It was a perfect Sunday evening in Ardmore, PA, to catch one of Jamaica’s best voices, a rootsy local band, and an up-and-coming dancehall artist. Over the past few years, I have attended and photographed many reggae concerts, but I always seemed to miss Etana when she was touring. When I saw she was coming to Ardmore, I knew I had to finally catch her, so I reached out to Jamaican Dave, the promoter of the show, to see about getting a pass.
Jamaican Dave Productions is the Philadelphia tri-state area's (Pennsylvania, New Jersey, and Delaware) premier world music marketing and events promotion company. For years, JDP has been bringing some of the most enduring and legendary reggae and African stars, as well as promising up-and-coming artists, to the area. They host concerts, special parties, and events in partnership with some of the region's biggest venues and organizations. Jamaican Dave Productions was started back in 1998 when Dave, originally from Linstead, Jamaica, was disappointed in the reggae music scene in Philadelphia and decided to do something about it. His big breakthrough came with the Beres Hammond and Buju Banton tour in the summer of 1999 at the Pegasus Night Club, and he hasn’t slowed down since. Dave got me in touch with Etana’s manager, and all was set for a great night.
The Ardmore Music Hall is not the largest venue, but it’s a fantastic spot for a concert. The stage is low and close to the crowd, the sound is excellent, and the lighting is solid for photography. I was ready, and the crowd was ready, to hear some great reggae music!
The night began as the doors opened to the sounds of Black Widow Sounds, spinning reggae hits—old classics, roots, dancehall, and new tracks—to get the crowd warmed up. Philly’s own Tabernacle Reggae Band kicked off the live performances. I had never heard or seen them before, but let me tell you, they absolutely killed it on stage. The crowd clearly knew them, with many singing along to their songs.
Led by vocalist Mikey Luvsmith, the band put on a performance that had the crowd jamming and dancing throughout. The band sounded wonderful, and Mikey’s voice has such a great roots reggae sound. The lineup includes Buju on bass, Jason on drums, Adam and Derry on keys, and David on guitar—all fantastic musicians. I especially loved how Mikey started the night with the “National Reggae Anthem,” a unique take on the national anthem. Their message of love, hope, determination, and upliftment pulled me into each song, leaving me wanting more. Of course, I had to look them up and listen to them again once I got home. What an outstanding way to start the night and prepare the crowd for Etana.
Next up was rising star M-Gee, hailing from Maxfield Avenue in Kingston and now living in Philly. He strolled onto the stage with confidence and bravado, holding a drink and somehow managing to move around without spilling much. The ladies in the audience were thrilled, with screams erupting as he performed. His DJ played his tracks while he entertained the crowd with songs like “This Morning” and “Tie Me.”
When he performed “Things We Have,” he brought out dancehall legend Keiva Di Diva, who wowed the audience with her signature moves. Keiva rose to fame in the early 2000s as the only female dancer among a group of male dancers, including her mentor, the late Gerald “Bogle” Levy. She has appeared in over 100 music videos for artists such as Mavado, Voicemail, Elephant Man, and Mr. Lexx, revolutionizing the dance scene with moves like the popular “Online.” Seeing her in person and photographing her was an incredible moment.
As M-Gee performed his final song, a woman in the audience screamed for him, prompting him to jump off the stage and dance with her. It was a memorable and fun moment, showcasing his connection with the crowd. M-Gee is a rising star I’ll be watching closely as he continues to grow.
Finally, it was time for what we all came for: the two-time Grammy-nominated Shauna McKenzie, better known as Etana. Hailing from August Town in Kingston, Jamaica, she has been singing her whole life, first getting discovered at the age of eight while performing an Air Supply hit. With ten albums to her name, starting with The Strong One in 2008, Etana has delivered countless hits. I couldn’t wait to see which songs she would perform—I didn’t care which ones, I was just ecstatic to finally see her live.
Etana’s music breaks down barriers, elevates the soul, and inspires listeners around the globe. She is not just a reggae star; she is an international star. Her name, which translates to “The Strong One” in Swahili, epitomizes resilience and empowerment, both in her lyrics and her powerful, beautiful voice. She masterfully fuses reggae with soul and acoustic brilliance, creating a sound that transcends borders and unites fans worldwide.
Words cannot fully describe how amazing she sounded or the presence she brought to the stage—you feel it in your heart. As she performed hit after hit, the crowd was mesmerized, singing along all night. On my drive home, I tried to pick my favorite songs from the night, but they were all so good it was impossible to choose. While photographing the concert, I made sure to put my camera down a few times to simply listen and enjoy. During those moments, “Reggae” and “I Am Not Afraid” stood out as highlights.
The Raw Soul Rebel Band was phenomenal, with each member showcasing their incredible talent. It was a perfect performance, one that will stick with me—and the crowd—for years to come. It has only made me want to see Etana again.
Her captivating and soulful voice conveys powerful messages of strength, love, and unity, transcending music to become a truly spiritual experience. With mesmerizing performances, millions of streams, and a devoted global fanbase, Etana shines as one of reggae’s most powerful and enduring voices, leaving a lasting mark on the genre. Few singers can compete with or compare to her gorgeous and magnificent voice.
One Love – Todd M. Judd
Sugarshack has released their latest video featuring The Original Wailers with Al Anderson, bringing us music from the legend Bob Marley, as well as a little Peter Tosh, Bunny Wailer, and some original compositions. Bob Marley, on the brink of international stardom, went solo in 1974 and chose an American, Al Anderson, to be his lead guitarist. Anderson played with Marley until 1976, when he joined Peter Tosh’s band, Word, Sound, and Power. He later returned to Marley’s band and contributed to the live album Babylon By Bus and the studio albums Survival and Uprising. After Marley’s passing, Anderson continued to tour with The Wailers Band and remains dedicated to spreading Bob Marley’s message and music. Today, he works with a fantastic group of musicians as The Original Wailers.
The Original Wailers bring a fresh variation and vibe to these classics—not just Marley’s songs, but also those of Peter Tosh and Bunny Wailer. Al Anderson was fortunate enough to play with and be around all three of the original Wailers (the Wailing Wailers). “There are so many bands that copy Bob Marley and The Wailers,” explains Anderson. “I had the opportunity to live and perform with the iconic three original Wailers. I spent a lot of time making music with them and really cherished the thought and moments I had with them. We [The Original Wailers] don’t imitate. We improvise the legendary catalog and perform our own written compositions.”
The band is comprised of talented musicians from around the world, which is fitting considering Bob Marley helped bring reggae music to the world. The Original Wailers include Chet Samuel from Puerto Rico on vocals and rhythm guitar, Ras Klamps from Jamaica on organ, Omar Lopez from Mexico on bass guitar, and Paapa Nyarkoh from Ghana on drums. Each musician brings a distinctive set of influences and musical abilities that shine through in their performances.
The session begins with “Stir It Up,” and my first thought is how sweet the guitar sounds and how wonderful Chet’s voice is. The acoustic sound takes you to a special place. Ras Klamps kills it on the organ, and Al Anderson delivers amazing work on the strings as they transition into “Could You Be Loved.” This version has a more upbeat sound, and the band truly shines, with Al sounding incredible throughout.
Next is “Hypocrites,” a lesser-heard Marley song, and they absolutely nail this version. Chet brings great vocals:
“Dip, for diplomatic
Hyp, for hypocratic
Dry, for dry-land tourist
Top, for Topper Norris!
See the hypocrites, dem a galang deh
See the hypocrites, dem a galang deh
See the hypocrites, dem a galang deh.”
They mix in a little “Ribbon in the Sky” by Stevie Wonder, which was unexpected and awesome! Then it’s time to get us all “Jammin’” with another great upbeat take on the classic:
“We're jammin'
(see)
I wanna jam it wid you
We're jammin', jammin',
And I hope you like jammin', too.”
I love how they stay true to Bob Marley’s original versions while adding just enough of their own style to create an amazing sound. Omar Lopez entertains with fantastic bass work, and the crowd loves it. He even gets the audience clapping along, turning it into a lively jam session. Omar is an incredible musician.
Next is an original song written by Al Anderson and Chet Samuel, “Song of the Divine.” It’s the first time I’ve heard this track, and I love it. It’s a laid-back song that blends reggae, jazz, and soul, featuring a groovy bassline, a rocking guitar solo, and Paapa Nyarkoh keeping the pace with his drums. They follow it up with another original, “Empress Omega,” a song dedicated to all the empresses out there. This upbeat groove makes you want to get up and dance with your empress.
The set continues with a fantastic combination of “Three Little Birds,” “Legalize It” by Peter Tosh, and Bunny Wailer’s “Rootsman Skanking.” You can’t help but feel carefree listening to this medley. Their version of “Legalize It” is fantastic, with Chet bringing a total Peter Tosh vibe to the vocals. Then, they channel Bunny Wailer as the band jams out with incredible energy.
The session concludes with my favorite Bob Marley song, “Redemption Song.” This track encapsulates Bob Marley’s life, and so many times when others perform it, they fail to capture the feeling, meaning, and emotion. But Chet, Al, Omar, Paapa, and Ras Klamps hit every note perfectly. If I get pulled in and feel the song, you know they did it right. Bob, Peter, and Bunny would be proud of what they’ve brought to us.
Al Anderson has continued to spread the message and love, bringing together an amazing band to carry on this journey. This collection of songs is a joy to experience, appealing to those who have followed Bob Marley, Peter Tosh, and Bunny Wailer, as well as those discovering The Original Wailers and their new music. The message hasn’t changed—it only grows stronger.
One Love – Todd M. Judd
When people think of the melodic death metal genre, it’s hard to believe Arch Enemy isn’t one of the first bands that come to mind. They’ve been going strong since 1995 and have just released their 12th studio album, Blood Dynasty. Now, they’re hitting the road again in support of that album with the North America Blood Dynasty 2025 Tour. This 29-date tour made its second stop in Los Angeles, CA, at the fan-favorite venue The Wiltern, bringing with them Fit For An Autopsy, Baest, and Thrown Into Exile. The doors opened early, giving fans plenty of time to enjoy all the music that was about to be performed, and the true die-hard fans made sure to arrive early.
Opening the show were hometown heroes Thrown Into Exile. I’ve been following this band since 2016, and it was amazing to see them hit the road on a major tour like this. Vocalist Evan Seidlitz delivered a ferocious growl and grit to his voice, the perfect battle cry to kick off the night and get the fans’ blood pumping. Guitarists Mario Rubio and Austin Monzon carried the band with their dueling guitar lines, almost like a waltz as they passed riffs, melodies, and solos back and forth. They never stepped on each other’s toes, allowing each to shine in the spotlight. Bassist Javier Quinto locked in with drummer Tom Tierney, who weaponized his kit with precision strikes and beats that attacked the crowd. This tour will put Thrown Into Exile in front of so many new fans, and I can only hope it helps them reach the heights they’ve long deserved.
Up next was the death metal band from Denmark, Baest. I was completely unfamiliar with this band and had no idea what to expect, but within moments of their set, they were there to rip heads off. Vocalist Simon Olsen delivered the fiercest and deadliest screams and growls of the night, embodying the essence of black metal vocals. Guitarist Lasse Revsbech, despite injuring his foot just before the tour, didn’t let that stop him. Hobbling onto the stage in a boot, he made up for his lack of movement by doubling as the band’s hype man, often calling for the crowd to scream, mosh, and go wild while making the craziest faces as he shredded on his guitar.
Fellow guitarist Svend Karlsson and bassist Matthias Melchiorsen made up for Revsbech’s limited mobility by being highly animated, playing to the entire crowd and often joining Revsbech to keep him involved in the show. Drummer Sebastian Abildsten looked like a technician behind the kit, his eyes focused on the beats he was laying down. While Thrown Into Exile got the fans’ blood pumping, Baest got it boiling, igniting the pit with their ferocious energy. Only two bands in, and the fans were already breaking a sweat from their passion for the music.
It was then time for Fit For An Autopsy to wreak havoc on The Wiltern. Kicking off their set with “Lower Purpose,” the moshers immediately felt the energy of the music. The pit quickly opened, with crowd killers throwing limbs in every direction. Vocalist Joe Badolato commanded the stage with a minimalist presence, holding the crowd’s attention effortlessly. Guitarists Pat Sheridan and Tim Howley slammed the audience with heavy chugs and riffs, while bassist Peter Spinazola could be seen screaming the lyrics at the crowd unamplified, his energy palpable.
Drummer Josean Orta stood out with his unique stage presence. While most drummers in heavy music are visibly working hard, Orta chewed gum and strolled across his kit with ease, as if taking a walk in the park. Fit For An Autopsy kept the onslaught going with songs like “Red Horizon,” “Warfare,” “Pandora,” “Hostage,” “The Sea of Tragic Beasts,” “Savior of None,” and “Far From Heaven.”
Finally, it was time for Arch Enemy to grace the stage. Opening with “Deceiver, Deceiver,” drummer Daniel Erlandsson kicked the show into high gear with a driving drumbeat. But it was when fan-favorite vocalist Alissa White-Gluz took the stage that the venue erupted. The crowd’s excitement was palpable as they screamed for her, knowing the ferocity she brings to her performances. Alissa layers passion, aggression, and sincerity into her death metal screams, and the audience devoured every moment of it.
Though fans tend to keep their eyes on Alissa, she made sure the rest of the band had their moments to shine. Guitarists Michael Amott and Joey Concepcion, along with bassist Sharlee D’Angelo, often took center stage, rocking out together. Amott, wielding his signature Dean Flying V blood-splatter guitar, played to the audience while shredding memorable melodies, rhythms, and wild solos.
Arch Enemy’s setlist was a masterclass in melodic death metal, featuring songs like “Ravenous,” “Dream Stealer,” “Blood Dynasty,” “War Eternal,” “My Apocalypse,” “A Million Suns,” “Liars & Thieves,” “The Eagle Flies Alone,” “First Day in Hell,” “As the Pages Burn,” “Sunset Over the Empire,” “No Gods, No Masters,” “Dead Bury Their Dead,” and “We Will Rise.” They closed the night with a four-song encore: “Avalanche,” “Snow Bound,” “Nemesis,” and “Fields of Desolation.”
With The Wiltern’s stacked standing sections, mosh pits are usually confined to the bottom level closest to the stage. But Arch Enemy isn’t like most bands—their fans opened multiple mosh pits throughout the venue, letting the energy run wild. From Thrown Into Exile to Baest, then Fit For An Autopsy, and finally Arch Enemy, each band elevated the energy on stage, creating a truly memorable night of music.
For over five decades, The Wooten Brothers—Regi “The Teacher” on guitar, Joseph “Hands of Soul” on keys, Roy “Futureman” on drums, and Victor (named one of the Top Ten Bassists of All Time by Rolling Stone Magazine) on bass—have been redefining music with their unique combination of jazz, funk, soul, R&B, rock, and bluegrass, all woven together for an extraordinary sound. The Wooten Brothers continue to honor their middle brother, Rudy, whose untimely passing in 2010 left the band without their one-man horn section.
Over the years, they have worked with and shared the stage with legends like Curtis Mayfield, The Temptations, Steve Miller, Ramsey Lewis, Whitney Houston, WAR, and Stephanie Mills, just to name a few. Their level of skill, innovation, and musical proficiency is unmatched. Recognized as some of the most groundbreaking musicians in existence, they are collectively known as one of the most talented and dynamic bands the world has ever seen and heard. Their shows are a high-powered and extremely funky blend of styles and genres, with a touch of humor added in.
The brothers started playing music at very young ages, with Regi “The Teacher” having the patience and know-how to teach his younger siblings. When Regi was twelve, he taught Victor, then just three years old, to play bass. Later that same day, the brothers played their first “concert” in their front yard. Just a couple of years later, in 1972, the brothers joined the Superfly Tour when Curtis Mayfield asked them to be the opening act for the very successful tour. Regi was fourteen, and Victor was only five. This early start is a testament to their immense musical talent, determination, and expertise.
The show I attended was at The State Theatre in State College, PA, a venue I’ve been to before and know for its excellent lighting and fantastic sound. Built in 1938 by Warner Brothers as a test market for new films, The State Theatre is now a community-owned nonprofit organization that hosts a wide variety of entertainment. It’s a great spot to catch a concert, and being just eight minutes from my house, it was a nice change from my usual three-hour drives for most shows. I was curious about the crowd, and they did not disappoint—it was a packed house, full of energy that the brothers fed off of throughout the night.
As The Wooten Brothers walked onto the stage, the crowd erupted in cheers, ready for an unforgettable night. You could see the brothers were equally excited—this was their first time touring together since 2010 and the passing of Rudy. It’s hard to put into words just how incredible this show was and how wonderful the brothers sounded. It was an astonishing and uplifting experience.
The Wooten Brothers are truly masters of their craft, each dominating their instrument and bringing out sounds my ears had never heard before. They are consistent creators and maestros of expansive aural reverberation, breaking sound barriers since their early days. Their performance featured enthusiastic vocals, crackling funky rhythms, and taut, crisp interaction between the brothers, while still leaving space for each individual’s skillfulness to shine.
Whether it was Joseph slapping the keys and delivering his sweet singing voice, Victor showcasing his fantastic bass work and unique sounds, Roy controlling the drums and stepping out front with his invention, the RoyEl (a portable guitar-like or keyboard-like instrument with a unique combination of beat and pitch), or Regi’s signature guitar style of chording, slapping, tapping, and feverish strumming—each brother brought their own unique sound, and it all blended together perfectly.
As the night went on, there were more surprises, more sounds, and more energy than I’ve ever experienced at a concert. The crowd was mesmerized, and I was completely captivated. The creativity, appeal, and sheer talent on display were unparalleled.
As the show came to a close, the crowd was in awe, thrilled by what they had just witnessed. I don’t think anyone expected to hear what we heard that night. If you ever have the chance to see The Wooten Brothers live, you absolutely must. It’s not just a concert or a show—it’s an incredible, transformative experience.
The Wooten Brothers may be the most talented (and underrated) band in the world. Each brother is an amazing artist in his own right, but together, they take music to an entirely new level.
One Love – Todd M. Jud
Shaniel Muir, the Jamaican rising star, is rapidly developing into one of the most exciting and significant singers to emerge from Jamaica in recent years. With her signature blend of dancehall and reggae, she has gained popularity by sharing the ingenuity and tenacity of the Jamaican people. Known for her undeniable ability and passion for music, Shaniel is recognized for her distinctive fusion of genres and moving lyrics that highlight the hardships and triumphs of her homeland.
After taking some time off to reflect and focus on herself and her family, Shaniel says she is returning to the music space refreshed and re-energized about her professional journey. “I needed to take some time to myself to regenerate and refresh. I felt it was necessary at the time to take a step back and regain my focus because I knew I would need that going forward. Behind the scenes during that period, I was working, listening to beats, writing, and of course spending much-needed time with family… And I came out of that season feeling so centered and renewed,” she recently told the Jamaica Observer.
Her latest EP delves into themes of love, loss, growth, and deep reflection.
The EP begins with “Next Flight,” a perfect song to kick off this journey. It sets the tone, letting us know we’re about to “embark on a magical journey through mystical skies within the stardust and love.” It’s a track that carries your heart away.
Next up is “Tell Me,” a smooth slow jam with a captivating beat that showcases Shaniel’s wonderful voice. She then brings us an upbeat tune with “Secured.” This track is a personal favorite—it keeps me grooving to the beat while highlighting her versatility. Reflecting on the song, Shaniel said, “I am happy, I’m confident, and just looking forward to all the good things that will happen as a result of that.”
Chronic Law joins her on “Disguise,” another upbeat riddim with a great beat. Chronic Law delivers his signature flow, complementing Shaniel perfectly. However, it’s her ability to change up her tempo and hit the lyrics with precision that truly makes the song stand out.
She slows things down again with “Conflict of Interest,” a track filled with strong and powerful lyrics. The EP was produced by Damage Musiq, who provided some truly exceptional riddims for Shaniel to work with.
“Protected” comes next, delivering a message of faith and resilience. In this track, Shaniel lets us know she is protected by the Most High and confident that she will be fine. Her flow over the dancehall-inspired beat is smooth and uplifting.
The EP concludes with an acoustic version of “Protected.” This stripped-down track is a standout, showcasing Shaniel’s fantastic voice in a raw and intimate setting. It leaves you wanting to hear more of her voice and lyrical flow in an acoustic format.
It’s great to have Shaniel Muir back, creating music for our ears again. She taps into themes of love, good times, and trying times, packaging it all into a sound that resonates deeply. Her fusion of reggae and dancehall is seamless, and her passion pours out through her lyrics. She not only highlights the difficulties and victories of the Jamaican people but also shares her personal journey.
Her time off was clearly much needed, and she has returned stronger than ever, ready to flourish.
One Love – Todd M. Judd
On April 12, 2025, the Moroccan Lounge lit up with an unforgettable night of comedy, high-energy movement, and music that’s bound to live in your head rent-free. Senses headlined the evening, with powerful support from Negative 25 and Mvssie. Each artist brought their own distinct stage presence, captivating the crowd in their own way. It was clear the fans loved every minute—every performance was met with energy, excitement, and genuine appreciation.
Mvssie’s drummer hit the stage first, hyping up the crowd before Mvssie herself came running onto the stage with a big smile on her face. Her setlist that night included songs such as “Therapy,” “Cold,” “Bite Me,” “Self Sabotage,” “Downfall,” “I Swear It’s Not the End,” “Stay,” and “Wonderland.” She even performed a cover of “That’s What You Get” by Paramore, during which the entire crowd sang along, and she passed the mic to fans in the audience. Mvssie moved with confidence and interacted with the crowd throughout her set. Her energy and music are reminiscent of Maggie Lindemann, so if you love Maggie’s music, you’ll definitely love Mvssie.
Her performance of “Stay” was emotionally captivating, while her drummer gave his all to every song—you could tell he was having a blast on stage. There was even a memorable moment of Mvssie interacting with the drummer during her performance of “Wonderland,” with the lights perfectly matching the music. If you’ve ever felt like you were going insane, you’d connect deeply with “Wonderland.” Her music is truly for all the fighters out there who keep getting up no matter what.
Negative 25 showed their appreciation for their fans as soon as they hit the stage. Fans at the front even gave small plushies to the band, creating a wholesome moment. The band expressed their gratitude, talking about how much they appreciated the kindness of their fans and hearing their stories while on tour. Brett and Bradley both sang and played guitar, commanding the stage with strong presence. They ripped on guitar and weren’t afraid to show off with cool tricks.
Their setlist included songs like “Are We Having Fun Yet?,” a brief cover of “Teenage Dirtbag,” “Sad Boy Summer,” “So What I Lied,” and a cover of “Shake It” by Metro Station. During “Are We Having Fun Yet?,” Brett jumped into the crowd, further energizing the audience.
Negative 25 had top-tier crowd control, getting the audience to put their hands in the air, sing along, and even crack their knuckles in unison. Their humor was infectious, capable of making even someone having the worst day laugh. Despite their self-deprecating jokes about “sucking,” the truth is the complete opposite. One girl in the audience looked like her whole year was made just by seeing them perform. Their energy was contagious, and it clearly transferred to the crowd. At one point, bubbles floated through the venue, adding to the fun atmosphere. Everything about Negative 25 screamed that they’re destined for big things, and it wouldn’t be surprising to see them headlining their own tour soon.
Finally, it was time for the headliner of the night, Senses, to take over—and they did so with a bang. Lead singer Madison Taylor moved on stage with such charisma that you couldn’t take your eyes off her. She exuded rockstar energy, often performing with her hair in her face but always making it look effortlessly cool. Throughout the set, she and her bandmates interacted on stage, including a moment where she grabbed a drumstick and joined the drummer.
Senses’ setlist included songs like “Diamonds on Your Dagger,” “Gonna Make Sure,” “Every Little Thing,” “See You Go,” “The Comedown,” “When It Rains,” “Maybe,” “Stabilizer,” “Me Against Me,” “Novocain,” “Nosebleeds,” their cover of “Good Luck Babe,” “No Fun,” “Playing Dead,” “Sleepwalking,” and “Better Than This.” At one point, Madison played acoustic guitar with an energy rarely seen in acoustic performances.
There were moments when the audience turned off their lights, creating a sense of connection that felt almost magical. The crowd came alive during their performance of “Good Luck Babe,” and by the end of the set, it felt like the entire room was sweating from dancing. Even the sad songs made you want to move.
One standout moment was when Madison kicked her foot in the air with a smile on her face, embodying the joy and energy of the night. She also brought humor into her song introductions, such as for “No Fun.” The drummer played a strong role in every song, and Madison’s spark and passion were evident throughout the performance.
The last time I saw Senses, they were an opener, but even then, they felt like a headliner. Now, they scream world tour energy. It’s hard to believe this is their first headlining tour. Their songs are beautifully written, with lyrics that stick in your head. “Nosebleeds” is a reminder to never let anyone bring you down, while “Me Against Me” is incredibly relatable for anyone going through tough times. They left the audience hooked and wanting more.
The night ended in a flash, but it was a show that will remain a fond memory. Senses, Negative 25, and Mvssie are artists you don’t want to miss. Their songs are relatable and connect deeply with their fans. Frankly, every artist deserved an encore, and I can’t wait to see what they do next.
The California Integrated Seismic Network was flooded with calls about the ground shaking in Santa Ana, CA, on Saturday night, April 5. However, it was confirmed that there were no earthquakes in the area. The disturbance was originating from The Observatory, triggered by the bands Napalm Death, The Melvins, Weedeater, and Dark Sky Burial as the Savage Imperial Death March Part II tour made its second of three Southern California stops at the iconic Orange County venue. The tour is a follow-up to 2016’s crushing Savage Imperial Death March tour and has the bands hitting cities across the USA, west to east, then east to west, ending the tour back in California on June 6.
Every stop on the tour begins with Shane Embury (bassist for Napalm Death) kicking off the night with his Dark Sky Burial project. Dark Sky Burial is an eclectic combination of electronic experiments, with Embury onstage working several gadgets, electronic drums, and providing vocal expressions throughout the set. The music ranges from the slow, haunting opening song “Nascentes Morimur Morientes Nascimur” to the up-tempo beats of the set closer “The Jewel Inside the Toad’s Head.” If you’re a Napalm Death fan, be sure to show up early to catch the experimental side of Shane Embury without his trusty bass by his side.
The Andrew Gold song (and Golden Girls theme song) “Thank You for Being a Friend” played over the PA as Weedeater took the stage and began their set with the thunderous “Hammerhandle.” Original members Dave "Dixie" Collins (vocals/bass) and Dave "Shep" Shepherd (guitars), along with drummer Ramzi Ateyeh, kicked off the night with the perfect combination of stoner metal and New Orleans sludge, erecting a massive wall of sound over The Observatory. There really is no better band to play before The Melvins than Weedeater, and they ended their set with the seven-and-a-half-minute, super-sludgy “Weed Monkey.” The Santa Ana capacity crowd fully digested the Weedeater appetizer and was now ready for the Savage Imperial Death March that was going to hit them next.
The Melvins—a truly innovative, legendary band with influences touching every sub-genre of metal out there today—were up next. You never know what you’re going to get with a Melvins live show. Along with the core members, Buzz Osborne (guitar/vocals), Dale Crover (drums/vocals), and Steven Shane McDonald (bass/vocals), there are often other “members” onstage with the band. For this tour, drummer Coady Willis is back, meaning there are TWO drummers for the live show.
The Melvins have such a huge catalog of songs, but they do a phenomenal job of mixing it up year after year for their live shows. On this night, the band began with the thumping “Working the Ditch,” followed by the equally heavy “The Bloated Pope.” While all three core members are a spectacle on stage—Osborne with his vocals and heavy riffage, McDonald with his “loud” attire and mastery of the bass—the focus on this night was watching Crover and Willis command the drums. Often in complete synchronization and other times dividing and conquering the fills, these two put on a master class in noise rock drumming.
The mosh pit and crowd surfing were alive and well during The Melvins’ set, with the intensity picking up a few notches during “Honey Bucket.” The set ended with the slow and heavy “Your Blessened.” The Melvins will release Thunderbird under the moniker Melvins 1983 on April 18, a collection of five new songs featuring original drummer Mike Dillard.
The Melvins were only the “first punch” in the “one-two punch” of sonic brutality on this night. The crowd quickly gained a second wind as the reigning kings of grindcore for the last 40 years, Napalm Death, took the stage. They opened with the sound of “Multinational Corporations” into “Silence is Deafening,” and for the next 60 minutes, The Observatory was blasted with the fastest, most orchestrated noise known to man. Vocalist Barney Greenway led the charge with his overactive stage presence, waving his hands and kicking like a person walking into a spiderweb.
The band’s music is heavily focused on political and social issues, and much of the content from years ago is still relevant today. While longtime guitarist Mitch Harris remains an official member of Napalm Death, he has retired from touring. John Cooke is the perfect guitarist to fill in, while Shane Embury on bass and Danny Herrera on drums summon up the vicious thunder that provides the foundation for the band’s sound.
Most of the band’s songs are less than three minutes long, a nod to their heavy punk influence. This brevity means they can pack more songs into their set. Like The Melvins, Napalm Death has a deep catalog of music, and they did a fine job blending all the “must-hears” with deep cuts. They even included the official Guinness Book of World Records shortest song ever recorded, “You Suffer,” which clocks in at a whopping 1.316 seconds.
The night ended with a cover of Dead Kennedys’ “Nazi Punks Fuck Off,” followed by “Unchallenged Hate” from 1988’s From Enslavement to Obliteration. The crowd gave one last burst of mosh pit energy. The California Integrated Seismic Network may get another night of earth-shaking reports as the Savage Imperial Death March Part II tour plays in Los Angeles at The Belasco Theater on Thursday, April 10. All due respect to every band out there on tour, but this is the HEAVIEST tour of the year.
Last July, Rabit and I headed to the Kia Forum in Inglewood to witness a wondrous metal spectacle. Both Mastodon and Lamb of God celebrated the 20th anniversary of landmark records that helped reshape heavy metal and launched them into greatness. I enjoy seeing these kinds of shows—not only do we get to rediscover these amazing albums, but we also relive our high school days because they made us feel powerful and invincible.
It was during my high school days that I discovered two more acts that helped define the metalcore sound: Trivium and Bullet for My Valentine. Both bands made a huge impact on my life, and this year marks the 20th anniversary of their iconic records, Ascendancy (Trivium) and The Poison (Bullet for My Valentine). When it was announced that both groups would team up with August Burns Red for a tour, with one of their stops being at the YouTube Theater in Inglewood, how could we resist? Rabit, Rockaholic, Buff Metal, our buddy Moose Metal, and I headed off to get ourselves a Vitamin Metalcore shot and feel the adrenaline rush.
Kicking off the night were the Christian-inspired metalcore juggernauts August Burns Red. It had been a while since I’d seen them spread their metalcore message of hope and positivity. Their first song was, of all things, a cover of System of a Down’s “Chop Suey!” An odd choice, but one that fired up every cylinder in my body. Right out of the gate, frontman Jake Luhrs was a heavenly force with his thunderous roars and screams. You could feel the energy he gave off through his lyrics.
His voice was matched by the shredding might of the guitar duo JB Brubaker (lead) and Brent Rambler (rhythm). Every time I hear JB pour his heart into his solos, it ignites my soul. Bassist Dustin Davidson and drummer Matt Greiner remain an insane duo, delivering blast beats and breakdowns with precision. August Burns Red played a mix of tunes that defined them as metalcore greats, mostly from their 2020 classic Guardians. Songs like “Paramount,” “Composure,” “Defender,” “Bloodletter,” “Vengeance,” “Exhumed,” “Marianas Trench,” and “Whitewashed” engulfed the LA crowd with light and energy. There was never a dull moment with August Burns Red, and I’ll be burning for more in the future.
Following the remarkable display by ABR, Bullet for My Valentine was ready to inject the YouTube Theater crowd with a dose of The Poison. As soon as the first riff of “Her Voice Resides” hit, the crowd went into a foaming frenzy. These Welsh metal warriors came to slay and conquer. Frontman and rhythm guitarist Matt Tuck was sharp as a razor with his licks, and his screams were as piercing as they were 20 years ago. No rust could be found in his roars.
Lead guitarist Michael “Padge” Paget dominated the lead riffs and showcased his insane fingering during the solos. Blisters and all, Padge remains a guitarist’s guitarist of metalcore allure. Bassist Jamie Mathias and drummer Jason Bowld bulldozed through breakdown beats and thrash-style tones like a wrecking crew. Hearing The Poison in its entirety fired up the crowd, making everyone feel like teenagers again.
Fans sang along to favorites like “4 Words (to Choke Upon),” “Tears Don’t Fall,” “Suffocating Under Words of Sorrow (What Can I Do),” “Hit the Floor,” “All These Things I Hate (Revolve Around Me),” “Hand of Blood,” “Room 409,” “The Poison,” “10 Years Today,” “Cries in Vain,” and “The End.” Bullet’s night wouldn’t have been complete without a couple of fan favorites to leave the crowd wanting more—of course, I’m talking about “Knives” and “Waking the Demon.” Bullet for My Valentine remains a driving force in the metalcore scene, and they still haven’t reached their peak.
It was then time to devour Trivium. Ascendancy was the album that not only catapulted this Orlando outfit to the top but also made metalcore sound undeniably cool. Frontman Matt Heafy, whom I like to call the Metal Samurai, was disciplined, fearless, and menacing. Heafy is the voice of my generation. Armed with his custom “Snøfall” Les Paul with two straps, his screams and riffs took no prisoners as they opened with “Rain.”
Lead guitarist Corey Beaulieu was rough and tough, going in for the kill with licks that cut through our eardrums like butter. Bassist Paolo Gregoletto, one of my favorites, dazzled us with his gallop rhythm style of playing. Whether using a pick or two-finger plucking, Paolo is the soul of Trivium. Drummer Alex Bent was a thundering machine on the kit, dominating the beats made famous by founding member Travis Smith (I wish he had been there).
A model of the burning humanoid from the Ascendancy cover hovered above Trivium, symbolizing the tribulations the band endured to reach their current heights. From “Pull Harder on the Strings of Your Martyr” to “Drowned and Torn Asunder,” “Ascendancy,” “A Gunshot to the Head of Trepidation,” “Like Light to the Flies,” “Dying in Your Arms,” “The Deceived,” “Suffocating Sight,” “Departure,” and “Declaration,” the YouTube Theater exploded with adrenaline. As the album reached its end, Trivium treated us to a special encore with “In Waves,” the perfect tune to cap off the night.
This was a monumental night for metalheads in SoCal. We were treated to not one but two iconic groups celebrating their breakthrough albums that brought them glory. Trivium and Bullet for My Valentine are quintessential metalcore bands of today, while August Burns Red continues carving out a legacy that will be talked about for years to come. I look forward to hearing new music from all of them, but until then, we’ll continue to embrace the ascendancy they’ve laid before us. To Trivium, Bullet for My Valentine, and August Burns Red, I salute you. Horns up!
Photos by Matt 'Rabit' Martinez
Kenya Eugene is a Caribbean singer-songwriter hailing from St. Croix, U.S. Virgin Islands. She is the younger sister of Dezarie, an international Roots Reggae artist. Her passions include singing, songwriting, modeling, and acting, but music has been a major part of her life for around 15 years. Her music is a perfect blend of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B. What sets this album apart is her exquisite and beautiful voice—a voice that pulls you in right from the start. Her lyrics are equally captivating, drawing listeners in with socially conscious subjects while exploring themes of individuality, love, strength, and resilience.
The album starts off with “I And I,” which establishes the album’s foundation. In this song, she explores the concept of uniqueness from a Black perspective. Kenya Eugene examines the true origins of Blackness, the years of confrontation, and the resurrection of genuine Black identity. She embraces her roots and encourages us all to do the same. This track features a great Roots Reggae riddim with an aural background sound that flows seamlessly with her voice.
“Lift Up My Head” follows, offering a peaceful and warm feel with crisp percussion that will lift your spirits in any situation. Her voice brings an emotional genuineness with a melodic flow that once again pulls you into the song, which is about perseverance and mystical strength.
The album was produced by Alfred “Tippy I” Laurent of I-Grade Records and the Zion I Kings Production Collective, who bring their distinctive sound—deeply rooted in authentic Reggae while effortlessly incorporating modern touches. This collaboration is the perfect fit for the album. Together, they crafted a creation that feels not only fresh but also timeless—a true coherence of the old and the new.
Exploring the ups and downs of love, Kenya brings us “In and Outtah Love.” This track features another sweet riddim—a Lovers Rock riddim—flowing along with her prolific vocals in this deeply emotional song. The keys and drums are delightful, adding to the track’s charm.
The album concludes with “You Are I,” a song about self-worth with magnificent, uplifting lyrics. The song features vivid guitar grooves, lavish textures throughout, and silky rhythms. Once again, what stands out most is her amazing voice.
The production of the album is clean, crisp, and exceptionally well thought out. It is a beautiful fusion of Roots Reggae, Lovers Rock, Contemporary Soul, and R&B that matches perfectly with Kenya’s beautiful, emotional, inspirational, and warming voice. “The EP is a reflection of who I am at the core—my roots, my faith, my love for people, and the energy that connects us all,” she recently said. “Working with Zion I Kings and Tippy I has brought this vision to life in a way that feels so natural and deeply aligned.”
Her music and this album are, as she describes it, Heart Music. There is so much love, strength, resilience, individuality, soul, and consciousness that it absolutely pulls you in and takes you on a fantastic journey.
One Love – Todd M. Judd
First Listen: Tesla’s “All About Love” – A Surprising Hit from a Rock Band I’d Never Heard Of
So, I just watched the music video for “All About Love” by Tesla—and to be honest, I had zero expectations going in. I’ve never really listened to this band before, and I’m not from the generation that grew up with them. But hey, I’m always down to try something new, and this one caught me off guard… in a good way.
The video itself is super simple—just the band jamming together, no flashy edits or dramatic storyline. At first, I thought the feel of it was a little dated, but overall it came across as real and refreshingly unpolished. You can tell the band has been doing this for a while, and it shows in how tight they are as a group. The guitar solos? Absolutely solid. There’s a chemistry between the band members that feels genuine and honestly pretty rare these days.
Jeff Keith’s vocals have this gritty, worn-in vibe that gives the lyrics real weight. “All About Love” is exactly what the title says—straightforward, no frills, but somehow still emotional and easy to connect with. It doesn’t try too hard to be deep, and that actually makes it work even more.
Musically, it’s got that classic rock sound—big guitars, steady drums, a catchy melody. It’s a far cry from what’s usually trending on Spotify or Apple Music, but that’s kind of what I liked most. It’s a reminder that good music doesn’t need to be trendy to be impactful.
Bottom line: Even if you’ve never heard of Tesla (like me), this song is worth a listen. It might just surprise you.