Sacramento music enthusiasts were treated to a night of pure, unfiltered rock and roll with Myles Kennedy, Tim Montana, and Sons of Silver. The line snaking around the Ace of Spades was a clear indicator that the night was going to be unforgettable. Let’s break it down.
Kicking off the evening were the Los Angeles-based rockers, Sons of Silver. They’ve been on the road in support of their debut album, Runaway Emotions, which has been a resounding success so far. Their music skillfully blends tragedy, punk, and harmony, creating something truly unique. The band's lineup boasts former members from renowned '90s bands like Candlebox, Skillet, and Pearl Jam. Known for their energetic performances and neo-classical rock influences, Sons of Silver bring an engaging stage presence that sets them apart in today’s rock scene. The band's album Doomsday Noises was released in 2020, followed by Ordinary Sex Appeal in 2022, and their new album Runaway Emotions released in January 2025. With a growing fan base and increasing acclaim, they continue to captivate audiences as they share the stage with Myles Kennedy on this tour.
Next up was the dynamic performer and direct support act, Tim Montana, a country-rock artist hailing from Montana. Dubbed the "single-wide survivor" and an "off-grid wonder," Montana fired up the crowd alongside his band, affectionately known as the “Shrednecks.” While he’s widely celebrated for his collaboration with Billy Gibbons of ZZ Top, Montana proved that he’s more than capable of holding his own. His sound mixes country, heavy metal, and raw rock and roll, drawing from personal tragedies to craft deeply resonant songs. His performance included tracks from his upcoming 2024 release, Savage, featuring songs like "The Devil You Know." He also surprised the audience with a unique take on 2Pac’s "California Love." Lyrically, Montana doesn’t shy away from heavy subjects such as domestic violence, addiction, and abuse, giving his songs a weighty, authentic feel. Backed by his incredible stage presence and a tight-knit band, Tim Montana delivered a performance that solidified his place as a rising star.
Finally, the highlight of the evening arrived—Myles Kennedy took the stage. The packed house eagerly awaited the rock maestro himself, and he delivered as expected. Performing solo, without Slash, Kennedy commanded the crowd with ease, a testament to his prowess as a performer. This tour, in support of his third solo album The Art of Letting Go, has been a success across the board, and Sacramento was no exception. Known for his powerful vocals and dynamic stage presence, Kennedy impressed with deeply soulful guitar tones and vocals that were both soothing and mesmerizing.
The performance showcased Kennedy both as a solo artist and as the frontman of Alter Bridge, backed by the talented Zia Uddin on drums and bassist-manager Tim Tournier. This power trio delivered some of the most electrifying rock and roll I’ve seen in a long time. The setlist was expansive, including a cover of Alter Bridge’s "Lover," older tracks like "Say What You Will," and new music such as "Nothing More to Gain" from his latest release. His emotional delivery and connection to the audience shone brightly, leaving no doubt that Myles Kennedy is in a league of his own.
This high-caliber performance made for an unforgettable evening. If this tour comes to your town, don’t miss your chance to experience the magic of Myles Kennedy and his incredible band live.
Released on February 17, 2025, “You Know Better” is the latest sonic masterpiece from The Ritualists, serving as a tantalizing preview of their forthcoming full-length album, Too Pure to Cure. This striking single not only showcases the band’s distinct musical identity but also reinforces their reputation as boundary-pushers within the alternative and post-punk genres. Paired with a visually stunning cinematic video, this release elevates The Ritualists' artistry to new heights.
The video itself is a marvel. From start to finish, it grabs your attention with its seamless interplay of light, shadow, and color. It’s as if each frame was pulled from a dream—haunting yet beautiful, nostalgic yet otherworldly. The infusion of vintage-inspired aesthetics, from retro costumes to warm film-style filters, contrasts perfectly with the modern-day precision of the visuals. There’s an intentionality here, a sense that every shot was designed to amplify the emotional weight of the song. It’s a rarity to encounter a music video where the imagery feels as deeply evocative as the music—and “You Know Better” nails that balance with poise.
Musically, the single is quintessential Ritualists, blending their signature alternative edge with lush post-punk influences. The track’s eerie melodies and layered instrumentation pull you in, creating an immersive soundscape that lingers long after the first listen. Vocal layers courtesy of Christian Dryden weave introspective lyrics through the meticulously arranged sonic textures, creating a relationship between the narrative and sound that feels both intimate and universal. It's music that doesn’t just ask to be heard—it demands to be felt.
What really stood out to me, though, is the dual storytelling at play here. The music and video feed off each other, each enhancing the other’s message in a way that few artists manage to achieve. The song’s haunting introspection pairs flawlessly with the video’s evocative visuals, pulling the viewer into an emotional, almost cathartic experience. It's not just entertainment—it's art.
The Ritualists have always excelled at walking that fine line between the past and the present, paying homage to the greats who influenced them while forging an identity that's unmistakably their own. “You Know Better” is no exception. It’s an exquisite showcase of their ability to tap into the raw, emotional core of their art and transform it into something meaningful and unforgettable.
From the hauntingly poetic lyrics to the cinematic visuals, “You Know Better” is the perfect teaser for what's to come on Too Pure to Cure. If this single is any indication, the full album (set for release on April 22nd on Suite 484music) is going to be nothing short of spectacular. The Ritualists have once again proven themselves to be true visionaries—musicians and storytellers who understand the deeper connection between sound and vision. For fans, both new and old, this is a must-watch, must-hear release that solidifies their place among the contemporary music elite.
Simply put, “You Know Better” isn’t just another music video—it’s an experience. One worth taking in over and over.
Cruel World Festival will return in 2025 with headliners New Order and Nick Cave & the Bad Seeds.
The festival returns to the Rose Bowl in Pasadena, CA on Saturday May 17, with additional performances from legendary acts Devo, Orchestral Manoeuvres in the Dark, Death Cult, Garbage, Madness, She Wants Revenge, Alison Moyet and more.
The 2025 festival will mark the final stop of Nick Cave & The Bad Seeds’ North American the Wild God Tour in support of their highly acclaimed 18th studio album of the same name.
Standout reunions for the festival will include Rock and Roll Hall of Fame honorees The Go-Go’s and the trailblazing new wave band ‘Til Tuesday, performing for the first time in 35 years with its original members.
Fans can also look forward to the return of Death Cult (later The Cult in 1984) as frontman Ian Astbury and guitarist Billy Duffy plan to revive the band’s original discography for their only confirmed California performance of the year. Additionally, Valley legends She Wants Revenge declared they will only play at Cruel World in 2025.
Get your tickets now at: https://cruelworldfest.com/
TICKETS
GA: $249
GA+: $349
VIP: $479
Payment plan options available.
There has been no shortage of well put together Death Metal tours in the last couple of years, in 2024, Amon Amarth toured with Cannibal Corpse and Obituary, I Am Morbid toured with Suffocation, Death to All and Cryptopsy are just a few and 2025 is keeping the momentum going with the Revenge of the Underworld Tour. This KILLER tour consists of Death Metal giants Nile and Six Feet Under along with Psycroptic and Embryonic Autopsy. The six-week trek made the first of two Southern California stops at The Observatory in Santa Ana on Friday February 7 to a packed venue of extreme music maniacs. This was sure to be a night to remember as with due respect to all bands, the anticipation for Six Feet Under was off the charts as this was their first tour in 12 years, and with this being many in attendance’s first-time seeing Chris Barnes and Six Feet Under Live.
The night started early as Embryonic Autopsy took the stage at 6:30pm sharp with a brutal 25-minute set of old school mid-tempo Death Metal. The band is led by Tim King from the mid 90’s alternative rock band Soil. Tim was in another Death Metal band Oppressor with two of his Soil bandmates back in the early 90’s prior to Soil and he has returned to his roots with Embryonic Autopsy providing some killer low-pitched growling vocals. The band is out supporting their 2024 release Origins Of The Deformed and they quickly owned the early crowd with their ferocious set and accomplished the goal of getting all in a Death Metal state of mid.
This tour is all killer and no filler as Psycroptic hit the stage next led by brothers Joe Haley on guitar and Dave Haly on drums. Opening the show with “Cold” off 2015’s self-titled album, the first thing you notice is Jason Keyser (Origin vocalist, former Skinless vocalist) is fronting the band on this tour and that is not a bad thing. Keyser has a radiant stage presence and was deeply connected with the crowd in between songs asking for some head banging and circle pit action.
Psycroptic songs contain that brutal technical riffing from Joe Haley providing that Death Metal gallop throughout the set in sync with his brother on drums. The band played a 40-minute eight song set that ended with Keyser politely pleading with the crowd to get some crowd surfing going since this was their last song as they blasted through “Enslavement” – and the crowd came through as the first crowd surfers of the night made Keyser happy.
The anticipation for Six Feet Under was off the charts as that is all you could hear fans talking about during the set change. After 12 long years the “God-Father of Death Metal vocals” is back on the stage – yes all were chomping at the bit to see and hear Chris Barnes who infamously fronted Cannibal Corpse on their first four albums and who set the standard for guttural Death Metal vocals and violent, horror inspired lyrics.
The band took the stage with Barnes on vocals and original Cannibal Corpse guitarist Jack Owen on rhythm guitar with Jeff Hughhell on bass, Marco Pitruzzella on drums and playing lead guitar Ray Suhy and they began their 60 minutes of brutality with “Torn to the Bone” then into “Return of the Zombie” that had the capacity crowd in a frenzy right from the start. While Barnes obviously looks a bit older as he is sporting a full white beard, his vocals are as strong as ever as he sounded spot on all night long with his guttural delivery, gurgles and pig squeals.
It was obvious Barnes was thrilled to be back onstage and thanked the crowd many times for the continued support. The setlist was sprinkled with songs from throughout the Six Feet Under catalog and featured such tracks as “Know-Nothing-Ingrate” off 2024’s Killing for Revenge, “Feasting on the Blood of the Insane”, “Seed of Filth”, “Human Target” and many more. Fans were screaming at Jack Owen all night and he was also having a blast with all the smiles and crowd interaction – hey 2/5 of the original Cannibal Corpse was onstage – pretty awesome when you think about the performance like that and well the band sure ended the night in the most EPIC way as the last two songs of the set were not only Cannibal Corpse songs but two of the most iconic Death Metal songs that gleam with Barnes’ violent songwriting and extreme musical delivery.
Six Feet Under ended their set with “Stripped, Raped and Strangled” and the finale being the monster track that was featured in the 1994 Jim Carrey film Ace Ventura: Pet Detective – “Hammer Smashed Face”. The crowd response was off the hook for these two songs with moshing, hair whips and crowd surfing. Barnes and band thanked the crowd and all in attendance just experienced 60 minutes of Death Metal euphoria.
Now about 9:30pm, Nile had the difficult task of following the epic Six Feet Under performance, it is unclear if Nile is closing the show every night but playing after Chris Barnes’ return to the stage is no easy task. The band hit the stage and opened the set with the killer tune “Stelae of Vultures” off their 2024 release The Underworld Awaits Us All. Now there are a few new faces in Nile as they again went through some personnel changes with the addition of Dan Vadim Von (formerly of Morbid Angel) on bass and vocals and Zach Jeter (Hideous Divinity) on second guitar and vocals while Karl Sanders and George Kollias remain the anchor of the band.
Next up was “To Strike with Secret Fang” and then “Sacrifice Unto Sebek” and this new lineup works really well live as Sanders, Von and Jeter all trade off vocals with Sanders providing the deepest guttural growls known to man all while Kollias creates the most insane drum patterns that a human being can ever imagine – just incredible. The band was certainly in sync and kicking ass, but the crowd seemed a bit reserved, maybe due to releasing all their energy for Six Feet Under? Also the stage lights for Nile were faint plain white lights that seemed to take away some of the vibe of the show based on the lighting from the previous bands.
Nevertheless, Nile remains King of Egyptian themed technical Death Metal and kudos to Sanders for being able to shout out the incredibly long song title off their new album “Chapter for Not Being Hung Upside Down on a Stake in the Underworld and Made to Eat Feces by the Four Apes” – WOW, what a mouthful but a seriously killer song. Of course, in typical Nile fashion the set ended with the brutal title track off 2000’s Black Seeds of Vengeance. What an incredible night of Death Metal and for many a somewhat religious experience witnessing Chris Barnes back on stage. The Revenge of the Underworld Tour makes a stop in Los Angeles at 1720 on February 15 and then ends on February 22 in Houston, TX. Horns Up!
Six Feet Under Set List:
Torn to the Bone | Revenge of the Zombie | Silent Violence | Lycanthropy | Know-Nothing Ingrate | Murdered in the Basement | The Day the Dead Walked | The Enemy Inside | Feasting on the Blood of the Insane | Victim of the Paranoid | Seed of Filth | Death or Glory (Holocaust cover) | Human Target | Beneath a Black Sky | Stripped, Raped and Strangled (Cannibal Corpse cover) | Hammer Smashed Face (Cannibal Corpse cover)
Nile Set List:
Stelae of Vultures | To Strike With Secret Fang | Sacrifice Unto Sebek | The Black Flame | Smashing the Antiu | Kafir! | In the Name of Amun | Sarcophagus | Long Shadows of Dread | Chapter for Not Being Hung Upside Down on a Stake in the Underworld and Made to Eat Feces by the Four Apes | Invocation of the Gate of Aat-Ankh-es-en-Amenti | Black Seeds of Vengeance
The world is in a chaotic time right now, and sometimes celebrities are lambasted for speaking out on things, because they shouldn’t be concerned with these topics as they are just actors and musicians. One musician that has made it his life’s priority to put his political beliefs up front and in your face is Tom Morello. Ever since stepping into the spotlight with his band Rage Against the Machine, Morello has been a very outspoken person with his beliefs. Making his points both through his writing in his music and being a public persona. Tom Morello wanted to bring his protests to the stage with two special shows taking place at the House of Blues in Anaheim, CA and The Fonda Theare in Los Angeles. Night one kicked off with the new supergroup Seven Hours After Violet, and fans packed in the House of Blues ready to march to the drums of Morello’s music.
Opening the show was the newest supergroup known as Seven Hours After Violet featuring Shavo Odadjian of System of a Down and Taylor Barber of Left to Suffer. Seven Hours kicked off their set with the song “Gloom,” and right off the bat they were here to create a mood. Lighting the stage with dark moody lights, and flooding it with heavy greens and purples, there was an energy created in the room. Vocalist Taylor Barber has a powerful voice that can carry the beauty of a serene melody while singing cleanly and then switch to the nastiest guttural screams with little effort. Guitarist Alejandro Aranda backs Barber on vocals, creating an orchestral harmony to the bands music. With a bassist like Shavo Odadjian his instrument is put right in front of the mix to help drive to feeling of each song. Fellow guitarist Michael Montoya adds the distorted edge to the sound, while drummer Josh Johnson is blasting away behind the kit. Musically, Seven House After Violet was on top of their game and sounded amazing. Though, at times, the band could be seen surrounding the drummer with their backs to the audience. Turning around to play for us would have heightened their performance immensely. Regardless, Seven Hours had us rocking out with songs like “Cry…,” “Paradise,” “Radiance,” “Abandon,” “Go!,” “Float,” “Alive,” and ending with “Sunrise.” Seven House After Violet can only go up from here.
Then it was time for Tom Morello to begin his guitar sermon for the people of Anaheim. Tom wears a classic mechanic’s uniform with name tag, helping to show he is just an everyman. But it’s when his hands get a hold of his Fender Telecaster that his true potential comes out and we all see what a master in his craft is capable of. Not just strumming, picking, or tapping his guitar, but using it as a sandbox to create any variation of noise he can pull out of the instrument. Tom even pulls double duty, singing for many of his songs while letting his hands be the shining star. Behind him on a giant 20ft LCD screen, Tom would display images of ethnic cultures, minorities, pride, and political statements changing with every song. Tom wanted to share the stage with his son Roman Morello, having his kid come out to perform on guitar for a couple songs. With the song “One Last Dance” Roman took the solo for himself, maneuvering the guitar behind his head and ripping that solo blind. All the while Tom could be seen with the biggest proud dad smile on his face watching his son excel like this.
Tom Morello even brought out a couple more special guest stars like Thomas Raggi of Maneskin, Luke Spiller of The Struts, and even Shavo Odadjian came back out one more time. Tom Morello managed to give the fans a blend of his solo music, Rage medlies, and even a couple covers with songs like “Soldier in the Army of Love,” “GOSSIP,” “Lightning Over Mexico,” “One Man Revolution,” “Union Power,” “Hold the Line,” “Let’s Get the Party Started,” “Secretariat,” “Cato Stedman & Neptune Frost,” “Keep Going,” “This Land Is Your Land,” “Kick Out the Jams,” “Dirty Deeds Done Dirt Cheap,” “Cochise/Like a Stone,” “Killing in the Name,” and ending with “Power to the People.” All his music and cover selections are songs that speak to the average person and make a statement of overcoming adversity and loving each other. Flipping over his guitar, he had “FUCK ICE” written on the back of his axe just to make sure people understood what he was trying to say.
People are sometimes shocked to find out that Rage Against the Machine and Tom Morello are very politically driven entities. I don’t know how you miss these aspects of their songs, but when you go to one of their shows, their stances are right there in your face. Sometimes celebrities are talking about topics and ideas because they have a platform to be heard. But Tom Morello is someone who lives those beliefs every day. He isn’t just talking about things because he has a platform, he is doing everything in his power to help better the world, and his music is one of the biggest ways people have been able to hear his voice for change. A Tom Morello concert isn’t just a musical event, but this was a protest for the people, by the people, and preaches change and love.
Break out the spandex and hairspray, 80s melodic rock is back baby!! The latest album from Perfect Plan, Heart of a Lion, is a triumphant fusion of soaring melodies, electrifying guitar work, and heartfelt lyrics that uplift the soul. From the very first note to the final fade-out, this album radiates positivity, passion, and the kind of anthemic energy that makes you want to roll down your windows and let the music take you away.
With the impressive lead vocals from lead singer, Kent Hilli, along with the accompaniment of tighter than tight musicianship and harmonies from Leif Ehlin on keyboards, Rolf Nordström on guitar, Mats Byström on bass, and Fredrik Forsberg on drums, Perfect Plan is set to release their fourth studio album on February 28, 2025. This album follows their more heavy-inspired release Brace for Impact (2022) as the band returns to their more melodic roots and embraces a more keyboard-driven sound that characterized their first two albums - All That Rise (2018) and Time for a Miracle (2020).
The album opens with its electrifying title track “Heart of a Lion,” and the album wastes no time in setting the tone—an explosion of guitar harmonies, driving drums, and an instantly memorable chorus that feels like a sunrise in musical form. Hilli delivers an immediate vocal impact and sings every line with conviction. His voice soars effortlessly over the bands lush instrumentation with vocals that are incredibly strong and powerful. This one quickly lures you in. To say that Kent is a one-of-a-kind vocalist would be a true understatement. This is the kind of anthem that blends melodies with emotionally delivered lyrics and creates a powerful message of heart and dedication.
“We Are Heroes,” their video single, is a tribute to the everyday heroes among us—nurses, doctors, firefighters, police officers, and anyone overcoming personal struggles like addiction, mental health challenges, or adversity. As Kent Hilli explained, 'The song highlights the strength of those striving to become better versions of themselves. Listening to the lyrics, I was reminded of the countless heroes of 2020—the doctors and nurses who risked everything during the COVID-19 pandemic to save lives, putting others before themselves in a time of crisis'.
The standout, heart-touching anthem, “My Unsung Hero,” practically brought me to tears. This four-and-a-half-minute song is a heart-touching anthem that blends melodies with deeply emotional lyrics and tugged on every heartstring available in my chest. The song begins with a gentle piano intro before building into a sweeping chorus, where the passionate vocals shine with raw sincerity. The instrumentation swells beautifully, with soaring guitar lines and a steady drumbeat that reinforces the song’s uplifting spirit. Every lyric feels personal yet universally relatable, reminding me that even in the darkest moments, there’s always a way forward. The dynamic production and heartfelt delivery make this track an instant classic, leaving a lasting impact long after the final note fades. "My Unsung Hero" is more than just a song—it’s an anthem for anyone in need of strength and encouragement.
The album picks back up with “Ready to Break” and “Lady Mysterious”, both with more of an up-tempo, radio-friendly sound with an impossible-not-to-sing along to choruses. Not going to lie, I played both of these on repeat more times than I’d like to admit and sang along to the catchy lyrics by the third listen through. The album closes out with “At Your Stone”, which comes at you from the gate with heavy-hitting guitars and drums. By the second listen through of this track, I was singing along to this one too.
From start to finish, Heart of a Lion is pure fun and energetic electric gold and I’m excited to see more from Perfect Plan, and hopefully a US tour sometime soon? If you crave soaring vocal harmonies, sexy guitars, and thunderous arena drums, this album is definitely a must-listen!
Grab your favorite hairspray and pull out your best leather pants because Swedish rockers Crazy Lixx are back with their newest album, Thrill of the Bite. Have no fear, your favorite high energy 1980’s throwback band is still oozing glam and sex.
The album starts off with the highly intoxicating heavy guitar riff driven “Highway Hurricane.” Energy is high, vocals are solid. You won’t be driving your Trans am under the speed limit with this one. And then there is “Who Said Rock and Roll is Dead.” This one is nothing less than an arena rock anthem. It's an 11 on a 10 scale and screams at the top of its lungs, 'Turn It Up!'
Tracks like “Call of the Wild” and “Midnight Rebels” highlight Crazy Lixx’s ability to blend heavier riffs with melodic elements, creating songs that are not only powerful but catchy as well. The first video for "Midnight Rebels” in itself is a stand-alone winner. The video takes us right back to an 80’s prom full of horror and fantasy, along with the typical 80’s music video vixens. The following tracks stick to their tried-and-true recipe.
While Thrill of the Bite doesn’t venture into uncharted territory, it doesn’t need to. Crazy Lixx excels at delivering nostalgic, feel-good rock anthems that pay homage to their 80’s influences while maintaining a fresh and energic sound. Fans of the band, as well as fans of 80’s metal and glam rock, will find a lot to love about this latest album.
Overall, this is a great addition to the discography of Crazy Lixx that captures the spirit of the heyday of hair bands of the 80s. So let loose, let your hair down, and bask in the fun of rock ‘n’ roll through the lens of Crazy Lixx. Thrill of the Bite is a hands down, no holds barred winner!
As we move into the new year of 2025, tours are starting to kick off. One of the biggest post-hardcore tours to probably happen this year has to be Silverstein’s 25 Years of Noise tour. The band has been going strong since the year 2000, and only continue to get bigger and bigger over the years. For this tour they decided to make a stop at the House of Blues in Anaheim, CA to remind the SoCalians how crazy their shows can get. Bringing with them other post-hadcore founders known as Thursday, as well as Arms’ Length and Split Chain. Before the doors could even open, the line to get in was humongous with fans ready to rock out with the best bands the genre has to offer.
Up first was a Bristol based band known for their nu-gaze sound, known as Split Chain. Vocalist Roberto Matinez-Cowles was determined to get the crowd rocking out to the band. Frequently calling for a bigger mosh pit. Guitarists Oli Bowles and Jake Reid infused their tone with mixes of shoegaze, grunge, and nu-metal. Even for the fans hearing them for the first time, they found a way to connect with the music while bopping in the crowd. Bassist Tom Davie and Drummer Aaron Black carried the back beat and allowed all the people in attendance to vibe and bounce with the music. Playing songs like “Haven,“ ”Get Inside,” “Chalk,” “I’m not Dying To Be Here,” “Fade,” “Future,” and ending with “(Re)-Extract,” Split Chain made their presence known to the people on Anaheim, and even created some new fans this night.
Up next was Canadian emo’s known as Arm’s Length. Right when the band hit the stage, a handful of fans raised a huge Canadian flag in the crowd, showing their love for this band. Vocalist and guitarist Allen Steinberg has a captivating voice that carries a bit of dreary passion along with a commanding presence. While guitarists Jeremy Whyte and Marty Hacker-Mullen manifest some of the catchiest riffs of the night. Bassist Benjamin Greenblatt looked like a hardcore kid ready to wreck things on the stage. While drummer Jeff Whyte appeared to be the doppelganger of Russel Brand, but instead of comedy, let his limbs do the talking as he banged away behind the kit. Arm’s Length played songs like “In loving Memory,” “Funny Face,” “Object Permanence,” “Tough Love,” and ending with “Overture.” Post-Hardcore eventually evolved into emo, and Arm’s Length was the perfect blend of both to bring on this tour.
The next band to hit the stage was one I have always associated with the beginning of the post-hardcore genre, or at least one of the earliest contributors to it. That being the legendary Thursday. Kicking things off with “The Other Side of the Crash/Over and Out (Of Control),” lead singer Geoff Rickly was a mad man on stage. Never allowing himself to be confined to one spot on stage, and instead constantly moving around. In moments when he wasn’t singing, you could see him playing to the crowd to hype them up even more. Rhythm Guitarist Steve Pedulla kept the melodies moving and maintained the flow of the songs. Thursday has a unique line up for this tour, as some members are off performing with L.S. Dunes. So, filling in for them was guitarist Wade MacNeil of Alexisonfire, bassist Stuart Richardson of No Devotion, and drummer Jeff Gensterblum, who all fit into the band as if they were original members. Thursdsy was also the band to get the crowd surfers up on the shoulders of the ebbing fans. With bodies coming over the barricade for songs like “Cross Out the Eyes,” “Signals Ove the Air,” “Jet Black New Year,” “The Song Brought to you by a Falling Bomb,” ”Fast to End,” “Taking Inventory of a Frozen Lake,” “The Lovesong Writer,” “Understanding in a Car Crash,” and ending with “War All the Time.” This was my first time experiencing Thursday and their chaotic presence, but they truly made a fan out of me with this performance. And I know there are others who have become diehard fans just from this 45 minute set.
To kick off 25 Years of Silverstein Noise, the band played a short home made video showcasing their rise from garage band to where they are today, and honoring all the fans that have found them over the years. Kicking things off with “Skin & Bones,” the crowd was ready to lose themselves in the frenzy of the music. Vocalist Shane Told performs with nothing but passion, getting right down to the foot of the stage to sing at the crowd. Rhythm guitarist Josh Bradford is all smiles as he works his way around the stage. You can tell how much he loves performing his music, as a huge grin never leaves his face through the show. While lead guitarist Paul Marc Rousseau is pulling double duty on guitars and helping Told with the backing vocals. Bassist Billy Hamilton and drummer Paul Koehler carry the heaviness of the bands music. The low end allows the fans to headbang and break their necks as they rock back and forth. A unique moment Anaheim got to experience was for the song “The End,” as we were honored by Lights coming out to perform the song as a duet with Shane Told. The song on the album is a duet with Lights already, but getting to experience it live took the song to a magical new level. Silverstein curated a setlist that transported fans across their entire discography featuring the very best songs like “Confession,” “The Altar/Mary,” “Infinite,” “Bad Habits,” “The Afterglow,” “Aquamarine,” “A Midwestern State of Emergency,” “Massachusetts,” “One Last Dance,” “Sacrifice,” “Vices,” “My Disaster,” “Your Sword Versus My Dagger,” “Call it Karma,” “Smile in Your Sleep,” and a three song encore of “My Heroine,” “Smashed Into Pieces,” and “Bleeds No More.” For nearly two hours Silverstein was the ultimate band in the world to every person in attendance and could not be stopped.
25 Years of Noise is an oversimplification of what Silverstein has meant to people over the last two decades. Throughout their set, fans could be seen singing in with unbridled passion to every single song. Even the crowd surfers had their own ferocity in their eyes to get as close to their heroes as physically possible. Silverstein fans packed in the House of Blues so much that the mosh pit could not open up more than 10ft, but moshers still made the most of the room they managed to claim. We are halfway through the tour, but Silverstein has already announced a few extra dates that will take them into March. If you have the opportunity to see this tour yourself still, you would be doing yourself a disservice by choosing not to attend.
January 22nd, 2025, at The Rebel Lounge in Phoenix, Arizona, was a night that took you back to the early 2000s. The night was headlined by Girl In A Coma, with support from GUSHR. It was a show that a lot of people had been waiting for. The venue may not have been the biggest, but the energy made it feel ten times larger.
GUSHR got the night rolling. They had two vocalists in the band, with the lead vocalist also being the band’s drummer, which made their sound more interesting. They have a nostalgic rock feel to them, and you could tell the drummer really enjoyed being on stage. One of my favorite moments was when one of the guitarists ended up singing a song. There was a lot of passion and energy in it. I’m excited to see what GUSHR does next.
You could feel the excitement from everyone, including longtime fans of Girl In A Coma, waiting for them to come on. When Girl In A Coma took the stage, they radiated confidence, topped with a sense of humor that could make even someone having a bad day laugh. If you’re into artists like Courtney Love or The Material, you'll love Girl In A Coma. The lead singer has rockstar energy.
Their setlist featured an electrifying mix of songs, including fan favorites like "The Photographer," "Say," and "Static Mind," alongside the hauntingly beautiful "Their Cell" and the dreamy "Clumsy Sky." They also treated the audience to new material with "Here Is Now" and "Invisible," adding fresh energy to the night. The show was filled with powerful moments, from the raw feelings of "Sappy" to the mesmerizing rendition of "As The World Falls Down," originally by David Bowie. Tracks like "Adjust," "Baby Boy," "Smart," and "El Monte" kept the crowd engaged before they closed the night with an unforgettable encore of "Si Una Vez." You could see why the band has fans who have stuck with them for years.
Girl In A Coma and GUSHR was my first show, in Arizona, and they definitely proved that Arizona concerts are worth checking out. I’m excited to see how both bands grow moving forward. Girl In A Coma made a strong comeback after being on hiatus, and their music still resonates in the hearts of everyone who listens to them. It’s haunting and beautiful in the best way possible. The love they have for their fans is beautiful too—I know they’re going to make the world a better place.
NAMM is always one of my favorite weekends. It is a time to celebrate music, rock/metal, and the merchandise. It is a great time to be a music fan. Besides the convention, another entity that captures my soul is the concerts. First one to check out is Metal Allegiance at the House of Blues in Anaheim, but the next one that metalheads flock to is at the Observatory in Santa Ana for the NAMM Guitar Fest. This is a show where the best of the best in guitarists showcase their talent to the NAMM crowd. Last year, I did not really feel that well because my heart was not fully into it. This time around, the blood was flowing through my veins like a river of fire. This year, John 5 headlined along with Marty Friedman, Nita Strauss, and Springfield/Kennison. This mecca of guitar legends was what was needed for Rabit and me after our first day at NAMM.
Nikki Stringfield and Patrick Kennison got the evening started for the NAMM Guitar Fest. Promoting their debut EP, Ghost Notes (released the day of the show), the husband-wife duo performed an epic acoustic show. It's awesome to see the Iron Maidens shred master strip down musically, baring her soul with conviction. Kennison is the Ying to Stingfield's Yang with his smokey country rock inspired riffs. The Heaven Below frontman was rough but harmonious with his voice as well. Backed with a sound machine that played the bass & drum licks for each song, they wowed us with tunes like "Where the Demons Lie," "Lunacy," "See Me Die Again," and Iron Maiden's "Aces High." Haunting, simple yet Majestic, everyone at the Observatory felt something special. The horizon looks bright for Springfield and Kennison.
Keeping the night rolling at full steam ahead was Nita Strauss. It is always amazing to see the shredding goddess do her thing when not on the road with Alice Cooper. Armed with her signature Ibanezs', Strauss and her gang got down & dirty with the Santa Ana crowd, starting with "Summer Storm." Each member of the band had an intrigal part that made their night a monstrous success. Rhythm guitarist Johnny D Young was a secret weapon, keeping the metallic sound flowing naturally. Katt Scarlett gave the riffs a classical/rock feel on the keyboards. Strauss' husband, drummer Josh Villalta, was a wrecking machine behind the kit. When Strauss went into "The Wolf You Feed," "Digital Bullets," "Dead Inside," and "Victorious," vocalist Kasey Karlsen stepped out from the shadows and ate us alive with her ferocious & melodic voice. Along with "Our Most Desperate Hour," "Mariana Trench," "Alegria," and "Quest," the night was scorched thanks to the maestro solos. Though her Rams lost the playoffs, Strauss won the hearts of the metal faithful in Santa Ana.
Another guitar god to follow Strauss was the mighty Marty Friedman. This performance would be very different from what was originally to be, for his band was stuck in Japan due to a ridiculous glitch with the Department of US Immigration. Instead of cancelling his night, Friedman soldiered on with backing tracks from his catalog and mustarded a top-notch spectacle of a show. The 62-year-old guitar ninja was swift and just with his Jackson X series. Friedman's style is a stellar fusion of neoclassical, thrash, and progressive metal where the West meets the East. With his platform boots and sleeveless flannel, this was an evening where Friedman was determined to give it his all solo wise. From "Amai Goe" to "Illumination," "Tearful Confessional," "Undertow," and "For a Friend," each tune had a unique quality that resonated with the artist and crowd in different ways. Whether it was sorrow or energetic, it was special. Though the night did not go the way he planned, he gave us his best because that is who Marty Friedman is...the best!
Saving the best for last is a headliner who needs no special intro for he is already special, John 5. The horror-inspired virtuoso, armed with his signature Fender Telecasters, has been keeping busy since officially joining Mötley Crüe. When it comes to NAMM however, this is his time to shine. The great thing about John 5 is that while he is primarily a metal musician, he is a versatile musician who can play pop, rockabilly, country, and straight up rock. There was one point where he brought his banjo for a little fiddle. With his drummer riding high on his kit, the fans were treated to a great array of tunes that included John’s original material and a few covers. As always, John 5 brought his stage screens that showed clips of horror & action flicks, with each clip complimenting his music. From “Six Hundred” to “Que Pasa,” “Crank It,” “Howdy,” “LA Express,” “I Am John 5,” “How High the Moon,” “Strung Out,” “First Victim,” “Black Grass,” “The Ghost,” “Cactus Flower,” and “Season,” John 5 brought us all to cloud 9. Of his covers, he performed his best with Queen’s “Crazy Little Thing Called Love” and a medley of guitar classics that honors the falling and still standing guitar heroes. Just like how he smiled over his lit up Telecaster, we all left that night with a sinister smile.
If there was a time needed for guitar heroes to shine, it was that night at the Observatory. I will admit, after walking around NAMM all day, Rabit and I were wiped. However, as soon as I heard the first licks coming from Springfield and Kennison’s acoustics, it put me in the mood. The whole night was exciting. Only wish that Friedman’s band had not been held up in Japan. Other than that, it was a rocking evening. To John 5, Marty Friedman, Nita Strauss, and Springfield/Kennison, I salute you. Horns up!!!
Photos by Matt 'Rabit' Martinez
