Twenty-six years after his murder, Lamont “Big L” Coleman re-emerges through Harlem’s Finest: Return of the King, a posthumous release from Nas’ Mass Appeal label as part of the Legend Has It… series. Big L remains one of hip-hop’s greatest “what-ifs”—a generational talent taken at 24, with only one studio album released during his lifetime. His 1995 debut Lifestylez ov da Poor & Dangerous cemented him as a lyrical prodigy, blending grisly horrorcore imagery with dizzying wordplay. Fans still debate what might have happened had he signed to Roc-A-Fella in 1999; how different might the arc of New York rap look today?

Posthumous albums are notoriously difficult to assemble, especially when material is scarce. In L’s case, most unreleased verses were already known through freestyles and radio spots. That limitation could easily have doomed the project. Instead, Mass Appeal approaches it as part archival restoration, part cultural repair, piecing together old recordings with new production to craft something that feels respectful, intentional, and—often—vital.

The album launches with “Harlem Universal,” featuring longtime Harlem ally McGruff. Big L’s voice slices through G Koop’s soulful, percussive beat with the sharpness fans remember, and McGruff matches his energy. It’s an immediate signal that this record isn’t a hollow nostalgia exercise—it’s aiming for impact.

The only previously released track here, “U Ain’t Gotta Chance,” updates late-’90s boom-bap with crisp drums and bright keys. Nas slides in effortlessly, mirroring L’s cadence while avoiding the pitfall of sounding like a caretaker. It’s one of the album’s most natural collaborations.

“RHN (Real Harlem Niggas)” with Errol Holden offers a raw depiction of Harlem life. L’s verse feels improvised, loose, and dangerous, and Holden’s gritty contribution adds authenticity rather than simply filling space.

“Fred Samuel Playground,” featuring Method Man, is a standout. The beat is thick with bass and smoky soul samples, carrying an eerie undertone. Meth and L trade references to Harlem landmarks with a chemistry that feels shockingly organic given the decades between their recordings.

Holden returns for “Big Lee & Reg,” a brief, stark freestyle that works because of its simplicity. Then “All Alone (Quiet Storm Mix)” shifts the mood entirely. Novel’s smooth hook lays the foundation for one of L’s most vulnerable performances—a rare glimpse into his loneliness, distrust, and emotional fatigue. With stripped-down production, his voice carries the full weight of that honesty.

Mac Miller’s appearance on “Forever” is bittersweet, more meaningful in concept than in execution, but still welcome given Miller’s reverence for Big L.

A major highlight is the inclusion of the legendary “7 Minute Freestyle” with a young Jay-Z, originally aired on Stretch & Bobbito. The remaster is crisp and transformative—one of the greatest freestyle sessions ever recorded finally gets the sonic treatment it deserves.

The middle section leans into archival energy. “Doo Wop Freestyle ’99,” introduced by Joe Budden, revives L’s off-the-top swagger, while “Stretch & Bob Freestyle ’98” is packed with punchlines and braggadocio. “Grants Tomb ’97 (Jazzmobile)” is a generational bridge, pairing L with Joey Bada$$ and BVNGS over a swinging jazz-inflected beat that channels the cipher spirit of old Harlem.

The project digs deep for early material. “Live @ Rock N Will ‘92” is muffled but charming, revealing flashes of the talent L had as a teenager. “How Will I Make It (Park West High School Mix)” delivers a scratchy but engaging blend of catchy hooks and dead-eyed realism, reminding listeners how early L was crafting full-formed ideas.

After the brief spoken outro “Don and Sacha @ Inwood Hill Park (Closing),” a bonus track arrives: “Put the Mic Down” featuring Fergie Baby and the late Party Arty. It’s rugged, loud, and driven by the swagger and aggression that defined L’s short career.

Reviewing this album is tricky. By necessity, much of it relies on familiar verses and recycled material. It can feel more like a mixtape than a fully new studio effort—but that might actually be its strength. For new listeners, the project hits hard; for longtime fans, it provides context, care, and clarity rather than exploitation.

Most importantly, Return of the King brings Big L back into the current hip-hop conversation not as a ghost or myth but as an active presence. Strong production choices, thoughtful features, and the preservation of key freestyles give the album weight.

Would Big L have taken over rap? This album can’t answer that. But it does offer another glimpse at what could have been—and that alone makes it essential.

One Love,  Todd M. Judd

'Scene's Not Dead.' This was the statement made loud and clear when fans sold out the House of Blues in Anaheim, CA, for the 15-year anniversary show of 3OH!3’s album Streets of Gold. 3OH!3 curated a lineup featuring fellow early 2010s electropop bands Breathe Carolina and Millionaires. The venue was a sea of big, poofy teased hair, skunk tails, and bright, popping hair colors as far as the eye could see. Fans were ecstatic to dig through their closets and don their scene gear once again.

First up was Millionaires, a band often criticized by musical gatekeepers for their lyrical content and style. However, I was excited to finally experience what they had to offer. Co-vocalist Melissa Marie Green, an icon with her oversized hair bow, inspired plenty of fans—both female and male—to rock the giant bow look in her honor. Fellow co-vocalist Meredith Hurley exuded a "mean girl" energy, carrying herself with the confidence of someone who knows she’s the center of attention. Millionaires brought a party energy, unapologetically celebrating themes of drinking, partying, and sex positivity. Their setlist included anthems like “Party Like a Millionaire,” “Prom Dress,” “Professional Party Girl,” “Microphone,” “The Weekend,” “Rated XMAS,” “Take Your Shirt Off,” and concluded with “Alcohol.” Their performance was bold, brash, and unapologetic—either you were along for the ride, or you weren’t. Millionaires make music for themselves and their crowd, a group of fans ready to party and let loose.

Next up was Breathe Carolina, a band whose career has evolved significantly over the years. Originally an electropop band, they later transitioned into EDM as DJs. As a longtime fan of their early electropop days, I was curious to see what they would bring to this throwback event. What we got was a blend of their early music and modern EDM remixes—a happy medium for fans from all eras. Vocalist David Schmitt returned to the frontman role, jumping, dancing, and hyping up the crowd while singing both classic tracks and vocal lines for the remixes. Schmitt’s energy was infectious, feeding off the crowd’s enthusiasm as they sang along to hits like “Last Night (Vegas),” “IDGAF,” and “Blackout.” The EDM remixes added fresh beats and rhythms to familiar songs, keeping the crowd engaged and dancing. While I personally prefer their earlier electropop sound, I can’t deny that their EDM remixes are equally fun and infectious.

Finally, it was time for the headliner, 3OH!3, who chose Anaheim, CA, to celebrate the 15-year anniversary of Streets of Gold. This wasn’t a tour; it was a one-night-only event, and we were lucky to be part of it. The show kicked off with “I Can Do Anything,” and the energy in the room was palpable. The ground shook as the crowd jumped in excitement—I’ve been to the House of Blues many times, but I’ve never felt it shake like this before.

Vocalists Sean Foreman and Nathaniel Motte were clearly thrilled to be performing for such an enthusiastic crowd. They weren’t just singers; they were hype men, constantly engaging with the audience. Whether it was gyrating, winking, or creating special moments with individual fans, they made sure everyone felt included. As this was a celebration of Streets of Gold, the band performed the album in its entirety, including deep cuts that had never been played live before. The crowd’s energy never wavered, proving to 3OH!3 that every song on the album deserved to be a hit. Fans sang every word, whether it was a single or a lesser-known track.

The night ended with a three-song encore featuring “Hit Me Harder,” “Starstrukk,” and the infamous “Don’t Trust Me.” Somehow, the crowd found even more energy for these final songs, making the celebration unforgettable. When 3OH!3 took their final bow, the fans were still screaming as if the show had just begun.

I’ve attended rock shows, metal shows, indie shows, and industrial shows at the House of Blues, but none compare to the energy the scene kids brought that night. Nostalgia is a powerful force, and the love we all shared—for the music, the artists, and each other—was undeniable. Though this style and music were often dismissed as “cringe,” we proved that it wasn’t just a phase. This music and style will forever hold a place in our hearts.

It’s been years since I last saw King Princess — 2019, a small Paris venue, back when “1950” had just reshaped her life overnight. That show felt intimate, almost fragile. Last night at The Wiltern, stepping into the photo pit instead of the crowd, I felt the weight of that distance: she’s grown, weathered, sharpened. And yet, the emotional core that first pulled people to her remains completely intact.

The night began with Spill Tab, whose rising fame is tied to her sly, understated charisma. She walked onstage with a calmness that made the room lean in, then detonated her set with tight, electro-driven arrangements and frenetic instrumental bursts. Her voice floated above the chaos, and the switch to French during one track felt like an inside door suddenly opening.  There’s a composure to Spill Tab that is almost disarming; she barely needs to move to command a space. It’s sex appeal by way of stillness, restraint, and total confidence. TheWilterncrowd, still settling in, seemed caught between observing and surrendering to her set — but the ones who understood, really did.

King Princess — Mikaela Straus, Brooklyn-born, raised on queer rock mythology, and now touring behind her evolving body of work — entered like someone who knows exactly what room she’s in. The Wiltern crowd skewed heavily queer, heavily lesbian, heavily in love with her. Couples everywhere. Denim, eyeliner, mullets, glitter. It felt less like a concert and more like a family coming back together.

King Princess played into the crowd’s energy with a kind of irreverent precision. Early on, she teased her drummer — “Antoine [Fadavi] wants something from us” — prompting the room to shout “PUSSY!” on cue. She volleyed the joke right back: “He has pussy. But only if he wants to.” What started as a bit turned into a running chant, which she eventually weaponized for theater: the stage dropped into darkness, her voice echoed across the Wiltern — “And you know… pussy is coming for you” — and then the opening of “Pussy Is God” hit. It was one of the night’s sharpest comedic pivots, and a reminder of how agile she is at shaping audience chaos into performance.

Throughout the set, she kept gauging the room in the same wry, conspiratorial tone. “LA, scream if you like pussy,” she called out. “Any lesbians here tonight? Terminal-stage lesbians?” The response was immediate and overwhelming — less like cheering for a pop star and more like a community answering one of its own. King Princess wasn’t just interacting; she was calibrating the atmosphere, tuning the space to match the identity of the people in it.

There’s something effortless about the way she moves — playful, teasing, occasionally vampy, but never forced. She wore her own merch, a cropped white tank that somehow made the whole show feel more stripped down, more lived-in than stylized.  At one point, she said, “The band had to learn three records, so to make it easier… we brought a huge dice.” And then threw a giant foam die to pick the next song — chaos as setlist curation.

But beneath the humor, the coolness, the sexual bravado, there was something heavier. A softness around the eyes. A sadness, or maybe a fatigue, that never dulled her performance but gave it an emotional grain.  She spoke candidly about how touring steadies her: “When I’m not touring, I’m not really okay… You all keep me going.” LA was home for seven years; returning to it meant something.

It felt like she was letting us see the version of her that exists offstage too — the one shaped by early fame, by the weight of “1950,” by the wish that she could have navigated those years differently.  That wisdom came through in her acoustic segment, where she dedicated songs to the lesbians in the crowd, played fully unplugged, and let the room hush itself. Her voice — rich, textured, increasingly nuanced since her debut — hit harder in stripped form.

Seeing her now, years after that Paris show when everything still felt new and combustible, was strangely grounding. She’s older, steadier, funnier, more honest. Less glittery pop-star mythology, more lived-in queer rock icon.  And the crowd mirrored that evolution: not screaming teenagers, but partners, friends, exes, long-term fans who’ve grown alongside her.

King Princess didn’t just perform at The Wiltern. She made it laugh, scream, blush, reflect — and she let herself be witnessed too. A sexy, hilarious, emotionally sincere communion between an artist and the community that built her.

Demonstrating his impressive range as a multi-instrumentalist, Simon “Skygrass” Bowden steps confidently into the spotlight with Walking On Water, a 14-track project that feels both deeply rooted in reggae tradition and boldly experimental in spirit. Handling drums, percussion, bass, keyboards, guitar, and even sitar, Skygrass not only wrote but also largely self-produced the album—a testament to his boundless creativity and musical vision.

From the outset, Walking On Water establishes itself as more than a collection of songs; it’s a statement of faith, perseverance, and self-belief. The title track, featuring the always-commanding Jesse Royal, sets the emotional and thematic tone. Together, they deliver an anthem of conviction—a call to trust in both oneself and a higher power. Royal’s verse injects extra fire, elevating the song’s energy and message.

On “Dreadful,” Skygrass leans into a brassy, roots-heavy groove, pairing a classic reggae riddim with an electrifying guitar solo that underscores his instrumental finesse. The energy continues on “Riddim Fyah,” a bold, seamless fusion of rock and dancehall that sees guest artists Lutan Fyah and Turbulence trading verses with their signature vocal agility. The chemistry among the trio is undeniable—each artist pushing the others toward creative excellence.

Skygrass’s reverence for reggae’s rich history surfaces beautifully on “Sensi,” a sweet, modern remake of Black Uhuru’s “Sinsemilla,” featuring the legendary Mykal Rose. Their voices intertwine effortlessly, echoing the synergy of Rose’s past collaborations with Frankie Paul, while giving the classic tune a refreshing new life.

“Inna Deh” brings an upbeat, keyboard-driven riddim that evolves mid-song into a smooth, vintage-style groove—a showcase for Skygrass’s warm, textured vocals and sharp production instincts. Meanwhile, “Dance Ya,” featuring RoryStonelove, dives into a dubby, hypnotic pulse that’s irresistible on the dancefloor, proving Skygrass’s mastery of rhythm and mood.

The middle section of the album explores more sensual and introspective tones. “This Night” glides through a dreamy landscape of softly plucked guitar, echoing percussion, and lush synth layers—a slow-burning, romantic piece that highlights Skygrass’s expressive vocal control. “For You Only” continues this tender energy, channeling themes of devotion and sacrifice through heartfelt delivery and gentle production.

“Lightning,” featuring Aspekt Mafia, shifts gears into an anthem of resilience and strength. With its genre-blurring soundscape and dynamic storytelling, the track feels like a creative breakthrough—Skygrass matching Aspekt Mafia’s intensity with renewed passion and purpose. “Fireflies” follows as one of the album’s most captivating vocal performances, a sweet, romantic ode that glows with both simplicity and sincerity.

Later, “Think Again” and “Victor” bring listeners back to the roots—classic reggae arrangements reimagined with fresh melodies and messages of empowerment, confidence, and endurance. Skygrass’s optimism radiates through each note. “Take Over” keeps the momentum, blending smooth vocal phrasing with clever rhythmic shifts that show just how fluidly he moves between styles.

The journey ends on a mystical note with “Ras Alchemy,” where Skygrass incorporates the sitar to transport listeners into a spiritual, meditative space. It’s a fitting finale for an album that celebrates transformation and transcendence.

With Walking On Water, Skygrass proves himself not only a gifted musician but a visionary artist unafraid to stretch reggae’s boundaries. Confident, versatile, and soulful, this album stands as a vibrant fusion of tradition and innovation—a work that will resonate far beyond reggae’s core audience.

One Love – Todd M. Judd

Jahmiel's The Brothers Keeper EP is a concise, six-track project that leans into his signature blend of contemporary reggae and dancehall. It spotlights his "lover boy" persona while carrying a deep sense of introspection. The project holds special meaning for the artist, as it features a collaboration with his younger brother, Yo Rockit—underscoring the EP’s central themes of family, unity, and authenticity in creative expression.

The project opens with “Claremont,” a track that encapsulates Jahmiel’s emotional and physical journey through life. Using Claremont as a metaphor for a place of peace and fulfillment, he reflects on resilience and the ongoing search for happiness despite adversity. The track’s piano-driven riddim supports his reflective lyricism, blending toughness with tenderness.

“Silence” explores themes of trust, caution, and discretion. Over a melodic yet hard-hitting beat, Jahmiel emphasizes the importance of moving wisely through life’s challenges. He turns up the energy with “Franck Muller,” delivering one of the EP’s most commanding performances. Here, he dives into ideas of materialism versus authenticity, spiritual identity, and the wisdom gained through struggle—all wrapped in sharp, confident lyricism.

With “1 AM,” Jahmiel fuses dancehall with a smooth, 70s-inspired R&B groove. The track’s emotional flow and introspective lyrics highlight his growth, focusing on overcoming hardships and celebrating the self-improvement that follows.

The uplifting “No Worries” finds Jahmiel embracing faith and perseverance. His message is clear—maintain a positive mindset, trust in Jah, and don’t let negativity derail your purpose. The subdued riddim mirrors the calm strength of his words, creating one of the EP’s most spiritually grounded moments.

Closing the project, “Billion Dollar Dreams” features a mellow guitar line and a bold, assertive flow. It’s an anthem of ambition and self-belief, marking a confident end to the journey. Jahmiel sounds freer and louder here, embodying the hunger and vision that drive his artistry.

Sonically, The Brothers Keeper balances rugged riddims with introspective melodies, showcasing Jahmiel’s versatility. His vocals glide between confident declarations and heartfelt storytelling, supported by top-tier production. With family as its foundation and a message rooted in perseverance and faith, The Brothers Keeper EP stands as one of Jahmiel’s most mature and emotionally resonant releases—a must-listen for fans of conscious dancehall and modern reggae alike.

One Love – Todd M. Judd

After more than two decades in dancehall, Charly Black proves he still knows how to ignite a party. His third studio album, Good Times, is a vibrant fusion of reggae, dancehall, Latin, reggaeton, and Afrobeat—an energetic, global celebration of rhythm and movement. The 13-track project reflects Charly’s international reach, featuring collaborations with artists and producers from Jamaica, Colombia, the Netherlands, and Nigeria, including heavyweights like DJ Chuckie, Snowcone, Bizzey, Denyque, L.A.X, and Don Corleone.

From the opening track, “Talk A Di Town,” Charly sets the tone with a lively dancehall anthem dedicated to women whose energy commands the dance floor. Inspired by both German and Jamaican muses, the song celebrates confidence, allure, and stamina—all delivered with Charly’s signature charisma.

“Badda Dab Me,” featuring Chuckie and Jason Imanuel, brings a playful bounce, blending dancehall’s infectious rhythms with international production finesse. Meanwhile, “Good Times,” featuring Dutch rapper and DJ Bizzey, bridges electronic reggae and hip-hop influences, as Charly’s quickfire delivery contrasts Bizzey’s laid-back flow for a dynamic cross-cultural exchange.

The Latin-infused “Numero Uno” showcases Charly’s softer side, expressing admiration and devotion over a sweet, dance-ready groove. That romantic flair continues on “So Good,” a steamy duet with Dexta Daps. Produced by Charly’s own Team Unstoppable Records, the track is exactly what fans would expect from two of dancehall’s most seductive voices—melodic, provocative, and irresistibly smooth. Charly told The Jamaica Star, “This one is a hot and sexy track for the ladies, exactly what you would expect from a collab with Charly and Dexta, as we both have dancehall anthems for the females. It's lyrically evocative, melodic and passion-filled, driven by a pulsating beat that evokes intimacy and desire for the opposite sex.”

“Bad Attitude” shifts gears, warning against the pitfalls of living fast and chasing superficial thrills, while “Center of Attraction” reignites the party atmosphere with a pulsing riddim built for club floors. The chemistry between Charly and Denyque shines on “Like Glu,” a sensual Valentine’s Day release that pairs her sultry vocals with his gritty delivery for a seductive dancehall slow-burn.

“Toxicity” sees Charly comparing his addiction to love with a potent drug—classic territory for the artist, who balances hard-hitting production with raw emotion. “Dolly House” follows with a more intimate tone, as Charly invites listeners into a private, romantic world set to smooth dancehall instrumentation.

The international energy peaks on “Party In Colombia,” featuring Colombian reggae and dancehall artist Andres Couper, a festive fusion of Latin and Jamaican vibes. The groove continues on “Mamacita,” a lively, percussion-driven track where Charly flows effortlessly over a reggaeton-inspired rhythm.

Good Times closes with “Ballerina,” a vibrant ode to female dancers and the joy they bring to the dancehall. It’s a fitting finale—high-energy, celebratory, and true to Charly’s reputation as a master of the party anthem.

With Good Times, Charly Black delivers exactly what the title promises—a feel-good, global dancehall experience that bridges cultures and styles while staying true to his roots. The album’s seamless blend of traditional dancehall with Latin, Afrobeat, and electronic flavors demonstrates not just versatility, but evolution. For an artist who has kept dancehall pumping for more than twenty years, Good Times is proof that Charly Black’s sound is as fresh, fun, and infectious as ever.

One Love – Todd M. Judd

Back in the mid-2000s, I was a bit of a music snob. If the music didn’t come out before 1995, I didn’t care about it. Eventually, I realized I should probably start checking out more modern music but didn’t know of any bands at the time. I asked my younger sister for some artists she would recommend, and one of those bands was Jack’s Mannequin. This was shortly after they released their debut album, Everything in Transit, and surprisingly, I enjoyed it. After a hiatus with Jack’s Mannequin, as Andrew McMahon focused on his solo work, he has decided to do a tour, Celebrating 20 Years of Jack’s Mannequin the MFEO Tour. The penultimate stop of the tour was a hometown show at the House of Blues in Anaheim, CA. This was one of the most packed, sold-out shows I had ever seen at this venue.

Opening the tour was another Los Angeles native band, Illuminati Hotties. This indie rock band was a personal project from music producer and audio engineer Sarah Tudzin. Though Tudzin started the project in 2017, the music of Illuminati Hotties feels like it would be the soundtrack to any 2000s Michael Cera movie. It has a softer, respective feel to it. Even though their sound carries a mostly indie rock vibe, for those harder-hitting punk moments, Tudzin takes those moments to step out from behind the mic and jam out with her fellow bandmates Tim Kmet, Sapphire Jewell, and Zach Bilson. During the song “MMMOOOAAAAAYAYA,” she even got onto the barricade to sing right in the faces of the fans. Illuminati Hotties kept up this mix of indie and punk with songs like “Can’t Be Still,” “Falling in Love with Somebody Better,” “777,” “(You’re Better) Than Ever,” “Pool Hopping,” “Joni: LA’s No. 1 Health Goth,” “frequent letdown,” “sandwich sharer,” and ending with “Didn’t.” This might have been the first time hearing Illuminati Hotties for most people, including me, but they left an impression. Andrew McMahon picked a perfect band of melodic vibes and high-energy moments to get the crowd sufficiently warmed up for what was to come.

This was my first time seeing Andrew McMahon in any capacity, and I’ve always heard how amazing of a performer he can be. As a grand piano sat at the front of the stage, I knew with Jack’s Mannequin he would be stuck playing piano for the majority of the show, and I was curious what kind of piano performer he was going to be. Within seconds of their opening song, “The Resolution,” McMahon proved to be one of the most charismatic and animated piano players I’ve been fortunate enough to see.

Andrew McMahon has a face like rubber, as he emoted every emotion on the emotional spectrum throughout the show. From happiness to sorrow, to joy, mania, depression, heartfelt loss, and tears of joy, the man was playing to the back of the theater with just his facial expressions. This energy couldn’t be contained just to his face, as he was constantly leaping from his seat and standing while continuing to play and sing these powerful songs that people have loved for the last 20 years. On multiple occasions, his manic energy caused him to knock over the piano seat, yet this just caused McMahon to perform with an even more heightened level of energy.

Performing songs from all three albums, we got the best of music that helped people fight through some of their hardest moments in life, like “Spinning,” “Crashin,” “Bloodshot,” “I’m Ready,” “The Mixed Tape,” “Bruised,” “Holiday From Real,” “La La Lie,” “Swim,” “Kill the Messenger,” “Into the Airwaves,” “Last Straw, AZ,” “My Racing Thoughts,” “Release Me,” “Restless Dream,” “Amy, I,” “Rescued,” “MFEO: Pt. 1 – Made For Each Other,” “Hammers and Strings (A Lullaby),” and ending with “Dark Blue.”

Fans got two solid hours of Jack’s Mannequin music, and that still didn’t feel like enough. We could have kept feeding McMahon energy to perform every song they have written, but alas, we must wait for the next time any one of Andrew McMahon’s projects comes to town.

While working on their debut album, Everything in Transit, Andrew McMahon was diagnosed with leukemia. Thankfully, McMahon kicked leukemia’s ass and made a full recovery. Because of this, McMahon started the Dear Jack Foundation (https://www.dearjackfoundation.org/), raising money to help fight cancer in adolescents and young adults. The show may have been for fans to come and enjoy the music of Jack’s Mannequin, but for McMahon, this was a way of helping raise money for people fighting cancer, as there were QR codes all around the venue with ways to donate. McMahon even took the time to make a speech to inspire people to donate and help save lives. Please consider donating yourself.

Rochelle Bradshaw’s debut album, Island Girl, is a soulful fusion of reggae, soul, and contemporary sounds that reflects her rich musical legacy and personal journey. Rochelle didn’t just step into music; she was born into it. She was born in Portland, Jamaica, and grew up surrounded by reggae legends—her father, Anthony Bradshaw, and uncle, Devon Bradshaw, were original members of the legendary reggae group Burning Spear. This reggae heritage is evident in every track of her album.

I’ve known Rochelle for about ten years, having met her while she toured with Stephen Marley. When I heard she was releasing her debut album, I was not only excited for my friend but also eager to hear her creations. While touring with Ragga, she formed an incredible background duo with Rica Newell, bringing captivating dance moves and beautiful singing to the stage., Rochelle developed her artistic foundation in her uncle’s recording studio in Norwich, Portland, Jamaica, where she honed her skills in harmony. This experience allowed her to record and tour with some of reggae’s biggest names, including Damian Marley, Stephen Marley, Burning Spear, The Original Wailers, Chaka Demus & Pliers, and Luciano. All these experiences perfectly prepared her for her current role as a flawless professional in the music industry.

She posted on her Facebook page on the day her album was released:

“I have held this album in my heart for years. ISLAND GIRL is not just music; it embodies memory, grief, joy, bloodline, and healing. It represents my journey of finding my voice after a long silence. It is the sound of everything I’ve survived. I created this with my sister, Tamara Bradshaw, and our uncle, Devon Bradshaw, produced it. Together, we wove something sacred through sound. We recorded in Portland, Jamaica, where our ancestors rest, and in Fayetteville, Arkansas, where I have discovered who I am. This project began during a moment I can only describe as divine. One quiet night, after taking my Island Time gummies (created with @thesource.edu_), I suddenly tasted the ocean and was transported back to Jamaica in a flash of memory. That moment became the title track. Every lyric is a truth, and every melody carries something I couldn’t express aloud.”

The album opens with the inspiring track "It's What's Inside," which immediately sets the tone for its introspective mission with a powerful message about looking beyond surface appearances. At the end of the song, the production shifts, slowing down to create a haunting sound. In "Warriors," Rochelle explores vulnerability as a strength. The song features a slow, hard beat that gives it a reggae anthem feel, allowing Rochelle to deliver her powerful flow over the rhythm.

"Love So True" is a heartfelt declaration of deep, unique, and fulfilling love, set against a classic roots reggae riddim. The horns complement Rochelle’s flowing vocals perfectly. In the title track, "Island Girl," Rochelle delivers a powerful, conscious message with vocals that capture the metaphysical essence of island vibes. This fantastic roots reggae production invites you to slow down, absorb her message, and connect with yourself.

"Celestial Decree" has a vibe reminiscent of Bob Marley and the Wailers. It's a song about divine timing, expressing the belief that certain events and blessings in life are predestined and ordained by a higher power. Rochelle's subtle flow complements the theme beautifully.

Next, it’s time for Rochelle to slow things down with a sweet R&B-soul groove in "Turn It Around." This song resonates with me personally due to its empowering message of hope, resilience, and positive change.

Pushing the boundaries of the genre, "Take All The Time" has a distinctly different feel compared to the rest of the album, yet it fits in perfectly. This upbeat pop tune showcases her brilliant vocals. The repeated chorus—"Take all the time you want. Take all the time you need. Take it all before it's gone"—carries a powerful message about giving space and time to a loved one. It highlights the importance of understanding in relationships and the value of not rushing things.

Another standout track, "Ancestors Light," features her sister Tamara and boasts fantastic production. With a dancehall rhythm, the sisters sound wonderful in this celebration of their cultural legacy and heritage. The lyrics honor the history and influence of past generations, especially within the context of reggae music and culture, offering a beautiful shoutout to their parents. This song has been on repeat for me, and I can't help but groove to it.

Another song that resonates with me is "Let The Storm." It features a sweet, upbeat reggae rhythm, and Rochelle delivers her message perfectly. She conveys themes of finding strength, joy, and a sense of being alive, even in the face of challenges or turbulent times. This track truly highlights Rochelle’s beautiful voice.

In "Crucial High," Rochelle shares a message about marijuana and the experience of reaching an intense, transformative state of being. The beat keeps your head bobbing as Rochelle flows effortlessly over the keys:  "It's recreation medication meditation good vibration, Elevation. Used by all nations all where we came from.  So pass di kutchie wid di strong strong strong."

"Always RB" delivers another upbeat groove, showcasing one of the finest productions on the album. In this track, Rochelle shares a heartfelt message with a friend, assuring them of her enduring commitment and unwavering support in their friendship. The album concludes with "Island Girl Dub," making it a perfect ending to the journey Rochelle has taken us on. The smooth dub riddim allows us to relax and enjoy the ride out.

While Island Girl is a deeply personal project, it is also one that many can relate to and enjoy. The themes of strength in love, heritage, respect, transformation, living rightly, community, and consciousness resonate with everyone. Rochelle recently stated:  “Reggae music is about living right, treating your fellow humans with respect, and being a good person. It’s music with a positive message.”  She added: “It’s a completely different type of music to play and convey to people. It’s like soul music; it’s something you really have to feel.”  And feel it you do. "This project is my truth," says Bradshaw. "It’s a journey through reflection, love, and liberation—all on island time." In collaboration with her sister Tamara Bradshaw and her uncle Devon Bradshaw, Island Girl represents Rochelle’s artistic evolution and invites listeners to experience self-discovery, transformation, and mindful living rooted in the enduring spirit of Caribbean and island culture.

To my friend, I say, amazing job, Rochelle! You accomplished what you set out to achieve in a perfect way.

One Love – Todd M. Judd

Hollie Cook is no stranger to the music industry. The daughter of Sex Pistols drummer Paul Cook and backing singer Jeni Cook (of Culture Club), and with Boy George as her godfather, music is in her blood. After joining the punk-rock-reggae band The Slits in 2005, she went solo following the death of Ari Up. Almost fifteen years after her self-titled debut on the Mr Bongo label, reggae’s orator of love returns home with Shy Girl—her fifth and most authentic album to date.

Bringing a sun-drenched, analogue lovers rock sound, Shy Girl feels both warm and vulnerable, exploring love’s magical and melancholy sides. Cook’s signature “tropical pop” style shines through tight grooves, airy melodies, and lush production, elevating her artistry with confidence and emotional depth.

The buoyant title track, “Shy Girl,” sets the tone with its elastic lovers rock groove and Cook’s light, sensual vocals brimming with positivity. The brassy “Ooh Baby” keeps that breezy energy flowing, while “Rockaway” offers an uplifting escape—a dreamy, slightly melancholy reflection on peace and emotional connection.

“Night Night,” featuring Horseman, pairs a joyful tropical riddim with a bittersweet story of longing and loneliness. Horseman’s bold personality contrasts beautifully with Cook’s softness. The tempo rises on “Holding On,” a sunny, reggae-infused tune about infatuation and surrendering to love’s overwhelming pull.

“In the Pictures” blends jazzy undertones with a dubby flow, perfect for swaying on the dancefloor. “Frontline” delivers a deeper, more forceful Black Uhuru-style vibe with a bubbling bassline, sharp guitar, and heavy horns—one of the album’s standout moments.

“Take Me In Your Arms” is a sweet-natured love song driven by a steady bassline and smooth horns, while “Crying Wolf” stands out for its beautiful horn arrangements gliding across a classic reggae riddim. The upbeat “River Run Deep” symbolizes resilience and unity, with Cook’s airy vocals matching the track’s lively rhythm.

The intimate “Hello Operator” reveals Cook’s vulnerability, her longing voice carried by a rich bassline and flowing horns. The album closes with a tender remake of Skip Mahoney & The Casuals’ 1974 classic “We Share Love,” the perfect send-off after such a heartfelt journey.

Shy Girl may not be loud or forceful, but its warmth, airy flow, and authentic lovers rock spirit make it the ideal album to unwind with. Wearing her heart on her sleeve, Hollie Cook delivers songs of love and honesty, revealing new emotional depths in her writing. Shy Girl is both a homecoming and a coming-of-age—a shimmering, soulful distillation of reggae that will capture your heart, just as it first captured hers.

One Love – Todd M. Judd

There’s nothing quite like seeing one of your favorite American reggae bands and one of your favorite Jamaican artists share the same stage—and on The Visions Tour 2025, The Movement and Kabaka Pyramid proved exactly why they sit at the top of the reggae world right now. Rolling into Pittsburgh (Millvale), PA on the heels of The Movement’s newest album Visions, the night was packed with love, energy, explosive performances, and the unmistakable spirit of one love.
Mr. Smalls, with its cathedral bones, warm acoustics, and wraparound balconies, was the perfect temple for the night’s sermon of sound.

The evening kicked off with a meet-and-greet where a group of diehard fans got to watch The Movement during sound check. The vibe was pure joy—jokes flying, songs riffed on, fans smiling ear to ear. I tagged along for photos and a few minutes with the band afterward. Every time I’m reminded: these guys are truly as genuine, humble, and grounded as reggae gets.

As The Bebble Rockers stepped onto the stage, the crowd snapped to attention—they knew what was coming. The band built the anticipation until Kabaka Pyramid emerged to a roar, launching straight into “Light It Up.” The crowd did exactly that. He slid seamlessly into “Ready Fi Di Road,” flowing with a smoothness that reminded everyone why he’s one of the top lyricists in reggae today. Hearing those two rare tracks back-to-back set the tone: this set was going to be special. “Rock Mi Nice,” “Reggae Music,” and “Nice Up the Dance” kept the room swaying—old-school reggae flavors with that signature Kabaka fire. Even though I’ve heard him perform them countless times, they hit with the same joy every single show.

“Everywhere I Go” landed heavy, Kabaka’s delivery sharp and passionate. From there, he took us back to his Lead the Way EP with “Herb Defenda,” commanding the mic with the kind of conviction only he can bring. Before continuing, Kabaka spoke about the devastating impact of Hurricane Melissa on Jamaica, urging fans to donate. He promised to be at the merch table meeting fans and signing autographs as they contributed—a beautiful, grounded moment that showed exactly who he is. He followed with the tender, patriotic “Jamaica,” then shifted into the lovers-rock glow of “Show Love.” “Stand Up,” one of the emotional high points of The Kalling, hit as powerfully as ever. You could feel it ripple through the room. 

But the biggest surprise of the night came when Kabaka dropped “The Revival,” then pivoted into the opening line of Damian Marley’s “Welcome to Jamrock.” As Kabaka sang, “Out in the streets they call it?” the crowd yelled, “MURDER!” The crowd erupted. Hearing him deliver that anthem over The Bebble Rockers’ riddim was a massive, unforgettable moment. He closed strong with “Well Done” (a perfect song for the times we all live in—not just the corrupt Jamaican government, but our government here as well), “Red Gold and Green” (with Kabaka’s manager joyously waving the Ethiopian flag), and the title track “The Kalling.” Kabaka and The Bebble Rockers delivered one of their strongest performances yet—each time I see them, the bar somehow rises.

As “Great Discovery” floated out into the air, the crowd lost it—the moment had arrived. The Movement took the stage and immediately shifted the room into full vibing mode with “Take Me To The Ocean.” Then came my personal favorite, “Orange Sky.” Hearing the entire venue sing along word for word was surreal. Even from the photo pit, I had to remind myself I was supposed to be working and not just belting it out with everyone else. “Fair Warning” slid effortlessly into “High Roller,” Matt and Kyle ripping through the horn lines with precision and energy. “Cool Me Down” gave the room a needed breather, but the crowd never lost its groove. “Ways of the World,” “Redwoodz,” and a powerful, bass-heavy “Break In The Glass” kept the energy high.

From the new Visions album, “This Is Your Life” absolutely crushed. Jason and Gary drove the rhythm, Josh commanded the stage, and the horns shined—one of the standout moments of the whole show. “Alien,” “Siren,” and a massive sing-along to “Habit” had the whole room glowing. When Josh asked the crowd to lift their lighters and phones, nearly 900 lights swayed like fireflies as he sang, “I live and I learn, all I wanna do is burn…” It was a beautiful, goosebumps moment.

The new tracks “Live It Up” and “Visions” sounded incredible live—lush, bright, and full of that island-soul sweetness that defines the new album. Watching the crowd from the balcony was stunning: pure joy, nonstop movement, and endless good vibes. They closed the main set with “Loud Enough”—and trust me, it absolutely was. The room shook.

The Movement returned for the encore with “Putting Up 2” and “Deep Blue Sea”—two gorgeous tracks that showcase each band member’s skill. The entire room throwing up peace signs during “Putting Up 2” was a moment I won’t forget.

But the night wasn’t over.

Kabaka Pyramid and The Bebble Rockers stormed back on stage, joining The Movement for one massive, unforgettable finale: the classic reggae anthem “Ring The Alarm.” It was pure celebration—two powerhouse acts sharing one riddim, one love, one stage. A perfect ending.

This night was everything reggae should be: unity, energy, heart, and musicianship on full display. Both The Movement and Kabaka Pyramid keep getting better every year, and The Visions Tour 2025 is proof of that. If this tour comes anywhere near you—run, don’t walk. You’ll leave feeling lifted. This wasn’t just a concert.  It was a celebration of life, love, roots, and reggae at its finest.

One Love. — Todd M. Judd