it apart from the more immediate rockers surrounding it. “Can’t Stop Messin’” flips the switch back to straight-up fun, with a riff-heavy groove and a ZZ Top-esque bounce that keeps the album from taking itself too seriously.
“Right” is one of those deep cuts that sneaks up on you—a slow-building, moody track that starts small and grows into something massive. Berry’s vocals here are particularly raw, carrying a weight that makes every note hit that much harder. And just when you think the album might start winding down, “100 Sad Goodbyes” delivers one of its most emotional moments, a quintessential AOR ballad that tugs at the heartstrings without ever feeling forced. Pihl’s guitar work is stellar here, layering in delicate textures before unleashing a solo that practically sings.
And then comes “Tonight,” an all-out rock anthem that makes you want to grab a mic stand and belt it out in your living room. There’s a playfulness to it, a feeling of unfiltered joy that captures everything great about this band. Just when you think it’s the perfect closer, “A Bone to Chew On” crashes in—a bluesy, riff-driven jam that feels like a late-night studio session turned into an album highlight. It’s loose, fiery, and exactly the kind of unpredictable ending that leaves you hitting repeat instead of letting the album fade out quietly.
Before Our Eyes is the sound of a band that refuses to slow down. It’s polished without feeling sterile, nostalgic without feeling stuck in the past, and packed with the kind of craftsmanship that makes classic rock endure. If you’ve ever had a love affair with Boston, Journey, or Foreigner, this is an album that deserves a spot in your rotation. Be on the lookout for its release on March 28th.
W.E.T. is an acclaimed, melodic rock supergroup that combines some of the finest musicians in the genre. The band's name is an acronym created from the three primary projects its members are associated with – Work of Art (Robert Säll), Eclipse (Erik Mårtensson), and Talisman (Jeff Scott Soto) – and is comprised of them along with Magnus Henriksson (guitars), Andreas Passmark (bass), and Jamie Borger (drums). Over a fifteen-year span, their albums have consistently delivered high-quality, anthemic rock with towering melodies, powerful vocals, and flawless musicianship.
W.E.T. has built a reputation for crafting some of the most infectious and well-produced melodic rock of the modern era. Their self-titled debut, W.E.T., released in 2009, is best described as modern soulful rock influenced by each member’s primary band (Work of Art, Eclipse, and Talisman). Their sophomore release in 2013, Rise Up, brought more of an arena-friendly sound with massive choruses and a more uplifting theme throughout. Their third album, Earthrage, from 2018, was heavier and introduced bolder arrangements and darker undertones. In 2021, they released Retransmission, which showcased infectious melodies combined with a sleeker and more modern tone. With each release, W.E.T. has become increasingly more impressive and distinguished. Their latest album, Apex, continues this tradition, delivering a fresh sound that will transport you to a magical place.
With Apex, you still hear the influence from the founding members’ primary bands, but from the opening tracks, “Believer” and “This House is on Fire,” it’s evident that W.E.T. has refined their sound, blending a new mix of hard rock anthems riddled with juicy guitar riffs, powerhouse percussion, and Soto’s signature dynamo lead vocals pounding those hooks right into your soul. “Love Conquers All” is more of a mid-tempo number, bringing in a more ethereal tone, with Soto’s vocals carrying an emotional depth that tugs right at your heartstrings. The guitar solo is both tasteful and soaring, adding to the song’s impact.
“Where Are the Heroes Now” was released as a lead single from this album and is one of the album’s strongest moments. It’s a mid-tempo powerhouse that showcases the band’s knack for crafting emotive melodies. The track builds gradually, with shimmering guitar arpeggios leading into a chorus that begs to be sung at full volume. The lyrics, deeply introspective yet universally relatable, add an extra layer of depth to the song’s appeal. It conducts a darker yet seemingly hopeful tone by speaking of trials and adversities while expressing the hope for light and assistance amidst the darkness.
For those who prefer a more introspective side of melodic rock, “Stay” delivers a heartfelt ballad that strips things down to the essentials. With intricate guitar work and a poignant vocal delivery, it serves as a powerful reminder of the band's ability to balance grandiosity with genuine emotion. I couldn’t think of a more perfect way to close the album. “Day by Day” takes a more introspective approach, ending the record on a reflective note. It delivers a grand, emotional finale with heartfelt lyrics and a soaring final hook, with the haunting last words, “Day by day. I’m here to stay,” leaving you wanting more.
Soto proves once again with this release why he is one of the finest vocalists in rock, delivering both raw power and passionate depth. Combined with Robert Säll’s booming guitar work and Erik Mårtensson’s heavy-hitting drums – who is also responsible for the top-notch production – the band contributes not only strong songwriting but also a full, cinematic sound. This gives Apex its modern edge, blending technical skill with an ear for melody.
If you’re a fan of bands like Alter Bridge, Velvet Revolver, or H.E.A.T., W.E.T.’s Apex, along with the rest of their discography, is a must-listen. They continue to prove that melodic rock is alive and well by delivering another fresh album filled with Soto’s impeccable vocals, top-tier hooks, and first-class production, making them one of the best bands in modern melodic rock.
I was so excited to get a photo pass for Pepper’s show in Philly. I’ve seen and photographed them live a few times at festivals, and they always bring it to the stage, but how would it be seeing them at a smaller, indoor venue? The day started off with a quick meet-up with Kaleo, Bret, and Yesod before the show for a few pictures for a personal project I am working on. I appreciated them taking the time to come out and meet up with me, and let me say, they are three of the dopest, coolest dudes—the kind of guys you could just chill with and, no matter what, have a great time.
After the photos and talking with the guys briefly, I received a text from Kaleo: “Hey buddy, Kaleo from Pepper here, not feeling 100% today hence my rush. Keep doing your craft, my man. Aloha!” Now, I never felt like he was rushed, and I told him I so appreciated the time. He responded, “Appreciate you being on fire for what you love to do. And that’s so important.” I hope he’s cool with me adding that in here because I wanted to show what a dope, down-to-earth person he is.
As we were nearing showtime, we got to do some photos of Vana Liya and the band. Let me say, she may be—no, I think she is—the sweetest person in all of reggae! And the band is equally amazing! Derek (violin), James (bass), Dan (guitar), and Jordenn (drums) are fantastic musicians, killing it on stage, but also freaking cool dudes. So nice, so humble, so chill. I would love to just hang with them and watch them jam and joke around.
Once inside The Brooklyn Bowl, we hung out with Vana and the guys, got some pics of them in a photo booth, and hung out in the “green room” with them. We all laughed because the green room was one of the bowling lanes behind the stage. We heard them jam a little and had some great conversations. I got to meet Vana a couple of years ago at Reggae Rise Up in Baltimore and hung out with her family. I know where she gets her sweetness from—her whole family is so kind and amazing. The show hadn’t even started, and I was already having a great time!
The show started off with Vana Liya and her awesome band performing “When It Feels,” sounding so great to get this night going. She followed up with her dope song “Island Heart.” This song takes you to the beach with those amazing island vibes. She flowed into a song she did with Collie Buddz, “Flying High,” with the crowd flying high right along with her and the guys.
One of my favorite songs was next: “Come Away.” Vana sounded so good up on stage. She has such a sweet and chill voice; it just takes you away. She brought us the classic “99 Red Balloons” and absolutely killed it. The crowd LOVED this song and sang right along with her. Another island vibes song, perfect for sitting at the beach with a tropical drink and just chilling, “Summer Soul,” was next. Then they flowed right into her song with K. Bong, “Feelin’ Good.” And we were all feelin’ good right about now.
A song I know she was so excited to do was next as Kaleo strutted out on stage to join them: “Round n Round.” The crowd erupted as he came out and started singing! The crowd absolutely loved this. They sounded so great together, their singing styles flowing through each other. Unfortunately, it was time for Vana and the guys to finish up, but they did it with another great song, “Gold.” This was a perfect song to end a perfect performance. If you have never seen Vana Liya and her band, you do not know what you are missing. So much love, so much energy, so chill, and again, so much love.
One thing I will say about Pepper is that their fan base is awesome: so dedicated, crazy, and with an age range of 5 to 90. They come out and party so hard with Pepper and truly love them. So cool to see. As Kaleo, Bret, and Yesod strolled out on stage—and yes, it was a stroll, like they owned the place (LOL)—the crowd went nuts as they acknowledged the fans, posed for a few photos, and showed their excitement for being there.
They started off the night with their hit “Stormtrooper,” with the crowd going absolutely mad. Everyone was ready for this party to get going. They went into “Love Affair,” with Kaleo taking on the vocals and adding (they definitely know their audience) that the Eagles are Super Bowl champs. The crowd went crazy! One thing you can say about Philly fans is that we love our Birds (and all our teams) and will absolutely LOVE anyone who acknowledges our teams and their accomplishments.
Next up was such an amazing song, “Fuck Around (All Night).” And we were all fucking around all night! Bret cracked open a can into the mic, asking the crowd to join him. We got a little “Davey Jones Locker” with that sweet reggae riddim flowing through the venue. “Rent” came at us next, with the crowd singing along to this one, not missing a lyric. Safe to say, it was a crowd favorite, as well as one of mine. They sounded so great; you would never know Kaleo wasn’t feeling 100%.
While this may only be spring (or maybe still winter), they brought us “Never Ending Summer.” By this time, we were no longer in the pit and walking through the crowd trying to get some more photos. The Brooklyn Bowl was completely packed, and it was so hard moving around with the camera equipment. “Dry Spell” started as I found a small open spot to stop and get a few more photos, but once “Dry Spell” picked up the pace, the crowd started dancing and jumping around.
They brought us their song with Stick Figure, “Warning.” This one hit nicely, with the crowd swaying back and forth and bobbing their heads. As I tried making my way through the crowd again, I heard “Dancing On The Moon,” and I swear this crowd would be dancing on the moon with Pepper if they could. “B.O.O.T.” came next, with the lyrics “So here I go with the bass line low, yeah. And there's nothing you can do, we blew out of this town” coming out of the speakers. This night had been awesome, and it just kept getting more hyped.
I have to give a shoutout to Jeff Nisen—he sounded so good on keys and guitar, really backing these guys so well. “No Control” was next, once again sounding excellent, with the crowd dancing along while I tried to make it backstage to Vana’s “green room.” Was the crowd down for this? They asked, “Are You Down” with their next jam. YES, they were down. Vana joined them on stage for “Tradewinds,” and again, they sounded so good together. I can only imagine how happy Vana is to be touring with and getting on stage with a band she idolizes. At one point, I watched her watching them perform on stage. So sweet to see.
They gave us a little “Crazy Love,” such a nice slower groove that had the crowd swaying. They hit us with “Too Much,” another great jam, totally rocking out to this one as they flowed into an amazing drum solo. Yesod is an absolute master at his craft and had the crowd in awe.
We knew the night was winding down as they gave us their classic hit “Stone Love.” It doesn’t matter how many times I’ve heard this, or the crowd has heard this—it always sounds so perfect and hits just right. We stayed with Kona Town and got “Give It Up,” still so much energy from Pepper and the crowd. Another amazing song from Kona Town was next: “Ho’s.” I think everyone was singing right along to all these songs.
The night, the show, the party was finished off with “Ashes.” No one wanted it to end. I don’t think Kaleo, Bret, and Yesod wanted it to end, but they finished it off with a bang. What a fun and entertaining night. The energy was off the charts, and the entire experience is one I will never forget. These guys are awesome, their fans are awesome, and Vana, Derek, James, Dan, and Jordenn are awesome. The night was one big party where everyone had a great time.
One Love – Todd M. Judd
The Ace of Spades nightclub in Sacramento had a huge line across the street hours before tonight's Steel Panther show. Steel Panther fans, also known as 'Fanthers,”'were all gathered to witness the world's best heavy metal band in all their 80s glory. The venue provided an intimate evening with these bitchin' metal gods.
Steel Panther is on their 15th-anniversary tour, celebrating the release of their debut album, Feel The Steel. Their concerts are nothing short of entertaining, and they hold nothing back, fearing no backlash from the PC police. This is a safe place to be naughty and get away with it. So let's dive into the comical genius and musical ability of the amazing band, Steel Panther.
Steel Panther is a glam heavy metal band from Los Angeles, known for their parody of 80s heavy metal bands and filthy humor. Fronted by lead singer Michael Starr, who has always given me David Lee Roth vibes—which is a compliment, as DLR is the best frontman ever—Michael Starr is always amazing and entertaining to watch with a spectacular vocal range, stage presence, and amazing hair. Tonight, the Panthers started with the rocking tune “Eyes of a Panther.” What a way to begin the evening with silly lyrics, naughty songs, all that hair, and spandex! What a great beginning to set the tone for the evening. One of my favorite songs, “Asian Hooker,” was next up, as they pulled a gal from the audience to exploit and share some dance moves. No one cared about the offensive rhetoric and comical lyrics—they were all here for it, singing along and knowing every word. Bass player Spyder handled the low end with thunderous bass and authentic stage moves. Spyder has replaced founding member Lexxi Foxx since 2021; he was amazing to watch and handled the bass like a boss. The set sailed on with classics like “Friends With Benefits” and “The Shocker.” All the classics were on deck for this show.
Satchel, the band's spectacular shredding guitar player, spared no facial expressions. He came with high-kick metal moves and lent extreme shredding to this 80s ensemble. He performed a healthy guitar solo and delivered all the licks necessary for an amazing Steel Panther set. Drummer Stix Zadinia sat behind the drums, making sure the timing and thunder were achieved—also, a guy with great hair. They pressed on with fan favorite “Community Property,” which featured Michael Starr on acoustic guitar. More songs about scoring chicks and getting laid were performed, like “Death to All But Metal.” As the fans all waited for the best song of the night, they saved it for the encore: “Glory Hole.” There was no parental advisory warning here tonight.
The witty banter, clever lyrics, and obnoxious stage antics make Steel Panther one of the most enjoyable guilty pleasures of this era. From a local band on the Sunset Strip to playing sold-out shows and packed arenas, Steel Panther is here to slay! They are an American staple in rock and roll, and the Fanthers they have are loyal and rabid for Steel Panther.
Make sure you don't miss Steel Panther on their 15th-anniversary tour, continuing through May, with summer dates in Europe up next. Maybe you will find yourself a dedicated 'Fanther' and become a groupie, following them around in a van. Anything is possible after seeing a Steel Panther concert!
The Bay Area was in for an electrifying evening as the Fashion Art Rock Band, Palaye Royale, made its last stop on its Death Or Glory tour in San Francisco. This show was sold out three months in advance, and the massive line ran down the side of San Francisco's beautiful venue, The Great American Music Hall. I was initially attracted to shooting this band just based on their appearance. If modern-day teenage heartthrobs are your drug of choice, these guys are them.
Palaye Royale is an American rock band from Las Vegas formed by three brothers and core members: Remington Leith, Sebastian Danzig, and Emerson Barrett. I was so intrigued to see this band of luxuriously dressed brothers, reminiscent of the 1970s-era rock stars like Jeff Beck, The Faces, and Tom Petty. Packed with fashion sense and lots of dirty glamour, they bring just the right amount of sleaze to their polished look. That, coupled with their musical ability, makes for an exciting evening ahead for the sold-out crowd tonight.
The lights dimmed, and the Backstreet Boys’ “I Want It That Way” came over the speakers; the venue erupted in a sing-along. It was a clever way to see and feel the vibe of what's to come. Palaye Royale is known for their deep appreciation for their fans, and they show it through passionate audience engagement. Whether it be holding hands and singing to the fans in the front row or climbing the venue balcony, frontman and lead singer Remington Leith always shows his commitment to their fans. The set began with the single “Death Or Glory.” The crowd was electrified by the energy emitting from vocalist Remington Leith. I must admit this is a super catchy song off their 2024 release of the same name. More catchy punk-pop tunes followed, like “Little Bastard,” “You'll Be Fine,” and “No Love In LA.” I was especially impressed with lefty guitarist Sebastian Danzig’s Chet Atkins Gretsch hollow body; it looked and sounded spectacular. Sebastian emotes some clean, big fat tones with a hint of distortion from this beast of a guitar. Sebastian and the gang's sound is hard to classify or slap a genre label on; I hear sounds of 80s pop, 70s glam rock, emo, twang, and good old-fashioned rock and roll. Palaye Royale has something for everyone. The band's Top 40 single, “Addicted To The Wicked and Twisted,” was up next; it was nothing short of electrifying. The haunting tones of Sebastian’s hollow body were perfectly matched for this song.
Giant plastic balls were tossed around the venue as the sounds of an amazing rock band rang through. The stage set was vibrant, and the neon letters “Death Or Glory” lit up the stage along with flashing white lights, giving the production a retro vibe. Next up was “Fever Dream,” a heartfelt song dedicated to the brothers' late mother, who died from cancer last year. It was a genuinely emotional song; I suspiciously noticed that one of the brothers and core member, Emerson Barrett, was missing behind the drum set. I wasn't sure who was filling in for Emerson, but whoever it was kept the time correct and made all the songs come to life with the beats and rhythm. Palaye Royale rolled on with a few more songs; the anthem “Dead To Me” is angst-filled and emotionally charged. Remington sure knows how to deliver a song to the fans. I am super impressed with his vocal ability after 140 shows in just 10 months. The band closed out the show with “Mr. Doctor Man.” This band gave everything and more and left it all on the stage for the fans. What a magical experience and a treat to find a band that doesn't sound like any band ever before. They call Palaye Royale “Fashion Rock.” I get that assessment from their slick, voguesque appearance. But that name seems kind of weak for them. “Luxury Punk”—now that sounds more fitting to me. This tour has garnered Palaye Royale widespread acclaim and Top 40 hits. They will continue to captivate and thrill fans across the globe. Beware the next tour; I am certain these guys will be playing bigger venues.
Look for Palaye Royale to blast through your town; don't miss it!
International Women’s Day is obviously a special occasion to celebrate strong, intelligent, beautiful, and independent women. It is also a good day to recognize the talents of the ladies of heavy metal. I have always been a strong supporter of women who want to be in rock and metal bands in any capacity. Whether it’s as a singer, guitarist, drummer, bassist, keyboardist, or even dancer, if they have the goods and skills to show the world what they are made of in this genre, then I say let the girls play. One subgenre of metal I always thought was perfect for the ladies is symphonic metal. With looks that kill and voices that would echo in the Halls of Valhalla, I really enjoy listening to symphonic metal. I could not think of a better way for Rabit and me to celebrate International Women’s Day than heading to the Whisky a Go-Go in Hollywood and seeing Delain, Xandria, and Edge of Paradise. All female-fronted, all powerful, and all that alluring.
Edge of Paradise kicked off this female-led holiday show. Hard to imagine that it has been 10 years since I started following them. They have certainly come a long way since then, artistically as well as commercially. Riding high with their latest release, Prophecy, Edge of Paradise went sci-fi with their symphonic licks. Frontwoman Margarita Monet is still mesmerizing to witness. She is the rare breed of singers that is both beauty and energy with her enchanting falsetto voice. Her longtime partner and lead guitarist Dave Bates brings the "wow" factor with his tapping and licks on his green neon weapon of music. This was the first time seeing new rhythm guitarist Doug Weiand, and he is a conqueror of those bombastic riffs. During “Falling Light,” he whipped out a sensational solo that would rival Amaranthe's Olof Mörck. Drummer Jamie Moreno is a beast on the kit, while bassist Kenny Woodward thunders away at the beats. From “Prophecy Undone” to “The Other Side of Fear,” “Hologram,” “Death Note,” “Give It to Me (Mind Assassin),” “Digital Paradise,” and “Falling Light,” the Whisky crowd had entered Paradise. The horizon continues to look beautiful for Edge of Paradise, and I'm heading there with them.
Now it was time for some German-flavored symphonic metal with Xandria. It has been years since they got my attention with 2017's Theater of Dimensions, and now they returned with a new lineup and their newest record, 2023's The Wonders Still Awaiting. Starting their set with “You Will Never Be Our God,” Xandria immediately pulled me in thanks to the operatic style voice of Ambre Vourvahis. This frontwoman is the total package, and she breathes new life into these symphonic warriors. Founder and rhythm player Marco Heubaum leads the charge with his heavenly playing technique. Lead guitarist Rob Klawonn is like lightning, agile and versatile with his solos that give the band's sound a big boost. Drummer Dimitrios Gatsios is a steady force that crushes the music with melodic purpose. Notably absent was bassist Tim Schwarz, but that did not stop Xandria from blowing the roof off the Whisky. Along with “Reborn,” “Universal,” “Two Worlds,” “Live the Tale,” and the classic “Nightfall,” we all felt their awesome power. The song that did it for me, though, was “200 Years” because it had this Irish jig vibe that resonated with me. Xandria was everything I thought they would be live and more. This will not be my last time seeing this German spectacle.
Now comes the main attraction of the evening, the Netherlands' own Delain. This Dutch symphonic machine brought an epic stage presence to the Whisky. Vocalist Diana Leah has a voice that soars into the clouds, slaying the lyrics with alluring grace. Since taking over for Charlotte Wessels in 2022, Leah is carving her own legacy in Delain. Founder and keyboardist Martijn Westerholt is a maestro, blending symphony and destruction together in a harmonious nature. Bassist Ludovico Cioffi mud-stomps the hell out of the bass riffs, showing absolutely no mercy. He also shows off his harsh voice that has a vicious bite. Guitarist Ronald Landa plays big with his riffs yet contains himself enough to allow his licks to be heard without too much soloing. Drummer Sander Zoer was laser-focused on his technique and dropped the hammer to give us pulse-pounding beats. Armed with smoke machines, Delain felt far grander that night. The tunes they gave the loyal LA metalheads were both sinister and delightful. From “The Cold” to “Suckerpunch,” “The Reaping,” “Burning Bridges,” “Creatures,” “Here Come the Vultures,” “Dance With the Devil,” “Stardust,” “The Tragedy of the Commons,” “Get the Devil Out of Me,” “Your Body is a Battleground,” “The Gathering,” “Don’t Let Go,” “Moth to a Flame,” “April Rain,” “Not Enough,” and “We Are the Others,” Delain owned the night. Not only that, but they also owned our hearts.
This was a great night to celebrate International Women’s Day. The Whisky ascended above the clouds to reach Heaven thanks to the fantastic singing by these incredible frontwomen. Like the mighty Valkyrie, Margarita, Ambre, and Diana came to Hollywood ready to fight, and not only that, but they also conquered the night. Until the next showcase at the Whisky, I leave feeling euphoric. To Delain, Xandria, and Edge of Paradise, I salute you. Horns up!!!
Photos by Matt 'Rabit' Martinez
