The Beale Street Music Festival returned to Memphis after a nearly three-year pandemic-induced hiatus. One of America's oldest music festivals made its triumphant return marking its 44th anniversary. The three-day event, steeped in the polite mannerisms associated with the region's southern charm and gracious manners, overcame a plethora of obstacles, including those related to the Covid epidemic, logistical problems, and weather issues. The festival, which takes place during the first weekend in May, is usually situated in Tom Lee Park, on the banks of the historic Mississippi River, in downtown Memphis. However, the 2022 event was moved to a new but temporary location in Liberty Park near the Liberty Bowl because of an elaborate expansion project at the original site.

Day 1 of the festival lost its main headliner just a few weeks before the scheduled event when the untimely passing of Foo Fighters drummer Taylor Hawkins forced the cancelation of their summer tour. Sammy Hagar stepped in at the last minute to fill the void, and the first day went off like clockwork for nearly every set scheduled. The weather was almost perfect for opening day with bright sunny conditions and a steady breeze. The event continues to be one of the most economical and eclectic music festivals.

Just like in years past, there were three main stages of music from multiple genres and a blues tent with local and national veterans of the Blues music world. For most of the opening day, the Bud Light stage was the most popular providing a quadruple rap extravaganza for a massive crowd of tightly packed fans. Opening day featured a shortened schedule beginning at 5 pm to accommodate a regular work schedule for local music fans attending the event. Memphis rapper Al Kapone got the ball rolling with an energetic, late afternoon performance. Kapone was backed by a live band of veteran musicians that added a new dimension to his rap performance. The set included some of his more recent material with a selection of Bluff City classics like “M’s Up,” “Get it On The Flo," and “Get Crunk, Get Buck.”  Kapone, best known for the classic “Hustle & Flow” track “Whoop That Trick,” has become a hometown favorite, with the song evolving into an anthem for the city and the Memphis Grizzlies.

The Rap fest continued with a well-received set by East coast rapper Waka Flocka Flame. That was followed by a set from controversial rapper Da Baby. It was the first time the Charlotte-based rapper appeared at the festival, and his set was also well received by the energetic crowd. The young performer connected with the crowd early in the set, getting the crowd to yell “Free Shiesty” before launching into Pooh Shiesty’s song “Back in Blood.” Sheisty is a Memphis rapper recently sentenced to prison in Florida for firearms violations. In a fitting finale, Memphis rappers Three 6 Mafia closed the night on the Bud Light stage. The group played some of their biggest hits from their 30-year catalog. Many euphoric fans could be seen simultaneously watching live feeds on their phones of the playoff victory of the Memphis Grizzlies basketball team, adding to the excitement of the moment.

The Zinn stage saw the most eclectic lineup on day 1 of the festival. Memphis Americana singer, songwriter, and upright bass player Amy LaVere opened the festival with the very first set of the afternoon. Along with a band of veteran musicians, LaVere played a delightful collection of music combining a blend of classic country, jazz, and soul music.

The former lead guitarist of The War on Drugs, Kurt Vile, brought his band the Violators to the Zinn stage next. Vile played his version of Indie rock, backed by his current band of accomplished musicians, including Jesse Trbovich (guitar, saxophone), Rob Laakso (guitar, bass, keyboards), Kyle Spence (drums), and Adam Langellotti (bass).

One of the most anticipated sets of the day came next from a decidedly different genre of music. Classic rock icon Van Morrison led a big band through a set of some of his biggest hits mixed with new material. The soulful singer uncharacteristically bolted onstage immediately at the beginning of the set, playing a fierce riff on saxophone. Wearing a blue suit and his signature sunglasses and fedora, Morrison sang “Precious Time” from 1999. He also sang “And It Stoned Me,” his classic hit from 1970. In addition, he played “Wild Night,” penned in 1971. He also played some classic covers, "Help Me” by Sonny Boy Williamson and Don Gibson’s “I Can’t Stop Loving You.” Morrison, later in the set, launched into a blazing blues medley that blended “Baby Please Don’t Go” with “Parchman Farm” and “Got My Mojo Working.” The ninety-minute set may have been one of the best performances from the feisty artist in recent years, a tribute to the respect given to the spirit of Memphis.

Next, Canadian singer-songwriter Sarah McLachlan closed the stage with a decidedly different folk-rock musical direction. It was McLachlan’s first post-pandemic festival performance. The singer played a 20-song crowd-pleasing set late into the tepid night air.

Black Pistol Fire opened an evening of hard rock performances on the Terminix stage. The band is a Canadian-born, Austin-based rock duo. The group consisting of Kevin McKeown and Eric Owen is an evolutionary drum and guitar powerhouse following in the footsteps of White Stripes and Black Keys. Their hour-long set was one of the most energetic of day 1 of the festival.

The Glorious Sons, a Canadian rock band from Kingston, Ontario, followed with a surprisingly southern rock style, channeling The Allman Brothers Band and Lynyrd Skynyrd. This five-piece band knows how to rock and was well received by the rock enthusiasts huddled against the massive stage. Los Angeles-based Dirty Honey brought a more blues-heavy rock sound to the stage next. The band consisting of singer Marc LaBelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone tore through a ninety-minute set of thunderous Blues infused rock tunes.

Finally, Sammy Hagar closed the stage with his band, The Circle playing a set full of rock anthems. Hagar opened with “There’s Only One Way to Rock,” and the crowd responded emphatically. While rap fans were celebrating the win by the Memphis Grizzlies basketball team over on the Bud Light stage with Three 6 Mafia, Hagar joined in the celebration. Hagar donning a Grizzlies shirt, shouted, “Damn the Grizzlies, these f****** better be good. If my friends in San Francisco saw me wearing this, they’d go crazy. “The band featured former Van Halen bass player Michael Anthony who Hagar has collaborated with for decades.

Anthony took center stage to perform Van Halen’s “Ain’t Talkin’ ‘bout Love” midway through the set, much to the delight of the rowdy crowd. Hagar added to the atmosphere by periodically tossing beer cans into the audience. Later, New Orleans trombonist and recent Grammy winner Trombone Shorty joined the celebration to jam with the band on a pair of songs. Hagar ended the set with a cover of the Foo Fighters’ “My Hero” as a tribute to the Foo Fighters with a video of Taylor Hawkins playing on the giant screen.

Meanwhile, the Blues tent offered up some of the most genuine music of the festival with local and national veterans of the genre. The Blues tent is one of the unique aspects of the Beale Street Music Festival, separating it from other festivals. Practically, the venue is the most comfortable at the festival, with chairs for everyone, a tented covering impervious to inclement weather from hot sunshine to torrential rain, and features its own uncrowded back bar. Local legend Earl “The Pearl” Banks, who has been playing music on Beale Street for over 50 years, opened Day 1 in the Blues tent. Earl played a set of genuine old-school Blues that wowed the crowd.

Janiva Magness sang next, an American Grammy Award-nominated blues, soul, Americana singer, and songwriter from Detroit. She was followed by Kenny Brown; an American blues slide guitarist showing off his North Mississippi Hill Country blues style.

The final act in the Blues tent is always the festival's closing act, and by the time J.J. Grey and his band Mofro took the stage, the tent was packed full of Blues lovers. The band led by the charismatic Grey brought their American Southern soul-rock sound from Jacksonville, Florida, to close out day 1 of the Beale Street Music Festival 2022.

Check out more photos from day 1 @ Beale Street Music Fest.

The second day of the 2022 Beale Street Music Festival got under away in the early afternoon under humid cloudy skies. The threat of rain persisted throughout the day but held off until the evening hours. During day two, there were so many impressive musical moments that festival-goers had to tailor their choices to their own personal preferences. The Zynn stage became the Hip-Hop stage for the second day.

The festival hosted the most homegrown Memphis acts ever, and Hip-Hop fans responded with resounding approval. Five Memphis rap artists performed on the stage back-to-back, including White $osa, Lil Wyte, Duke Deuce, Project Pat, and NLE Choppa, with an ever-increasing emphatic crowd as the day wore on. As night fell, the first non-Memphis artist took the stage, Sarkodie, a Ghanaian rapper with a huge fanbase. Each year Memphis in May features several festivals, including the Beale Street Festival. One of the festivals honors a specific country, and 2022 featured Ghana. Usually, a couple of bands spill over into the Beale Street lineup, and this year Sarkodie and Stonebwoy represented their country. The rapper, a legend in his homeland, quickly captured the rapt attention of the tightly packed Memphis crowd and played an impressive set, backed by a large contingent of dancers, singers, and musicians. Rap superstar Megan Thee Stallion closed the stage but more about that later.

Over on the Bud Light stage, Indie rock ruled that day with six distinctive bands on the roster. Memphis own Blvck Hippie kicked things off with a raucous set of Sad Boy Indie Rock. The group is reminiscent of the black hard rock band Living Colour but with a more modern Indie rock style. Early bird fans headbanged to the hour-long set of guitar-driven tunes. Nashville singer and songwriter Sophie Regina Allison, better known by her stage name Soccer Mommy, played next with her band of Indie rockers. The band had so many members they struggled to get things right with the soundman. That delayed the set, but eventually, they got things rolling and played a good 45 minutes.

Santa Barbara’s Toad The Wet Sprocket brought their 80’s Indie rock sound to the stage next. The band features original members, vocalist/guitarist Glen Phillips, guitarist Todd Nichols, bassist Dean Dinning, and a few new members. The crowd reacted positively to Phillips's familiar vocals and the band's melodic rock.

Indie rockers GROUPLOVE brought their dance-inducing Indie rock sound to the stage next. Singer Hannah Hooper acted as the band's leading cheerleader, smiling and dancing her way all about the stage. She would occasionally trade off lead vocal duties with guitarist Christian Zucconi. Fans responded emphatically to the set, many dancing in place in the tightly packed crowd.

As night fell, Austin experimental rock veterans Spoon took the stage after a short delay. The band emerged with chants from the audience of “We want to spoon!” Lead singer and guitarist Britt Daniel’s addressed the delay by quipping, “Five minutes ago, we thought we weren’t going to play because of the storm.” Lightning could be seen flashing in the distance. Memphis weather is notoriously temperamental, and the festival employs a team of meteorologists to monitor the weather. Rain usually doesn’t stop a performance, but the threat of lighting has to be taken seriously for obvious safety reasons. The band played an explosive set of guitar feedback-tinged Indie rock.

From Bellingham, Washington, Death Cab for Cutie closed the stage just after 930 at night. The emo band seemed to be trying to break away from their image as a shoegazer band with musicians jumping about with the energy of punk rockers. Lead singer Ben Gibbard led the charge, opening with a frantic assault on his electric guitar, flowed by an animated set of tunes on the piano. Unfortunately, it began to rain at the beginning of the band's set, and midway through their performance, there was a call for an evacuation of the festival due to severe weather warnings. While many music fans gave up and headed home, many other hardcore fans were allowed to evacuate to the Libby Bowl next door to try and wait out the storm.

The Terminix stage was again the focus of hard rock for the day featuring six bands from several eras of the genre. Memphis own Tora Tora opened the stage. The band featured all four original members from the group first formed in 1986. Lead singer Anthony Corder channels the early vocals of Robert Plant with Led Zeppelin, and his Glam rock band followed suit. The band garnered one of the most prominent early crowds, with fans rocking out to the set.

Seattle singer-guitarist Ayron Jones and his band The Way may have arguably played the best set of the festival next. Jones seemed to channel no less than Jimi Hendrix with fierce guitar riffs. His trio of bandmates kept pace with an animated complex rock assault that wowed the crowd. While the band channeled classic rock, they also added grunge, gospel, hip-hop, and soul elements. California rockers Rival Sons played the following round with a Blues drenched hard rock approach that had the ever-growing crowd rocking throughout their set.

New metal rockers Chevelle had to drop out of the lineup due to Covid, but they were replaced at the last minute by Soul Asylum. The veteran alternative rock band was formed in 1981 in Minneapolis, Minnesota. Their 1993 hit "Runaway Train" won the Grammy Award for Best Rock Song. They brought a vintage hard rock sound to the stage.

Grunge rock veterans Stone Temple Pilots took the stage just after dark. The band featured original members brothers Dean DeLeo playing lead guitar and Robert DeLeo on bass and backing vocals, and Eric Kretz on drums. Lead singer Jeff Gutt joined the band in 2016 after the untimely deaths of former singers Scott Weiland and Chester Bennington. The band tore through their extensive catalog playing many of their biggest hits. Alt-rock veterans Smashing Pumpkins, led by the iconic Billy Corgan, were set to close the stage just after 10 PM. But the thunderstorm weather delay that caused the evacuation delayed the bands set until just after midnight. After a torrential rainstorm and a few flashes of lightning, the festival resumed with an explosive rock set by the Pumpkins. With Corgan out front playing guitar and sneering his lyrics, the band opened with the hit tune Bullet With Butterfly Wings and never looked back, playing a searing complicated rock set to hardcore fans that stuck out the weather delay.

Meanwhile, back on the Zynn stage, hip hop fans gathered nervously, unsure whether headliner Megan Thee Stallion would return for her set. The rap queen had left for the airport thinking her show had been canceled but returned much to the delight of her hardcore fans. The feisty rapper hit the stage just after 1230 for a rowdy set of her biggest dance tunes, surrounded by a small army of dance artists. Between Megan and Corgan, the ending of what seemed like could be a disastrous night turned into a magical late-night finale for day 2 of the Beale Street music festival.

The third day of the 2022 Beale Street Music Festival unfolded under crisp, clear skies after the rainstorms from the night before cleared away. The beautiful conditions encouraged music fans to arrive early for the final day. The musical lineup featured the most diverse of this year's gatherings. The Bud Light stage was again the focus of African roots music, but unlike the days before, the focus was not solely on the rap genre.

Jamaican reggae band Third World performed on stage with a roots reggae sound influenced by soul, funk, and disco music. The large band was led by Stephen "Cat" Coore and Richard Daley, original members since the band formed in 1973. The rhythmic music was a great way to start a sunny Sunday afternoon. Continuing the guest country theme of the year, Ghanaian singer Stonebwoy performed next with his big African band blending Afropop, dance hall, and reggae music. Next, Jamaican singer Shaggy brought his brand of fiery dancehall reggae to the stage with his larger-than-life persona. Memphis rapper Moneybagg Yo followed, bringing the music back to American Hip Hop. As evening fell, he extended his set to perform a few extra songs for the massive crowd, as the original headliner Lil Wayne was forced to cancel his set at the last minute. Plane trouble kept him from making it to the festival. But there was still plenty of music at the other stages to keep the crowd content.

The Zynn stage started the day behind schedule due to technical difficulties, but by the time Grace Potter danced in a hypnotic trance onto the stage in the late afternoon, everything was back on schedule. It is hard to believe that the prolific singer, songwriter, and musician is only 38, considering she has been a veteran performer in the blues-rock genre for more than 20 years. Along with her band of veteran musicians, the Nocturnals, the charismatic Potter put on one of the finest performances of the day. The singer pranced about the stage bouncing off other musicians, and moved back and forth between her electric guitars and keyboards to perform some fierce blues-rock numbers from her extensive catalog.

San Francisco Alt-rock veterans Third Eye Blind took the stage next. They replaced the iconic Lindsey Buckingham, who was the second act to have to drop out of the festival due to testing positive for Covid. Original lead singer Stephan Douglas Jenkins led Third Eye Blind through a crowd-pleasing set of their older material mixed with some new numbers.

Finally, San Francisco rockers Counting Crows closed the stage with a fantastic performance full of their biggest hit songs. Charismatic singer Adam Duritz led the tremendous band of mostly original members through a 16-song set, opening with the Grammy-winning classic “Round Here.” Duritz has an uncanny ability to make eye contact with vast numbers of people in a large audience. His performance antics include standing on speakers and bouncing off his bandmates, much to the crowd's delight. The set included a three-song encore, which was the highlight of the day for many mainstream rock fans.

Over on the Terminix stage, the performances were also varied and eclectic. In mid-afternoon, the Indigo Girls took the stage for a folk-rock performance. The Atlanta-based duo consisting of Amy Ray and Emily Saliers is a festival staple playing Beale Street multiple times in the past. The pair have been playing their folksy songs with heartfelt meaning and underlying messages since 1985; they are reminiscent of the 1960s protest folk heroes like Joan Baez. With many fans enjoying the sunny weather lounging on blankets, it was an excellent early set.

Connecticut jam band Goose played next, creating an entirely different mood on the stage. Devout fans excitedly surged towards the front for the energetic performance. Goose has fast become one of the most popular bands in the jam genre. The group's psychedelic rock sound mixes funky beats and jazz-like rhythms to create a unique and vibrant sound. Like most bands in the genre, the group has an expansive catalog and tries to play a unique set at each performance. Their Memphis set included nine songs, seven originals, and two covers. The band is well known for mixing a wide range of covers into their sets. “Green River: by Creedence Clearwater Revival and Eddy Grant’s Electric Avenue made it into their Memphis show.

Veteran Indy rockers Modest Mouse brought their version of jam-infused music to the stage next. The band had initially canceled due to a Covid scare, but all members ended up with a clean bill of health just in time to reschedule their performance. Singer and guitarist Isaac Brock led the band through a 15-song set culled from the band's seven albums released over the last 25 years. While many of the bands on the Terminix stage had a large fanbase following, there was no doubt who most music fans crowding the stage were waiting to see.

Many eager young fans donning Weezer t-shirts made up the hardcore crew in the very front of the stage. Finally, the Los Angeles veteran Indy band closed the stage with an explosive multimedia extravaganza featuring many of the band's rock anthems. Following the cancellation of Lil Wayne, the crowd at the Terminix stage swelled to one of the largest of the entire festival, with fans singing along and dancing to the well-known tunes. The 19-song setlist included two distinctly different covers, “Enter The Sandman” by Metallica and “Africa” by Toto. It was a fitting finale for the 2022 Beale Street Music Festival.

Weezer wasn’t the last band to play the festival, however. That honor went to the iconic Blues rocker Elvin Bishop who played the final set with his band in the Blues tent. Bishop was the sixth impressive act to perform in the tent on Sunday and closed the festivities in the prime Blues form. The 79-year-old Rock and Roll Hall of Fame double inductee served up almost 60 years of material. He performed songs dating as far back as his stint with the Paul Butterfield Blues Band beginning in 1963. But he also included recent, more relevant, and often amusing material. The Beale Street Music Festival saw its share of difficulties in its first year since the epidemic, but overall, the event was a huge success. One of the country's oldest and most eclectic music festivals, it also has to be one of the best bangs for the buck of any festival. Organizers hope to return the festivities to Tom Lee Park on the Mississippi River next year.

Check out more photos from day 3 of Beale Street Music Festival 2022.

The Cruel World Festival brought nearly 100,000 fans of 80’s New Wave, Punk, early EDM, and experimental music to the Brookside Golf course at the Pasadena Rose Bowl on May 14th and 15th. Although the lineup was identical for both days of the festival, many hard-core fans attended both days to try and catch most of the 26 bands performing on three stages. Goldenvoice, the gatekeeper of the most successful music festival globally, Coachella, has created a template for niche festivals at the Rose Bowl site. In 2017 and 2018, the Arroyo Seco festival brought classic rock acts to the venue. In 2019 The Cure headlined the Pasadena Daydream festival with a similar Goth feel to this year's Cruel World. This latest festival was nearly three years in the making with the pandemic delays that affected the whole of the live music industry. At a time when many music festivals are struggling with the weather, logistics, crowd control, and Covid cancellations, the Cruel World event managed to pull off a nearly perfectly organized event. Like most Goldenvoice endeavors, the festival caters to an affluent crowd with plenty of high-end food and beverage choices and no less than three tiers of VIP upgrades. The ticket prices are kept at bargain prices for general admission, allowing young music lovers and people on a budget to attend. The beautiful grass-covered grounds feature many shady tree areas and even a tiny pond with a water fountain. The shade proved helpful, especially on the first day of the event, with temperatures soaring into the 90s. But the relentless heat didn’t stop many music fans from wearing their best Goth gear. Parasols of all shapes and sizes were a popular accouterment. Multiple generations of fans made up the massive crowd.

The festival featured three stages. The Lost Boys stage was the most modest but still featured its own multimedia show and booming sound system. The stage mainly featured vintage experimental and new wave bands. Nearby the much larger Sad Boys stage loomed over the vast festival grounds. This stage featured a variety of legacy acts from the punk, goth, and new wave genres, plus a few young musical prodigies influenced by 80s electronica. Finally, nearly a mile away stood the massive Outsiders main stage. Taking a page from the Coachella playbook, the mammoth stage featured giant multimedia screens and a multi-tiered delayed sound system to deliver impressive sound to the very back of the massive field. The stage also featured legacy acts from the punk, goth, new wave genres, and younger bands with roots in the 80s electronica sound.

The Lost Boys stage may have had the most musically diverse lineup of the three stages. Veteran English band The Meteors opened with a bang. The band formed in 1980 could be considered the godfather of the psychobilly genre. Much to the delight of the early festival-goers that had to brave the hot sun directly overhead, the band tore through 13 tunes in about 30 minutes. The set included two crowd-pleasing covers, “Rawhide” by Frankie Lane and “I Hate People” by the Anti-Nowhere League.

Christian Death took the stage next, pleasing the many Goth fans in the crowd. The Los Angeles band, first formed in 1979, was at the forefront of the Goth movement, playing their own dark brand of deathrock. Their gloomy beats and sensational lyrics were punctuated with guitar drenched jams by shredder Jason Frantz. Original bassist KOTA who left the band in 1991, has returned as an EDM wizard in the back of the group. Occasionally he would wander out front and was easily the creepiest member of the group, looking much like a living zombie. Unfortunately, the band only managed just five songs on the first day, with technical difficulties eating up their short set time. Their set on the second day was much better, with the audio problems worked out.

Another Los Angeles band took the stage next. Dinah Cancer has revived her horror punk band 45 Grave, first formed in 1979. The new version of the band features a group of punk-inspired animated rockers. The band channeled the campy horror rock of the Rocky Horror Picture Show era perfectly.

Yet another veteran Los Angeles band, Missing Persons, took the stage next. The New Wave darlings of the MTV age featured original lead singer Dale Bozzio and former master bass player of The Knack, Prescott Niles. Drummer extraordinaire Terry Bozzio left the group long ago, but the current band did a great job playing a short set of the groups big 80s hits. They had a large crowd pogoing and doing their best new wave dances. The short set included the hit songs “Words,” “Destination Unknown," and “Walking in L.A.” The band even threw in a rocking version of The Door's “Hello I Love You.”

English Goth-inspired New Wave band Jay Aston’s Gene, Loves Jezebel followed. The band was formed in 1980 but twin brothers Jay and Michael. The brothers eventually split up under bad terms, and both continue to tour with their own version of the group. Jay was eager to tell the Cruel World crowd, “These are my song; I wrote them!” The band also featured a longtime guitarist from the group, James Stevenson. The Punk rocker had impeccable credentials playing with some of the best early alternative bands before joining Gene Loves Jezebel in the mid-'80s. The band tore through a string of hits that topped the charts in the 80s.

Los Angeles New Wave hitmakers Berlin closed the stage. The set began with a nostalgic video featuring the charismatic singer Terri Nunn and the band culminating with their performance at the legendary U.S. Festival in 1983 in front of 150 000 people. Original members John Crawford and David Diamond have recently rejoined the group creating a sextet powerhouse of rock music. The band played a set filled with their biggest hits, but the steamy hit song Metro was absent. Interestingly Berlin was the second band on the stage on day 1 of the festival to cover “Hello I Love You” by The Doors along with Missing Persons. Fans of the band on day 2 had an extra song thrown into the set and a different cover of “My Sharona” by The Knack. It was too bad that Prescott Niles didn’t stick around to join them.

New York electronic music musician Chris Stewart and his band Black Audio played a short early set on the Sad Girls stage. Stewart has been making music under the Black Audio moniker for more than a decade, but his music is firmly rooted in synth sounds from the last century, much to the delight of the new wave of synth fans in the crowd. English Ska legend Dave Wakeling brought his latest incarnation of the English Beat to the stage next. Fans went wild with a pants-off dance-off featuring some of the finest dance tunes of the 80s. A longtime Southern California resident, Wakeling has been a fixture in the California music scene for decades. Recent festival appearances had propelled his classic music back into the limelight.

Goth music ruled the stage next when Los Angeles dark wave rockers London After Midnight took over the musical festivities. Charismatic singer Sean Brennan led his quartet of sinister rockers through a short but searing set. Unfortunately, on day 1, their set was marred by audio difficulties that made the set even shorter. But by day 2, they had worked out the audio issues and played a much more cohesive set of intense industrial rock. Blaqk Audio brought a new spin on synth-pop with their dark wave sounds. The band features lead singer Davey Havok and guitarist turned synth wizard Jade Puget from the Alt-rock band AFI. The music is a departure for the duo from their heavy rock sound in AFI, although that band employs layers of synth in their sound as well. The result is a fascinating performance by the animated Puget channeling the energy of Morrissey but with a darker edge. And then the iconic band The Damned took over. Much like the Sex Pistols, The Damned is an iconic English punk band that has somehow remained together since 1976. Over the decades, the band has evolved into a more Goth punk band, honing its excellent musical skills to create masterful performances. The band features three of the earliest members, including lead singer Dave Vanian, guitarist Raymond Ian Burns, known as “Captain Sensible," and bassist Paul Gray. The trio, along with newer bandmates keyboardist Laurence "Monty Oxymoron” Burrow and drummer Will Taylor, tore through one of the most energetic and entertaining sets of the festival.

In the late afternoon, the Wisconsin folk-punk band Violent Femmes brought their unique music to a massive crowd. The group's music denies any classification as a specific musical genre, moving effortlessly from punk rock, Americana, and classic country sounds. The band's well-known hit songs have become sing-along anthems, and many in the vast crowd obliged. In an even quirkier twist, the band brought out Barenaked Ladies vocalist Kevin Hearn to sing harmonies and add an accordion to the strange musical mix. British New Wave hitmakers The Psychedelic Furs came to the stage as twilight fell onto the venue. Led by singer Richard Butler and his brother Tim Butler on bass, the sextet played one of the most musically sophisticated sets of the festival. The band's melodic rock was accentuated with jazz-like melodies from longtime saxophonist Mars Williams. The band played an identical crowd-pleasing ten-song set on both days.

As the evening air cooled down the festival grounds, Blondie exploded to life, closing out the Sad Boy stage. Iconic New Wave singer Debbie Harry led them, and the band launched into a guitar-drenched version of “X Offender” from the band’s 1976 debut album. The band sans ailing co-founder Chris Stein featured a special appearance by original Sex Pistols bassist Glen Matlock, fueling speculation that he might join John Lydon onstage with PIL. Both nights, a huge crowd pressed against the stage with many singing along to hits like “Atomic” and “Heart of Glass.” The band played the same crowd-pleasing 12-song set both nights.

For most of the bands appearing at the Cruel World festival, this was the biggest crowd they had played for, at least in the 21st century. This was especially true for bands playing the largest of the three stages, the Outsiders stage. One of the newest synth bands, Automatic, played early on the stage, channeling a synth music beat that sounded like a cross between Kraftwerk and Devo. The pleasing rhythms came from a trio of young female musicians, including Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals), and Halle Saxon (bass, vocals). It is probably no surprise that Dompé is the daughter of Bauhaus drummer Kevin Haskins. The trio played a pleasing eight-song set and mixed a few different tunes into the second day. The young group left for a European tour following the festival and is a band worth following in the future.

EDM rockers Sextile took the stage next with some fierce dance-oriented tunes. Sextile is an American post-punk band from Los Angeles, California. The band, which consists of founding members Brady Keehn and Melissa Scaduto, would feel right at home at an EDM festival playing danceable beats. But backed by a rock-based band, the group plays more dynamic tunes than the usual EDM DJ. Cold Cave, another young Los Angeles band with roots firmly in 80s synth and goth music, played next. The band is the brainchild of Wesley Eisold. The young poet is a bit of a shoe gazer with very little emotion shown to his audience, but his dark dance trance tunes were appealing, including tracks from his latest E.P., 2021’s “Fate in Seven Lessons.” For some reason, his set was cut from 7 to 5 songs for the second day. Another young singer took the stage next under the moniker TR/ST. The project of Canadian singer Robert Alfons, the young crooner, also channeled the Goth sounds of 80’s singers like Morrissey.

The veterans took over the massive stage in the late afternoon, beginning with a rowdy performance by Public Image LTD. The band has been the musical vehicle for the English godfather of Punk, John Lydon since he departed from the Sex Pistols. Lydon’s current quartet features three musicians he has worked with since 2009. The thunderous rhythm sections feature Scott Firth on bass and Bruce Smith on drums. Lu Edmunds is a particularly fascinating band member, playing an array of oddly shaped string instruments. But there is no doubt that Jonny Rotten is the show's star. The feisty singer growls and sneers between vocals and constantly offers up the iconic death stare that has made him famous. His cartoon-like larger-than-life persona almost overshadows his immense talent as a singer and songwriter. The set featured Public Image classics and included a cover of “Open Up” by English synth-duo Leftfield. The only band to represent Australia played next. The Church is an Australian rock band formed in Sydney in 1980. Over the years, the New Wave band evolved into a more sophisticated Dream Pop group honing their talents as veteran musicians. Bassist and lead singer Steve Kilby led the band through a six-song set punctuated by their biggest hit, "Under the Milky Way.” In a sarcastic snarl, Kilby introduced the song by saying, “It’s playing while you fill your petrol pump.” The band added a new unreleased song to the set on Day 2, “C'est la vie.”

One of the most anticipated bands at the festival played next. It is hard to believe that New Wave icon Devo first formed way back in 1973. The precursors of the New Wave movement brought a multimedia extravaganza to festival-goers, complete with the campy costume changes that made them famous. The band played an identical 12-song set both days, but that would be expected from a group that performs with mathematical precision. Original lead singer Mark Mothersbaugh, who is now 71, prefaced their 1980 song “Freedom of Choice” with a surprising political vent. “From the Supreme Court to Putin, right-wing thugs have their boot in your face,” he quipped, reaffirming the band's relevance after nearly 50 years of performing. The band featured original members Bob and Mark Mothersbaugh and Gerald Casale, along with drummer Josh Freese and guitarist Josh Hager.

As night fell, a huge crowd anticipated another iconic group from England, Bauhaus. It is hard to believe that the precursors of Goth music created their masterful music in just four short years, from 1979 to 1983. A new musical genre was born for many early Goth fans when the band appeared in the stylish Vampire movie featuring David Bowie, “The Hunger.” The festival performance featured the four original members of the group, including David J on bass, Kevin Haskins on drums, mercurial guitar wizard Daniel Ash and Goth singing icon Peter Murphy. Much like their appearance at the beginning of “The Hunger” film, the band opened their show with a darkened set with heavy strobes facing the audience. The deep dark vocals of Peter Murphy came out of a darkened corner of the stage while the trio of musicians laid down maniacal Goth rock drenched in strobe lights. Finally, as the band broke into the second song, the animated singer came out into the light like a slithering vampire in the night. An extended performance of the goth anthem “Bela Lugosi’s Dead” showcased Ash’s innovative guitar mastery full of carefully crafted feedback. In the meantime, Murphy, bathed in red light, crept about in character as a creature of the night. The band played the same 13-song set both nights, ending with their version of the David Bowie tune “Ziggy Stardust.” Midway through the set on the second night, a full moon rose in the tepid California sky in a nearly total lunar eclipse. Goth fans couldn’t dream of a more appropriate background.

Morrissey, the controversial English crooner and former frontman of The Smiths, closed the festival. For loyal fans, the outspoken dystopian singer can do no wrong. For others, his antics, like being the king of concert cancellations with numbers in the several hundreds of shows, are just too arrogant to tolerate. Once asked about his most memorable canceled shows, he commented on his 2009 Coachella experience. “This one the journo’s got mostly right. Yes, it’s true that I walked off in the middle of my set because the smell of burning flesh from the barbeque tent made me sick to my stomach. What the news failed to mention was that I later returned to the stage to hurl insults at the crowd and refused to leave until I got enough online signatures for my peta.org petition.” As a testament to the performer's sheer willpower, the many food booths at the Cruel World festival were converted entirely to a vegetarian menu. So it was with some trepidation, that his faithful fans waited for his appearance. Surprisingly and uncharacteristically, the iconic singer leaped on stage both nights right on time and performed masterfully with very little sarcastic banter. The first night the English singer paid homage to Tom Jones, appearing onstage to the tune of “What’s New Pussycat.” For Morrissey and Smiths fans, the performances were a dream come true. The 62-year-old crooner dressed in a black suit and bow tie led a band of veteran rock musicians through a set of some of his biggest hit tunes. The first night saw a more extended set of 18 songs, complete with three gems for Smiths fans, including “Never had One Ever,” “Half a Person," and “Sweet and Tender Hooligan.” While festival-goers were greeted with a shorter set of 15 songs on the second night, Smiths fans were actually ecstatic as the singer played a different set, including five Smith tunes. Morrissey again offered the three songs from the night before to the faithful but added two more, “I Know It’s Over” and “How Soon Is Now.” Combined with many of his other well-crafted tunes, the two-night show may have been one of Morrissey’s most nuanced performances ever in California.

The concert season is in full swing at one of California's most beautiful live music venues, Vina Robles Amphitheater. Alice Cooper kicked off the season in April, and the Paso Robles gem of a venue has seen a steady stream of top talent from various musical genres. 

On Tuesday, May 24th, Indie folk-rockers Lord Huron brought their eloquent melodies to the venue on a beautiful balmy evening. As is the custom at the pristine venue nestled in the oak-lined mountainside in Paso Robles, smiling music fans arrived early to sample the winery's wares, local beers, and yummy snacks, including wood-fired pizza. The back lawn area filled up early, seemingly a favorite spot for the many who arrived with their families in tow. The summer sunset shortly before opener Erin Rae took the stage. Nashville singer-songwriter Erin Rae backed by a trio of accomplished folk-rockers, played a pleasing 40-minute set of tunes from her two albums. The folksy tunes benefited from some spicey slide guitar work from the band's guitarist.

The night air cooled the venue, and the crystal clear sky revealed a sea of stars over the mountain-fringed venue. Lord Huron hit the stage just after 9 pm with a beautiful backdrop of neon lights creating a 3d desert scene. The intricate lighting morphed into a new setting for each new tune the band played, integrating a big multimedia screen for a visual extravaganza. But the intricately layered music of the sextet was the highlight of the show.

The Los Angeles-based band, originally from Michigan, transformed its catalog of brooding serenades into an eclectic mix of musical genres. The group was led by charismatic singer and guitarist Ben Schneider. In addition, the band includes talented musicians Mark Barry (drums, percussion), Miguel Briseño (bass, keyboard, theremin), and Tom Renaud (guitar). The live show also included additional touring members, Brandon Walters (guitar, vocals) and Misty Boyce (keys, vocals.) The band played a solid two-hour set filling it with tunes from their extensive catalog, including their newest album Long Lost. 

Each new tune featured a dramatic new multimedia scenario, from surreal desert sunsets, to darkened night scenes with fluorescent cactus borders. The trio of guitarists, including Schneider, changed guitars as frequently as the tunes they played, vacillating between acoustic and electric instruments. Meanwhile, bassist Miguel Briseño would alternate between bass guitar and string bass. The band strolled through an eclectic 20-song setlist before bidding goodnight to the crowd. But the audience roared for an encore in the late-night air and were obliged with a three-song finale. The night ended with a rendition of “The Night We Met,” featuring drummer Mark Barry playing maracas in one hand and drumming with the other, alternating with spoons from a washboard hung from his neck. Lord Huron brought a unique hue of Americana music to an adoring crowd at the fittingly majestic Vina Robles Amphitheater.
 

After three long years, Bonnaroovians from across the globe rejoiced as one of the most beloved music festivals returned to the farm in Manchester, Tennessee. The festival began 20 years ago as a novel experiment in festival concepts featuring mostly jam bands. The remote location allowed the music to continue nearly nonstop into the early morning. Interaction between bands was encouraged, and unique one-off jams evolved as a hallmark of the festival. The gathering has evolved over the years, incorporating nearly every genre of modern music. Jam bands and classic rock still have a prominent place in the festival, but EDM and Hip-Hop acts have emerged as the new stars for the younger crowd. The festival also continues to add country, jazz, and world music into the mix, creating an array of musical genres to choose from.

After remnants of a hurricane wiped out plans for last year's festival less than 48 hours before it began, there was much anticipation and some concern about this year's event. Many of the earlier festivals across the country had experienced a litany of obstacles, including weather delays and Covid-related cancellations. Thankfully this year, Bonnaroo only had to deal with hot steamy summer sunshine and had almost a perfect attendance record for the massive roster assembled for the four-day festival.

Some of the most significant improvements to Bonnaroo in recent years have been to the campground areas. Permanent facilities, including fully functional restrooms and showers, have been built across the vast camping areas. In addition, nine pavilions have been established, each with their own food vendors and entertainment venues. This year's event even added a free tram connecting the various pavilions. The festival now allows campers to arrive on Tuesday, two days before the official opening of the festivities in Centeroo. But the pavilions in the campground begin to provide entertainment as early as Tuesday afternoon. By Wednesday night, June 15th, thousands of festival goers were already enjoying an array of live entertainment.

By early evening the Nashville trio Goldpark was playing a set on the Galactic Giddy Up stage in Plaza 5. The location mainly featured fresh new country-oriented bands. But Goldpark wowed the early crowd with an energetic Indy set of more desert rock-inspired music. They were followed by a more traditional country-rock set by Nashville-based singer-songwriter Lainey Wilson and her band. The spirited singer brought a large crowd to her set. Born in the tiny town of Baskin, Louisiana, Wilson is a genuine performer of the country genre. It may have been their first exposure to authentic country music for many in the crowd. As midnight approached, the Flatland Cavalry band brought their Texas Americana rock sound to the stage, attracting an ever-growing group of festival-goers, many just arriving at their campsites. The plaza had its own food vendors, a beer bar, a covered dance floor, and a game area.

Meanwhile, at The Beyond stage in another plaza, Spinorita enamored herself with an early crowd. The Los Angeles DJ advocates for LA vinyl and underground culture. She includes funk, soul, hip-hop, and disco aspects in her sets. She also sings with an elegant voice.

While all this was happening, the Reverend Peyton’s Big Dam Band played not one, but two extended electrifying sets of Blues drenched Americana music in the big barn at plaza 7. The Indiana trio led by Peyton on guitar attracted an overflow crowd into the fitting barn venue. Peyton performs as a living history legend playing a rusty 1930 steel-bodied National guitar, a 1934 wood-bodied National Trojan Resonator guitar, a 1994 reproduction of a 1929 Gibson acoustic guitar, and a three-string cigar box guitar. His mate, Washboard Breezy Peyton, plays the washboard using work gloves to which thimbles have been attached. Max Senseney rounds out the trio. He plays a small drum kit, augmented with a five-gallon plastic bucket fitted with drum hardware. The barn also featured a donut, coffee, and breakfast restaurant that had been a mainstay for many years inside Centro, now moved out to plaza 7. The smell of frying donuts mixed with waifs of sweet scents emerged from countless vaping devices.

The biggest crowds of Wednesday night gathered in the magical forest of Where In The Woods near plaza 9. The venue has evolved into a major EDM music stage, complete with multimedia and a towering sound system. The location is in a wooded grove where many early birds set up their hammocks to spend the night listening to the thumping beats until sunrise. When California DJ VNSSA took over the mix, thousands of undulating EDM fans had gathered at the stage. The crowd hit a fever pitch when California DJ NGHTMRE took over just after 1 am. Vendors in the forest included vegetarian food and smoothie makers, a perfect diet for undulating trancers seeking a marathon session. All this excitement in the campground was happening before the actual festival began.

Check out more photos from day 1 at Bonnaroo 2022.

On a recent summer afternoon at the famous SIR Studios in Hollywood, a new Los Angeles band played an intimate showcase set, debuting some exciting tunes. As their name implies, Circle The Earth blends worldwide musical genres into an eclectic rock stew resulting in a unique and pleasing sound. At first, listen, it may sound like the hard-rocking band overpowers the magnificent vocals of lead singer Khadia Handon.

But as the music progresses, Handon’s vocals, with roots firmly in the R&B world, begin to blend perfectly with the heavy rhythms of her backing quartet. The band was founded by Atlanta native Michael McBay, a thundering bassist with funk-inspired beats oozing from his veins. Rounding out the rhythm section is Brazilian drummer Sandro Feliciano who brings Brazilian funk to the rock mix. Brilliant young Japanese guitarist Kazuki Tokaji brings the hard rock riffs to the mix with a striking style and grace. Finally, keyboardist extraordinaire Sandy Chao Wang, originally from Taiwan, rounds out the band showcasing his exquisite skills on an array of keyboards.

The band played the showcase set with the furor of a rock band in an arena. Tokaji dashed about playing dizzying solos and occasional duets with Wang, who incorporated a handheld keyboard (a la Edgar Winter) into the show. McBay and Felicano kept up a thundering mind-thumping rhythm throughout the set. All the while, charismatic lead singer Handon pranced about engaging with band members and the audience while showcasing her remarkable vocal range. The set included the group's newest single, “Sweetest Pain.”

The band officially debuted in 2020 with their single “Could Be You” and has since released “Dead,” “All The Way,” and “Diamonds,” amassing over 2 million views on their YouTube channel and nearly 750K streams on Spotify. All the songs were incorporated into their extraordinary showcase in Hollywood.

You can see this tremendous new band's latest video here:

Check out more photos from the show.

Carlos Santana returned to the stage with his band for an emotional and astounding marathon concert at the California Mid-State Fair on Saturday, July 23rd. The show was exceptional for many reasons, but primarily because it took place at all. On July 5th, the now 75-year-old icon fell ill during a performance in Michigan, and his wife (drummer in the band) reported that he collapsed due to heat and dehydration. A half dozen shows on the tour were initially canceled due to the scare. The show at the nearly sold-out Mid-State fair arena was the first for Santana since the incident. It was possible he was using the concert to test his stamina for the rest of the tour and requested that there would be no opening act. Instead, the performer with his band of phenomenal musicians graced the stage shortly after 7:30 and played an utterly astounding set for nearly two and a half hours.

Euphoric music fans on the side bleachers, with a backstage view, erupted in boisterous cheers as the beloved performer appeared backstage. A huge cheer went up all across the venue as Carlos was getting ready to play at the side of the stage. With a beaming smile on his face, the guitar wizard motioned to the crowd to smoke their favorite herbs, setting the stage for the emotionally uplifting concert. The show began with a string of Santana’s earliest and biggest hits, including “Soul Sacrifice” and the cover the band made famous of Babatunde Olatunji’s “Jin-go-la-ba.” From there, Carlos led the band with one fierce riff after another on his beloved gold guitar during a medley of “Evil Ways,” “Black Magic Woman," and “Oye Coma Va.” That led to another classic, “Incident at Neshabur,” from the Abraxas album.

The aptly named “Miraculous Supernatural” tour then turned towards more recent material, spanning five decades of recording history. Carlos began to banter with the audience at this point in the show. The performer, well known for his spiritual conscience and positive thinking, thanked God for allowing him to continue his earthly journey, endearing himself to the massive crowd. He quipped, “I am not quite ready to join Stevie and Jimmy for that jam up there. We still have things to do down here.” The crowd erupted in another huge cheer in acknowledgment.

The band had a chance to showcase their skills on another classic cover of The Zombies, “She’s Not There.” The group was anchored on drums by Carlos’s wife, Cindy Santana. The musician is an absolute powerhouse playing rhythms in the vein of Keith Moon. Cindy forms the center of a trio of extraordinary percussionists in the band, including Karl Perazzo and Paoli Mejias. Spirited bass player Benny Rietveld played a thundering bass. David K. Mathews played an array of keyboards giving the jams a classic rock sound. Rhythm guitar player Tommy Anthony grounded the guitar sound while Carlos repeatedly launched into spellbinding jams. Singers Andy Vargas and Ray Greene took turns on lead vocals giving the immense set list a vast range of vocal capabilities. The Zombies cover turned into a medley of classic rock riffs molded together brilliantly in an extended jam.

The band then paused again while Carlos continued his conversation with the audience. He shared an anecdote about the genesis of the next song the band would play, “Joy,” from the group's newest album, Blessings, and Miracles. The prodigious songwriter decided that he would like to collaborate with Chris Stapleton and asked his manager to get in touch. Carlos quipped, “We want to do something with Chris. Can you help us out?” When the manager asked what kind of music he wanted to make, he replied, “We want to play mystical medicine music to heal people from fear.” “We are so bored with fear; joy is the opposite of fear.” The crowd erupted in another huge affirming cheer, and the band launched into the new tune.

Further into the set, Vargas took over lead vocals for “Move,” Santana’s latest collaboration with Rob Thomas, which is a tune also found on the new album. Later the band would play one of Santana's biggest hits, “Smooth," from an earlier collaboration with Rob Thomas. The band tore through 20 songs, ending with a pair of classic rock covers, including The Door's “Roadhouse Blues” and an appropriate finale with “Love Peace and Happiness” by The Chambers Brothers.

Check out more photos from the show.

A trio of East Coast artists brought the jams to the Vina Robles Amphitheatre in Paso Robles, California, on a beautiful summer Tuesday, July 19th. Fans arrived early to picnic on the lawn in the back of the venue, enjoy food vendors with sumptuous offerings like wood-fired pizza and imbibe beverages from a vast selection of regional beer and wine.

Veteran Philadelphia-born troubadour G. Love started the festivities early with a short acoustic set blending perfectly with the late afternoon summer sunset. Next, the R&B-inspired precursor of hip hop-infused alternative rock played a short solo set. First, the singer-songwriter sang some of his well-known tunes like Rainbow, a duet he produced with Californian Jack Johnson, that helped propel the latter into pop music stardom. Then, while picking on acoustic guitar and harmonizing on his harmonica, the singer played newer songs like the title track from the 2020 album The Juice and “Love From Philly” from his latest album Philadelphia Mississippi. “The Juice” contours memories of the 60’s folk music movement with its anthemic protest lyrics, and the early bird crowd reacted ebulliently.

After a short break, the sun began to set behind the beautiful mountain backdrop encompassing the venue, and Maryland alternative rockers O.A.R. took the stage. The energetic band played an upbeat 90-minute set that blended perfectly with the California summer twilight. First, the band played songs from their new album Arcade, which was just released on July 15th. The six-piece band tore through a 15-song setlist from their 25-year career. The band opened with “The Stranger” from their 2005 album “Stories of A Stranger.” The group followed with a new song, “Inside Out.” The band played one of their hardest rock singles, “Love and Memories," next. Lead singer Marc Roberge gave a moving intro to the next song, “California," dedicating the 2019 track to his brother. Next, he acknowledged the many families in the crowd who had brought their children to the concert. The crowd responded wildly when the group played a Wailers cover, “Stir It Up.” That was followed by one of the band's signature songs, “Shattered (Turn Around The Car).” The tune had members of the crowd spinning their fingers in a “turn around” motion in unison.

The band played what has to be one of the quirkiest pop anthems towards the end of the set. The marathon tune “Crazy Game of Poker” was. The crowd went nuts at this moment, tossing playing cards into the air, jumping up and down, and chanting every word.

As a brilliant star-filled summer night descended on the amphitheater, the Boston-based band Dispatch took the stage next for an extended headline set. The band opened with a high-energy punk-infused rocker, “Skin The Rabbit.” The group followed with one of their earliest hit tunes, “Open Up.” A more mellow tune, their single “Only the Wild Ones,” came next.

The band was fronted by the two original members, Brad Corrigan (vocals, drums, guitar, percussion, and harmonica) and Chad Urmston (vocals, guitar, bass, and percussion). The animated pair led the group with a ubiquitous stage presence, prancing and constantly engaging the audience. An obvious crowd pleaser, “Bang Bang” came next with a jam of Hunter/Garcia's “Friend of the Devil” mixed in the middle. The jam illicit a voice fours sing along from the crowd.

After a 13-song set, the band returned for a two-song encore with members of O.A.R. and G. Love into tow. The massive musical entourage launched into a vigorous cover of R.E.M.’s “It's The End of The World as We Now It.” The show ended just after 11 pm, four hours after it started, with the Dispatch tune “Letter to Lady J.”

It was finally the official opening day (day two for us) for Bonnaroo 2022 on June 16 for the first time in three years. Although the festivities began in the campground two days earlier, the official festival didn’t start until Centeroo threw open its doors shortly after noon. Hot, sweaty temperatures sent many music fans straight to shady areas like trees, the iconic Centeroo water fountain, and the water park complete with white sand beaches. There were many upgrades to the festival site this year, including paved roads, groves of oak trees planted, giant ceiling fans installed at the tent stages, and a small army of misters scattered about the venue. As always, copious amounts of food and beverage were available all across the venue.

There were many new faces in the crowd and onstage on the first day, which gave the festival an exciting fresh contemporary feel. Just after 3 pm, a young Nashville singer garnered an early crowd for a set of new country-tinged tunes in This Tent stage. The grandson of Texas Outlaw Country singer Terry Allen, Calder Allen learned to play the guitar during the pandemic and is preparing to release his debut album produced by Charlie Sexton.

Over at That Tent stage, Nothing band was doling out a much harder rock rhythm. Since the Philadelphia band emerged on the national scene about a decade ago, the lineup around bandleader Dominic Palermo has changed several times. The newest lineup featured a pair of newcomers, with second guitarist Doyle Martin (of Nothing’s Relapse Records labelmates Cloakroom) and bassist Christina Michelle joining singer and lead guitarist Palermo and longtime drummer Kyle Kimball. The band tore through an explosive set, wowing the crowd.

Over at the wholly redesigned Who stage, the Indy music started early with Sawyer, featuring the rock-infused duo of Emma Harvey and Kel Taylor. The venue hosted up-and-coming young Indy bands until midnight each night and then turned into a silent disco until dawn. Sawyer was followed by Nashville-born Bren Joy, who recently moved to Los Angeles. Joy is a great R&B-inspired singer and an insightful lyricist backed by a solid rock band. He had a sweat-drenched crowd swaying to his music as the sun mercifully began to set.

Next, young Tik Tok sensation Jessie Murph brought her fresh new sound to That tent. The 17-year-old played a crowd-pleasing Hip-Hop infused set. The Weather Station brought a different sound to music fans over at That Tent. The group is a Canadian folk music band fronted by charismatic lead singer Tamara Lindeman, formed in 2006.

As evening fell, music fans poured into Centeroo for an array of music. Rumbling rock beats filled That Tent when Blu DeTiger took the stage with her band. The strong rocker is an American singer-songwriter, bass player, record producer, and D.J. based in New York City. Back at This Tent, The Brook and The Bluff played a fascinating set full of melodic harmonies. The Nashville-based band, originally from Alabama, played a well-received show for a growing crowd of music fans.

The Other stage has become the defacto EDM music stage at Bonnaroo. When French EDM artist CloZee took the stage, an army of music fans assembled with all types of costumes, some elaborate and many purposely provocative. Many in the crowd carried an array of clever homemade totems. A massive multimedia show that exploded to life after dark augmented the well-known D.J. Her set was followed by a midnight headline show by the mercurial performer Gryffin.

The San Francisco EDM star wowed the crowd with a choreographed multimedia show engulfing a huge sloped stage. Unlike most EDM DJs, Gryffin is also an accomplished musician, periodically playing a searing electric guitar, keyboards, and percussions, all while mixing electronic tracks. The masterful musician was augmented by a drummer and bass player, which gave the dance music a whole new dimension. The huge late-night crowd danced in a uniform trance all about the stage. Other well-known D.J.s continued the dance beats at The Other stage until sunrise.

Late-night sets continued on the other stages for the fans of more traditional music. That tent featured a late set by Sons of Kemet. The quartet are masters of contemporary jazz. The group featured dual-drummers fronted by tuba and sax virtuosos Theon Cross and Shabaka Hutchings, respectively. Over at This Tent, Griffin Washburn, leader of indie pop-and-rockers Goth Babe, engaged the crowd masterfully. At one point, the singer picked an audience member to launch on a giant blow-up raft shaped like a watermelon slice. The lucky fan crowd surfed on the raft for the remainder of the show.

For many festival-goers, the highlight of Thursday was a set by the rambunctious Andy Frasco and The U.N., playing in the best tradition of Bonnaroo jam music. The audacious singer pranced about engaging the crowd at every turn, from crowd surfing to shoutouts. Many in the colorful band also ran about the stage like madmen while playing extensive blues-drenched jams into the early morning hours. The energy level in the crowd reached a near frenzy pitch when members of one of the hottest new jam bands, Goose, joined the band for a unique and animated jam session. Exhausted festival goers could be seen stumbling about as the sun began to rise on day two of Bonnaroo 2022.

Check out more photos from June 16th, 2022.

Friday morning at Bonnaroo 2022 dawned hot and steamy like the preceding days. Many hardcore music fans were just getting ready to fall asleep in the muggy conditions. Then in mid-morning, clouds began to darken the sky, and the threat of thunderstorms shut down Centeroo for several hours. The blustery storm dropped a short downpour before quickly departing, and temperatures at the festival finally began to cool into more moderate summertime conditions.

Centeroo reopened in the early afternoon just in time to avoid most delays in the day's ambitious musical schedule. The second day of Bonnaroo expands into a massive festival with the opening of the two giant main stages in addition to all the other stages already in full swing. With so many musical choices available both in Centeroo and across the campground plazas, decision-making becomes an enormous challenge. Nevertheless, festival-goers seemed to be in good spirits on the second day, with beaming smiles and high fives part of an everyday ritual.

Soulful country singer Maggie Rose from Maryland opened the festival's second largest stage, the Which stage. The powerful singer began her set to a nearly empty field as the gates had just reopened to Centeroo, but by the time the performer sang her well-known cover of Kings of Leon’s “Use Somebody,” an eager crowd had begun to gather around the stage.

The massive main “What” stage opened with a set by another Tik Tok star, Tai Verdes, just after 3 pm. The soulful singer led an R&B-drenched band through an energetic and well-received set. Verdes was followed on the main stage by sexy Swedish singing sensation Tove Lo. The charismatic singer performed for the first big crowd of the day, gathering to hear her well-known dance-inspiring tunes.

Meanwhile, all sorts of music from different genres could be heard from the other venues scattered around Centeroo. Young Indy performers continued to fill the Who stage with music and curious fans. One fascinating performance came from Izzy Heltai, who grew up in the Boston neighborhood of Brookline, Massachusetts, and began as a classical pianist before gravitating to folk music. Heltai and his band fascinated the crowd with songs like “Beauty Queen” and “Day Plan,” the most popular tune from Heltai’s recent E.P.

Meanwhile, over at This Tent, The Regrettes got off to a late start due to a series of technical difficulties. But that didn’t bother the audience, who launched into a sing-along of Biz Markie’s “Just a Friend,” one of many times the song would get passed around by crowds during the festival. The last time The Regrettes’ were at Bonnaroo was in 2018, showcasing their punk-oriented debut “Feel Your Feelings, Fool!” The Los Angeles punk rockers led by the charming Lydia Night played a short but poignant set reminiscent of The Go Go’s. But unlike that 80’s band, this new wave of female rockers are accomplished musicians. Friday’s set included “Seahorse,” from their first album, but much of the performance showcased their dance-oriented new album Further Joy. It may have been one of the shortest sets of the day but also one of the best.

As the sun began to hang low in the sky, a vast crowd gathered at the What stage to hear the legendary Led Zeppelin singer Robert Plant return to the festival with bluegrass singer Alison Krauss. Plant has played Bonnaroo several times over the years, including once before with Krauss. Seeing so many young music fans gather in awe of his performances is always fascinating. The band tore through a ten-song setlist of a myriad of covers. They opened with “Rich Woman,” a 1950s R&B single they recorded with T Bone Burnett for their 2007 collaborative album Raising Sand. In 2021 the duo released a follow-up, also produced by Burnett and titled Raise the Roof. The covers ran the gamut from Allen Toussaint’s “Trouble With My Lover” to the songs most in the audience were desperately waiting to hear by Led Zeppelin. The duo veteran band of Nashville musicians set an impressive soundtrack for the artful singers. The musicians included JD McPherson on an array of guitars, Stuart Duncan on a fuzz-pedal-enhanced fiddle, and Jay Bellerose on thundering drums.

As summer twilight began to fall on one of the year's longest days, The War On Drugs played a straightforward hard rock set on the Which stage. Lead singer and guitarist Adam Granduciel and his Philadelphia-based band came out of the gate heads down in full hard rock mode with lots of Americana influence thrown in. The group gathered a large crowd of loyal fans, which was impressive, especially towards the end of their set when the day's most famous act was about to perform over on the What stage.

Of course, a vast crowd was gathering for the Chicks, the Texas country superstars on tour for the first time in five years. The trio of music icons, Natalie Maines, Martie Maguire, and Emily Strayer's made their Bonnaroo debut playing much of their 2020 comeback album Gaslighter, including hit singles like “Tights on My Boat” and “Sleep at Night.” The Chicks have always been champions of political activism for righteous causes, and they didn’t shy away from controversy with their Bonnaroo performance. The band played their protest song “March, March,” as a list of mass shootings in the U.S. scrolled on the massive multimedia screens. Near the song's end, the screens show the names of Black Americans who’ve died violently. Later in a more humorous vein moment, the multimedia screens showed cartoonish images of Ted Cruz and Vladimir Putin floating in a tropical lagoon before getting devoured by a massive sea monster, which drew a roar of approval from the crowd. There were plenty of fan-favorite tunes in the set, including “Cowboy Take Me Away,” “Ready to Run,” “Wide Open Spaces,” “Not Ready to Make Nice," and “Goodbye Earl.”

Among the many aspects that make the Bonnaroo music festival unique is the incredibly diverse lineup offered up each year. This year’s gathering was no exception, with music fans moving from the Chick's anthemic country rock back to the What stage for a late-night performance for Rap star J Cole. Hip Hop has become one of the most popular musical genres in the world, and Bonnaroo has managed to deliver some of the biggest stars in the genre over the years. This year J Cole delivered the goods fronting a band chock full of talented musicians. The influential Rapper is a German-born American rapper, singer, songwriter, record producer, and professional basketball player for the Scarborough Shooting Stars of the Canadian Elite Basketball League. Cole opened with “95. south,” from his 2021 album The Off-Season. Later, he played deep cuts for hardcore fans like “Too Deep for the Intro” from his Friday Night Lights mixtape. Next, he included his duet with Miguel's “Power Trip,” singing along to a track. Finally, the Hip Hop star ended with some of his most well-known rap anthems like “Love Yourz,” “Wet Dreamz,” and ending the set with “No Role Modelz.”

King Gizzard and the Lizard Wizard returned to the festival for the second time to play a triumphant late-night set at That tent. Stu MacKenzie led his band of maniacal Australian musicians through a vigorous  jam of music mash-ups that borrowed from nearly every rock sub-genre. From the classic rock of Jethro Tull to punk rock icons The Clash, the band mixes the classic sounds into their own brew of complex rocking jam music. Songs like “The Dripping Tap” from the group’s latest Omnium Gatherum had the tent full of enthusiastic fans in a dance frenzy.

Meanwhile, EDM fans had been gathering slowly throughout the day, listening to the stacked lineup of D.J.'s on the Other stage. By the time Disclosure took the stage just before midnight, a huge crowd had gathered for the multimedia extravaganza. English brothers Guy and Howie Lawrence brought the House Music fans were salivating for all day. It was the band's second appearance at the festival since their 2014 debut, this time backed by a multimedia mega show and a gigantic thumping sound system with organ eviscerating bass rhythms. Another of Bonnaroo’s aspects that separates them from most other festivals is the window of opportunity for late-night sets to be extended by bands wishing to push the envelope. Some marathon sets in the festival's history include My Morning Jacket, The Disco Biscuits, and Pearl Jam, all extending sets beyond the 3-hour mark. On this night, Disclosure took advantage of the window to expand their set into the early morning hours, much to the delight of the EDM crowd just warming up for an all-night dance party.

Before Disclosure had even ended their set, Chicago-based Illenium, the first EDM artist at this year's festival to appear on the giant Which stage, began his performance. The late-night marathon set featured no less than 27 songs delighting an ever-growing sea of young EDM aficionados. The concert was spectacular visually and musically, with pyrotechnics, multimedia imagery, powerful laser light shows, and more. Illenium, a master of remixes and collaborations that can be heard in almost any late-night dance club, delivered a powerful presentation. The extended set lasted until the early morning hours and ended with a guest appearance by Atlanta singer Teddy Swims. The duo finished the set with a rendition of “All That Really Matters,” a tune they had collaborated on together.

For late-night music fans who preferred the jam band genre, a 1am set by Goose was the highlight of late-night on day two. Goose, the American "indie groove" band from Norwalk, Connecticut, has shot to the top of the list of jam band fan favorites in a few short years. The band that had appeared the night before with Andy Frasco and the U.N. tore through a ten-song setlist of extended jam remixes. The group in the midst of their Dripfield Summer Tour always plays a fresh and unique set mixed with a few random covers. The surprise covers at the Bonnaroo show included Fat Freddy’s Drop tune “Fish in the Sea” and an extended version of Eddy Grant’s iconic anthem “Electric Avenue.” As dawn approached, many young music fans could still be seen crowding into the Who tent for the silent disco, and EDM rhythms could still be heard pulsing from the Where In The Woods stage in the campgrounds.

Check out more photos from Friday at Bonnaroo 2022.

Saturday at Bonnaroo 2022 began bright and early with so many activities that it was nearly impossible for festival goes to absorb much of what was happening around them. Even before the music began early in the day, there were yoga lessons, marathons, workshops, group gatherings, and parades all about the campgrounds. By the time New Zealand pop singer Benee appeared on the giant Which stage just after 2 pm, a large crowd had already gathered in Centeroo. The young performer pranced about the massive stage with a beaming smile all through her set. With style firmly in R&B territory, the singer was backed by a solid rock band with a blend of E.D.M. dance music. The early crowd responded with dance-infused energy.

Singer-songwriter Teddy Swims was the first to perform on the main What stage. The YouTube star from Georgia garnered a large, eager crowd, despite having to endure a sweltering mid-day summer sun. The animated singer fronted a talented band blending R&B, country, and soulful rock into a satisfying soup of contemporary pop. Across the festival grounds, African rhythms could be heard on the other main stage.

The Which stage featured a performance by veteran African singer Femi Kuti and his larger-than-life band, The Positive Force. Femi is the son of legendary Nigerian singer Fela Kuti and heir to their Afrobeat sound. Femi brought his upbeat dance-infused music to the afternoon crowd at Bonnaroo, infusing it with plenty of positive social messages. The set included songs like “You Can’t Fight Corruption With Corruption” from their latest album, Stop the Hate. While Kuti explained that the song addressed politics in Nigeria, it was clear that the message could be applied to social conditions across the globe, including in the U.S. Femi, a multi-talented musician and singer, shared the stage with one of his sons, Mádé Kuti. The pair engaged in a saxophone duel to close out the set.

Meanwhile, over in This tent, Ashe (A.K.A.) Ashley Rae Wilson, a 29-year-old singer-songwriter from San Jose, California, brought her fresh new tour to the Bonnaroo crowd. The set featured her first album and material from her latest upcoming release, Rae. But it was her hit single “The Moral of the Story” from a Netflix movie that garnered an enormous response from the eager crowd. The ever-beaming Electro-pop singer played a spirited and energetic set backed by a talented band.

As the summer sun began to hang low in the sky, festival-goers flooded back into Centeroo from the campgrounds and pressed against multiple stages for a variety of music. Hip Hop fans swarmed the main What stage for 21 Savage. Another large crowd gathered at the Which stage in anticipation of a set by Scottish electro-pop band Chvrches. Los Angeles Indy rockers Mt. Joy had sweat-drenched fans filling That tent. Over on the Other stage, E.D.M. fans were massing for a set by DJ Lucii. Another Tik Tok star, Charlotte Sands, had young fans packed into the Who stage. At the same time as all of these performers were on stage, the multi-talented Jack Antonoff was leading the Superjam. The super jam is one of Bonnaroo’s most special gatherings, bringing together performers from many different musical genres. This year’s jam featured music from 1984, the year Antonoff was born. (More about the Superjam in a separate review coming soon.)

After the sun finally set, a welcome cool breeze blew in with the twilight and Centeroo exploded into a sea of light and multimedia. A giant crowd had gathered at the main What stage for a much-anticipated set by Billy Strings and his magnificent band of pickers. The Grammy award-winning guitarist from Michigan has made the Bluegrass genre relevant for a younger generation with his genre-bending picking style. Despite his youthful appearance, the boyish-looking 29-year-old has been a professional musician for over a decade. The undulating crowd responded emphatically to the dance-inducing set. In a moment underlying the sheer variety of musical genres embraced at Bonnaroo, Strings acknowledged his performance coming just before headliners heavy metal band Tool. Strings shouted at the end of the set: “We’re near time, and I don’t dare go over. Wouldn’t want Maynard to skull-fuck me or Danny Carey to beat on me with that dildo drumstick thing.”

Tool fans never know what to expect from their venerated group in concert. In particular, the performance by the band's mystical lead singer, Maynard James Keenan, always seems unpredictable. The sometimes-reclusive performer has been known to stand in the darkened shadows at the back of the stage for an entire show for various reasons. So, it was an exciting surprise to the massive crowd at the What stage when the late-night set by Tool began, and Maynard emerged into the light almost immediately. The charismatic singer led the band with an animated persona making frequent eye contact with bandmates and the audience. The sometimes-reticent singer even bantered a bit with the audience quipping, “We’ve been through a lot. Today, we deserve a break." Thundering bassist Justin Chancellor played organ eviscerating rhythms while guitarist Adam Jones tore through a litany of wailing riffs. Iconic drummer Danny Carey played thundering percussions throughout the set, which seemed much longer than the nine songs played. Elated fans headbanged and cheered as the band played some of their favorite tunes like “Opiate,” a tune from their 1992 debut E.P., “Pushit,” “Pneuma," and “Invincible.

The midnight hour came and went as many E.D.M. fans were just starting their evening enjoying a late-night set on the Which stage with Australian D.J. Flume. The D.J. emerged bathed in white light shrouded in dense fog. The well-known E.D.M. artist started with light dance-pop tracks and eventually turned up the bass-heavy tunes to the delight of the headbangers in front of the crowd.

Wacky French American electronic music artist Marc Rebillet was attempting a unique start to his 1 am set at This tent which ended as an amusing failure. Starting at the mushroom fountain, the performer clad only in his underwear was attempting a special live-on-the-scene broadcast to the video screens on This tent stage and a Hulu Livestream audience. However, technical difficulties forced him to call off the idea, and he and a Livestream cameraman pushed their way through the back of the audience, waiting for him to take the stage. The resulting chaos caught the audience by surprise and led to comical confusion. After making his way to the stage with his keyboard and laptop under his arm, he begged the audience for a bathrobe, and miraculously one was passed to him. Then Rebillet began a one-person band electronic show of myriad musical loops. “You thought this was a concert, with fun and music and shit?” he quipped, looping variations of the question until he’d turned it into his first song. During the set, the comical musician would periodically dive into the crowd retrieving treasures like bras, totems, and even a blow-up doll. It wasn’t so much a concert as a performance art piece, and the gathering of avid fans loved it.

This night's nod to late-night jam music went to veteran jam band Pigeons Playing Ping Pong with a 2 am set in That tent. The 12-song set list kept jam fans dancing into the first light of the summer dawn. As always, the band of talented musicians included random covers in the set, and on this night, featured Led Zeppelin’s “Kashmir.” In addition, the band threw in the kitchen sink on the extended jam of the well-known tune, including slices of “Heartbreaker” and “Moby Dick” and even a bit of Slipknot. The band even offered a cover of Daft Punk’s “One More Time” before ending with a sing-along of “Auld Lang Syne.”

Check out more photos from Saturday at Bonnaroo 2022.

A massive cross country North American tour has been announced for Peter Hook & The Light’s “Joy Division : A Celebration” concerts which sees the group take to the road across the United States and Canada in August and September 2022, for their biggest and most extensive tour to date in the territory.

At some twenty six dates overall, the tour takes place across five weeks as the band return to some venues and debut at others to perform Joy Division’s seminal two albums “Unknown Pleasures” and “Closer” in full with additional Joy Division rarities and an opening set of New Order material.

The tour follows the debut UK dates for “Joy Division : A Celebration” which commemorate the 40th anniversary of Joy Division and Ian Curtis’ continuing influence.

Aside from some one off incidental dates such as The Roxy in LA, the “Joy Division : A Celebration” run of dates is the first time the band have toured both iconic albums in the same show in North America and the concerts are bound to be hugely special for the many devoted fans of the band.

With double concerts at the same venue announced for the opening nights in Toronto and then in Chicago, Austin and Los Angeles the tour also takes in Montreal, Royal Oak, Atlanta, Minneapolis, Milwaukee, Boston, Silver Spring, Philadelphia, New York, Phoenix, Houston, Dallas, Denver, San Diego, San Francisco, Portland, Seattle and Vancouver.

These Joy Division album shows have become much less common for The Light as they moved through their progression of touring the New Order albums in succession in the almost twelve years since Hooky began his odyssey through both his bands’ back catalogues.

That journey has seen them now perform his bands’ albums all round the world including numerous tours of North and South America, Australia, Europe, New Zealand and the Far East.

The influence of Joy Division and their music remains strong in popular culture, holding a sincere reverence.  The albums are played sequentially in track order, respecting the inspiration and impact of the stunning debut album “Unknown Pleasures” and the immaculately produced second “Closer”.

“Unknown Pleasures” features “Disorder”, “Insight”, “New Dawn Fades”, and “She’s Lost Control” while “Closer”, considered “a start to finish masterpiece” by Pitchfork Media counts “Atrocity Exhibition”, “Heart And Soul” and “Twenty Four Hours” amongst its many highlights.

In addition to the albums, the concerts span the entirety of Joy Division’s rich but short career including early Warsaw material, tracks from the compilation LP “Still” to the final songs “Ceremony” and “In a Lonely Place” written by Joy Division which were to form New Order’s first single.

On “Unknown Pleasures” – The Album (NME)

“The band’s debut ‘Unknown Pleasures’ is simply one of the best records ever made, and is still powerful enough to floor you 30 years on. With an almost dub-like, spacey atmosphere sculpted by studio genius Martin Hannett, the band’s sound was almost the polar opposite of the punk music which had brought them together after a Sex Pistols show in 1976.” 10/10

On “Closer” – The Album (Pitchfork Media)

"Closer is even more austere, more claustrophobic, more inventive, more beautiful, and more haunting than its predecessor. It's also Joy Division's start-to-finish masterpiece, a flawless encapsulation of everything the group sought to achieve" 10 / 10.

 August 2022

Thursday 11th August 2022        The Danforth Music Hall, Toronto

Friday 12th August 2022             The Danforth Music Hall, Toronto

Saturday 13th August 2022         Club Soda, Montreal

Monday 15th August 2022          Royal Oak Music Theatre, Royal Oak

Tuesday 16th August 2022          The Eastern. Atlanta

Thursday 18th August 2022        First Avenue, Minneapolis

Friday 19th August 2022             Metro, Chicago

Saturday 20th August 2022         Metro, Chicago

Monday 22nd August 2022          The Pabst Theatre, Milwaukee

Tuesday 23rd August 2022          Paradise Rock Club, Boston

Thursday 25th August 2022        The Filimore, Silver Spring

Friday 26th August 2022             Union Transfer, Philadelphia

Saturday 27th August 2022         Terminal 5, New York

Monday 29th August 2022          The Van Buren, Phoenix

Tuesday 30th August 2022          Mohawk, Austin

Wednesday 31st August 2022     Mohawk, Austin

September 2022

Friday 2nd September 2022         House Of Blues, Austin

Saturday 3rd September 2022     House Of Blues, Dallas

Monday 5th September 2022       Ogden Theatre, Denver

Tuesday 6th September 2022      Humphreys Concerts by the Bay, San Diego

Thursday 8th September 2022    The Theatre At Ace Hotel, Los Angeles

Friday 9th September 2022         The Theatre At Ace Hotel, Los Angeles

Saturday 10th September 2022   The Warfield, San Francisco

Monday 12th September 2022     Crystal Ballroom, Portland

Tuesday 13th September 2022     The Showbox, Seattle

Wednesday 14th September 2022 Commodore Ballroom, Vancouver

Exhausted festival goers were greeted with cooler temperatures and welcome clouds on the final day of this year's Bonnaroo, June 19th, 2022. Seeing so many hard-core music fans rally for the last day after many had begun their Roo celebration as far back as Tuesday night when the campgrounds first opened was terrific. The Sunday lineup may have been the most diverse of the marathon musical gathering. Classic Rock, EDM, Hip Hop, Country, Jazz, World Music, and Jam band genres were all represented for the climactic finish to the 20th Bonnaroo music festival.

The Aces opened the main What stage in the early afternoon with a strong Indy rock set. The quartet, composed of lead singer and guitarist Cristal Ramirez, drummer Alissa Ramirez, guitarist Katie Henderson, and bassist McKenna Petty, played an energetic crowd-pleasing set with nods to punk, rock, and new wave music. The early set was an excellent upbeat way to start the final afternoon of Bonnaroo 2022. Next, New Jersey pop singer Fletcher followed with a set on the Which stage. The young singer had a large contingent of mostly female fans, many carrying amusing signs offering to hook up with the amorous singer in various ways. A proud member of the LGBTQ community, Fletcher has developed a following, beginning with a stint on the television series, The X Factor. The beaming singer embraced the adulate audience and played crowd favorites like “Girls Girls Girls.”

Local Nashville Indy rockers Coin hit the What stage just after 3.30 in the afternoon. The young quartet raced through a well-received set that felt too short for many fans of the band in the large crowd gathered for the performance. The set included crowd favorites like "Into My Arms" and "As It Was.” "We're from Nashville, so this is the closest we've been to a hometown show in a minute," lead singer Chase Lawrence said before the group launched into their 2016 alt-rock hit "Talk Too Much.”

No single day of Bonnaroo would be complete without at least one jam band on the schedule, and Boston-based Lettuce represented the genre on the final day. The late afternoon set in This tent garnered an overflowing crowd of ardent fans of the veteran group, which currently features Adam "Shmeeans" Smirnoff, Nigel Hall, Adam Deitch, Erick "Jesus" Coomes, Ryan Zoidis, and Eric "Benny" Bloom. Lettuce, from its inception, has been a very musical band inspired by jazz legends like Herbie Hancock. It was probably no accident that Hancock was set to perform on the same stage a few sets later in the evening.

While Hancock didn’t appear with the Lettuce crew, the band laid down their mythical jazz-drenched jam band sound. The group of phenomenal musicians has played in a myriad of other masterful musical groups. Evans is a member of the jazz/organ trio Soulive. Zoidis is a former and founding member of the Rustic Overtones. Coomes is a session bass player and has toured with Britney Spears and The Game. Deitch is a producer who also plays with Break Science and has worked with John Scofield and Wyclef Jean. Smirnoff has toured with Lady Gaga and Robert Randolph & the Family Band. In addition to playing with Lettuce, Ross has been a full-time member of Dave Matthews Band since 2010. The band brought all this musical prowess to bear for a sweat-inducing dance trance jam during their late afternoon set. The band included a mesmerizing remix of Tears For Fears, “Everybody Wants To Rule The World.”

Australian one-person band Tash Sultana made a triumphant appearance on the Which stage in the later afternoon. The incredibly talented multi-instrumentalist and singer, who describes themselves as fluid gender, played a fascinating set of loop-driven live recordings. The singer, who can play almost any instrument, recreates the sounds of an entire band using the technique. The fascinated crowd screamed their approval as the performer bounced between keyboards, a drum set, bass, electric guitars, and more. Sultana creates a whole new meaning to the term one-person band.

Denver-based Nathaniel Rateliff and The Night Sweats brought a much more traditional sound to the What stage in the late afternoon. The group, led by charismatic singer Rateliff performs Americana-based music dripping with influences from other musical genres, including R&B and rock music. The talented band featured drummer Patrick Meese, guitarist Luke Mossman, bassist Joseph Pope III, keyboardist Mark Shusterman and a stellar horn section featuring Andreas Wild, Jeff Dazey, and Daniel Hardaway. The group tore through a well-received 15-song setlist.

As the sun began to set, Maynard James Keenan returned to the stage, this time with his side project Puscifer. Seeing the reclusive singer in the light of day lit by a bright setting sun was strange, almost like seeing a vampire emerge into the light in a horror film. The show featured collaborator and singer Carina Round and was definitely the festival's most theatrical and intriguing set. Backed by a full metal rock band and a cast of rotating characters, Maynard strutted about the stage in a military gate beaming huge grins between vocals. The band also included long-time collaborators multi-instrumentalist Mat Mitchell and drummer Gunner Olsen. Most of the setlist came from the 2020 record “Existential Reckoning,” the newest release from Puscifer. A technological takeover of society vaguely seemed to be the underlying theme. Still, the music and stage show were so compelling that the actual message seemed less critical to mesmerized fans. The set included other select cuts from the extensive Puscifer catalog.

For many young rock fans, the highlight of the final day of Bonnaroo was the hard rock set by Machine Gun Kelly on the giant What stage as the summer sun faded. Kelly has gone from an obscure Cleveland rapper to a bonafide rock star in the last two decades. His transformation included adding a talented troupe of hard rockers to his entourage, which includes his long-time drummer, the phenomenal JP "Rook" Cappelletti. In addition, Justin "Jus" Lyons and Sophie Lloyd offer a duo of electric guitar magic. Steve "Baze" Basil played a thundering bass, and Brandon "Slimxx" Allen played an array of keyboards. The charismatic singer and guitarist Kelly led the rambunctious band through a marathon 20-song setlist full of theatrical rock poses and ear-splitting solos. The smiling singer frequently bantered with the vast crowd and seemed right at home on the massive Bonnaroo stage. In keeping with the rock star image, at one point, Kelly quipped that his band members were counting on him to perform “a drunk show.” He appeared to appease them by frequently imbibing during songs while chain smoking. Later, the lanky 6-foot 4 performer distressed security when he climbed the camera platform high above the crowd.

Meanwhile, as night began to fall, a different music scene was going back at This tent. Jazz icon Herbie Hancock emerged to play a diverse array of keyboards. Hancock brought a basket of musical genres to his performance on various electronic instruments, incorporating funk and African rhythms into his jazz blend. Hancock's veteran jazz band included trumpeter and composer Terence Blanchard, guitarist Lionel Loueke, veteran bassist James Genus and drummer Justin Tyson. The group opened with a medley, followed by Blanchard’s arrangement of sax legend Wayne Shorter’s “Footprints.” The band followed up with “Actual Proof,” which Hancock wrote for his 1970s band, The Head Hunters. Hancock ended the set with his well-known tune, “Chameleon,” while playing his handheld keytar in a musical duel with other band members.

It was inspiring to see so many youthful concertgoers assembling for the final set of the evening by classic rock legend Stevie Nicks. The performer made Bonnaroo history by being the first female headliner to close the festival. The band assembled on the darkened stage led by guitar wizard and band leader Waddy Wachtel and began to play. Then the lights exploded, and Nicks took the stage in the early evening amidst a huge cheer from the massive crowd. The former Fleetwood Mac singer opened with some of the biggest hits from her immense catalog, including “Dreams,” “Landslide,” “Gold Dust Woman,” “Rhiannon,” and “Edge of Seventeen” from her 1981 solo debut Bella Donna. Augmented by a massive multimedia presentation featuring generations of images of the well-known pop star and an enormous light show, the vast crowd seemed mesmerized by the performance. In addition, the set included deeper cuts, like “Destiny” from Nicks’ 1984 LP Street Angel.  

A smiling Nicks regularly engaged the crowd throughout the set, noting that “I am wearing a bespoke dress from the photo shoot for the Bella Donna album cover.” She also paid homage to her friendship with Tom Petty (Who closed the stage at Bonnaroo back in 2013). Nicks performed a cover of the late rockers "Free Fallin’” and introduced the Petty-penned “Stop Draggin’ My Heart Around” with a story that mentioned how she had wanted to be in The Heartbreakers. The singer then dug back into her early roots with early partner Lindsey Buckingham, playing “Crying in the Night,” which Nicks wrote for the Buckingham Nicks album. The show ended with a three-song encore that featured a finale of a rock-drenched cover of Led Zeppelin’s “Rock and Roll.” Robert Plant and Alison Krauss had played a country-tinged softer version a few days before. It would have been a nice sendoff to hear Plant and Nicks collaborate on a rock-drenched cover of the tune. One can only hope, but you never know at Bonnaroo, which is part of the magical legend of the festival.

Check out more photos from Sunday at Bonnaroo 2022.

One of the last surviving members of the Triumvirate of American Funk Godfathers, George Clinton, brought an army of Funk-inspired musicians to the new YouTube Theater in Inglewood, California. Along with James Brown and Sly Stone, the 82-year-old Clinton is considered one of the founders of the Funk music genre. The concert was the final lap of the One Nation Under a Groove Tour, billed as George Clinton and P Funk’s farewell tour. The tour moniker comes from P-Funks’s album of that same name, released in 1978.

The marathon concert featured four opening acts and dozens of performers in the current P Funk band. In addition, the new venue offered nothing less than the most spectacular sound system in the Los Angeles basin. An engineering marvel, YouTube Theater is a 6,000-seat music and theater venue in Inglewood, California. It is located under the same structure that houses SoFi Stadium and is part of the Hollywood Park entertainment complex. The three-story venue combines state-of-the-art technology with luxury guest amenities and features a premium sound system by L-Acoustics.

Jam music started early on August 17th with an opening set by the Boston-based Jam band Dopapod. The band of accomplished musicians wasted no time launching into a robust set of music mixing jazz, Funk, metal, and Americana genres into a pleasing blend. The current lineup included keyboardist/vocalist Eli Winderman, guitarist/vocalist Rob Compa, bassist Chuck Jones and drummer Neal “Fro” Evans. Sadly, most of the audience, most likely stuck in rush hour traffic, missed the band's short but compelling set.

As music fans trickled into the majestic theater after a short intermission, the second band of the night, The Motet, strolled onto the stage. The Denver-based collective, which includes former members of the band Turkuaz, also mixes Funk in their music in keeping with the theme of the night. However, Motet performs a more traditional mix of Jazz, Funk, and Soul music, emphasizing vocals from several group members. The band produced a blend of 70’s soul, experimental jams, and funky rhythms. The band is a chameleon of sounds with evolving members. On this night, singer Shira Elias fronted longtime band members drummer and bandleader Dave Watts, guitarist Ryan Jalbert, bassist Garrett Sayers, keyboardist Joey Porter, and saxophonist Drew Sayers. The group bounced in and out of soul, R&B, and funky grooves that had the growing crowd on their feet to dance to the hypnotic rhythms.

Another intermission followed, and the theater began to fill as the third act of the night prepared to take the stage. The Rolling Stone's go-to saxophone player, Karl Denson, led his band Tiny Universe in an inspiring set next. Denson fronted the group in a drenched jazz jam with funky overtones. The veteran members of  KDTU include Denson (saxophone, flute), Chris Stillwell (bass), Chris Littlefield (trumpet), D. J. Williams (guitar), David Veith (keyboards), Alan Evans (drums), and Seth Freeman (guitar/lap steel.) The band played an engaging seven-song set capped by Denson’s intense solos on flute and saxophone, showcasing the 65-year-old’s immense talents.

After yet another intermission, the music took a decidedly different turn, all be it a funk-drenched one. The New York-based Blu Eye Extinction is a funky fusion band of Hip Hop, Rap, and guitar-driven Rock. The group was formed by core members of the band formerly known as Miss Velvet and The Blue Wolf. The band launched into an explosive performance encouraging the crowd in the cavernous theater to get up and dance. The music shifted in both style and volume from the earlier acts. The New York fusion ensemble featured James Jones (bass), Constance Hauman (keys), TJ Robinson (trombone/percussion), JS Williams (trumpet), Henry Ott (guitar), and Joshua Keitt (drums) as the core band. They were joined by a pair of rappers who kept bringing new energy to the venue. The short set ended with a triumphant appearance by Clinton to help whip the crowd into a frenzy for the band's final tune.

When Clinton and P Funk prepared to take the stage, the crowd's anticipation in the lofty venue had reached a crescendo of excitement. As the massive entourage that makes up the current P Funk began to file onto the stage slowly, a large portion of the crowd leaped to their feet for a dance frenzy upon hearing the opening notes of “Get Off Your Ass and Jam.” Surprisingly the octogenarian Clinton pranced onto the stage almost immediately as the band began the tune. The beaming band leader led the chant that infected the audience with dance fever. The massive troupe of singers, dancers, and musicians that makes up the current P Funk numbered in the dozens and featured three generations of extended family members. When the group got inducted into the Rock N’ Roll of Fame, a total of sixteen members were inducted, including legendary original members Bootsy Collins and Bernie Worrel.

The YouTube show featured no less than four bass players laying down the Funk, multiple guitars, keyboard players, drummers, a horn section, and an ever-evolving troupe of lead singers. But, of course, Clinton was in the middle leading the frenzied players like a pied piper of Funk. Included in the classic 18-song setlist were many Funk anthems like “Flashlight,” “Atomic Dog,” “Maggot Brain,” “Give Up The Funk (Tear The Roof off the Sucker),” and climaxed the marathon of Funk with “Mama Told Me.” The set consisted of Parliament and Funkadelic songs and a dance-inducing cover of House of Pain’s “Jump Around.” Long live the king of Funk, the last of the old guard.

Goth music fans descended on the majestic YouTube Theater for a rare performance by electronic music pioneers Soft Cell. Along with a handful of other experimental pioneers in the genre, like Gary Numan and Depeche Mode, Soft Cell helped create the music that would become the soundtrack of the 1980’s new wave dance music genre.

Charismatic lead singer Marc Almond brought the infectious rhythms of Soft Cell to an enraptured audience at the Inglewood, California venue on August 24th. The short tour, which included only five select cities in the United States, was billed as the final Soft Cell tour celebrating the 40th anniversary of the mega-hit dance tune “Tainted Love.” However, the anniversary was actually last year, and as Almond would disclose in one of his many interactions with the adoring crowd, delays and disappointments had plagued the planned celebration. First, the pandemic and then travel issues delayed the plans. Then one half of the duo, that is, Soft Cell, electronic music magician David Ball apparently injured his back and couldn’t make the tour. But Almond soldiered on with a new keyboardist, a saxophonist, and three backup singers to complete the tour so “He wouldn’t disappoint his fans again.”

Philip Larsen, the Grammy-winning producer, stood in for Dave on synthesizers for the five dates. As well as co-producing the current album Happiness Not Included, the fill-in keyboardist did a magnificent job creating the rich layers of Soft Cell music during the show. Meanwhile, Almond delighted the crowd with an inspired performance full of 80’s dance moves. The show featured two distinctive sets, the second including the entire breakthrough 1981 platinum album, Non-Stop Erotic Cabaret.

The first set featured songs from Soft Cell’s new electronic music masterpiece, Happiness Not Included, interspersed with deep cuts from the duo’s other albums stretching back to 1982. The show began demurely with a stoic Almond opening with an early 80s tune, “Torch.” The group took full advantage of the state-of-the-art sound system with a phenomenally rich layering of sounds coming from the single synth performer. Very subtle multimedia began behind the group, which slowly grew to a multiscreen presentation midway through the set. Random images slowly began to include much more compelling storytelling. The opening song was followed by two tunes, “Bruises on All My Illusions” and “Happy Happy Happy,” from the new album that showcased Almond’s incredible vocal range. Almond slowly became more animated with ever-increasing dance moves, flashing grins, and offering insightful banter before each song. The song “Monoculture” came next from the duo’s previous album, Cruelty Without Beauty, recorded in 2002. Next came another blast from the past with the tune “Where The Heart Is” from the 1983 album, The Art of Falling Apart.

It was time to dance to the next tune, “Nostalgia Machine,” from the new album. Again, the infectious rhythms had almost everyone in the audience up on their feet, trying to emulate Almond, who had launched into a full dance groove by this time. Several more tunes from The Art of Falling Apart showcased the talents of the three backup singers, any of which could take the lead on their own, and the infectious wails of the talented saxophonist. Finally, the multimedia presentation came alive with multidimensional screens for the last tune of the first set, “Martin," also from The Art of Falling Apart.

Following an intermission, the lights went out, and the group emerged to perform the much anticipated Non-Stop Erotic Cabaret in its entirety. The audience let out a huge cheer, and most leaped to their feet with the first notes of the opening song, “Frustration.” That was followed quickly by the second tune on the album, Soft Cells' mega dance hit Tainted Love. While Soft Cell made the song a mega-hit, the backstory of the song is no less compelling. Gloria Richetta Jones first recorded the music, and the R&B-infused tune was a big hit in 1965. The incredibly talented singer was known as The Queen of Northern Soul. Jones became enamored with the legendary rock guitarist Marc Bolan and became the keyboardist for Bolan’s massively popular band, T. Rex. Unfortunately, the story took a tragic turn in 1977. Jones was the driver of the car, a Mini 1275 GT, that crashed near Barnes Common in England, striking a tree and killing Bolan. Later, Almond and Ball made the song their own with their inventive electronic soundtrack, making the tune a dance club staple for decades.

The elated crowd began to settle down after the dance fever induced by the famous track, and many fell into a more profound trance listening to the mastery of the other tunes from the monumental album. Led by Almond's exquisite vocal range, the music moved from gothic gloom to seedy synth and back to dance-infused rhythms. One fascinating video featured a slow-motion pre-dawn stroll through the streets of London in a pouring rain utterly devoid of life. The dance trance tunes “Seedy Films” and “Sex Dwarf” saw most everyone back on their feet in the audience while vintage footage of New York's red-light district flashed across multiple screens. An emotional Almond thanked the crowd repeatedly between songs, once quipping that “Los Angeles has always been a special place close to my heart.”

The tune “Chips on My Shoulder” elicited a sing-along that echoed through the perfect acoustically designed venue. The second set ended with the appropriately titled “Say Hello, Wave Goodbye.”

Almond and the entourage returned for a two-song encore, beginning with another tune from the new album, “Purple Zone.” The audience may have felt that the song was reminiscent of another English 80s dance phenomenon Pet Shop Boys. In that case, it could be because that mega-hit duo were guest performers on the new recording. After the upbeat dance tune, Almond thanked the passionate audience and offered an extended second version of “Tainted Love,” the version most often played in dance clubs. The song was a perfect ending to the nearly three-hour performance, slowly trailing off as the group members left the stage one by one.

On an unusually cool August night at the Vina Robles Amphitheatre in Paso Robles, hard rock icons Pat Benatar and Neil Giraldo brought their extensive catalog of rock hits to an adulating crowd. The Sunday, August 28th show was buffeted by unusually cool winds from the north, creating longer lines at the coffee bar than at the beer and wine bars. But that did not stop the excited audience from enjoying a night at the beautiful venue.

The show began with an afternoon acoustic set by New York singer/songwriter Chris Trapper. The singer and guitarist played a folk-inspired set of original tunes infused with storytelling and humorous anecdotes. The prodigious songwriter, formerly the lead singer of The Push Stars, has released several solo albums and written numerous songs for several major studio films and television. His music can be heard in hit films like “There’s Something About Mary," The Devil Wears Prada," “Some Kind Of Beautiful," & “August Rush,” among many others. His short set was well received by the crowd at Vina Robles, even eliciting a sing-along for the hilarious tune "F%&k It," featuring a kazoo solo. The set ended with a song from Trappers’ days with The Push Stars, “Keg on my Coffin.” The tune laced with dark humor was a fitting end to the set.

As the late summer sun faded to twilight Pat Benatar and Neil Giraldo took the stage along with their veteran drummer and bass player, eliciting a massive roar from the crowd. The band launched straight into the hit-laden catalog the group has been producing for over 40 years. Benatar’s phenomenal vocal range remains intact, with the singer offering up frantic wails that have been the moniker of her hard rock sound. Giraldo paired perfectly, offering up a litany of ear-rattling guitar solos. The pair bantered with the crowd, consistently offering anecdotes to nearly every song and celebrating their more than 40 years together. The setlist included crowd-pleasing hits like the ballad “We Belong,” the rock drenched “Promises In The Dark,” an acoustic version of “Shadows Of The Night," and the dark rocker “Hell Is For Children.” Purposely left out was the hit tune “Hit Me With Your Best Shot,” as the group dropped the well-known song from their setlist to protest against gun violence.

Benatar and Giraldo are set to be inducted into this year's Rock and Roll Hall of Fame, and the pair have also produced “Invincible: The Musical,” which debuts in Beverly Hills this fall. But for music fans at Vina Robles on this late summer night, it was all about living in the moment with the fantastic hard rock quartet as the set progressed with dance-inducing tunes like “Love Is A Battlefield.” The band ended with a multi-song encore, including a spirited cover of The Beatles’ “Helter Skelter” and the meg a hit tune “Heartbreaker,” for an explosive ear ringing finale.

On a beautiful late summer evening September 21st Flogging Molly led an energetic 4 band line up of mosh inducing bands at Vina Robles Amphitheatre. The music started early while a warm afternoon breeze kept temperatures at the venue pleasant. Opening the show was The Skints, a young English reggae punk band with boundless energy. Much like the headliners Flogging Molly, The Skints tour relentlessly, honing their exquisite musical skills on the road. Singer Marcia Richards displayed remarkable skills on a wide array of instruments including keyboards, alto saxophone, melodica, flute and guitar. The band encouraged an early mosh pit, which unlike most venues is not banned at the Vina Robles Amphitheatre during concerts offering a general admission pit.

After a short break, the Los Angeles psychobilly band Tiger Army stepped up the energy and the tempo in the crowd. The power trio led by singer and guitarist Nick 13 launched a fast paced well received set of mosh inducing tunes. The floor area largely became a dance floor by the end of the ear-splitting set.

The co-headliners, The Interrupters took the stage as the late summer sun began to set painting the surrounding mountains in pastel colors. Although the band has been together for over a decade they still appear as fresh new faces in the music world. The band, reminiscent of an early No Doubt played a dance infused set of explosive ska inspired rhythms. The Los Angeles band included songs from most of their catalog including “She Got Arrested” from Say It Out Loud and ending the set with “She’s Kerosene” from Fight The Good Fight. The band also included a ska infused version of Billie Eilish’s “Bad Guy.”

As the summer night air cooled and stars filled the sky Flogging Molly exploded onstage in a cacophony of light and sound. The Celtic punkers opened their set with one of their biggest hits, “Drunken Lullabies.” The floor area was instantly transformed into a giant mosh pit which would continue to grow during the entire performance. Mercurial lead singer and guitarist Dave King, who recently celebrated his 60th birthday, danced about the stage like a drunken teenager in an Irish pub. Meanwhile the seven-member group played maniacal punk infused beats with pure Celtic roots. The set composed of drinking songs with themes of hope, loss, and love. King engaged with the audience frequently, paying homage to the growing mosh pit early on. Later in the set he paused for a political moment, calling out Putin and asking the crowd to give the Russian leader the finger and most obliged. Then the band launched into “A Song of Liberty.” The 4 band mosh inducing marathon ended just before 11pm nearly 6 hours after it started.

One of England's most revered glam rock bands closed out their first American tour in decades at the Los Angeles Forum Wednesday night, September 28th. The tour was a celebration of the enigmatic group's 50th anniversary. The band last toured Europe in 2011, but except for a few dates before the pandemic, Roxy Music hasn’t toured the United States extensively since 2003.

The evening began with an appropriate opening set by Austin native St. Vincent. Much like Roxy Music, St. Vincent has forged a unique sound within the rock music genre. The performance featured a truncated version of St. Vincent’s recent Daddy’s Home concert tour, including a headline show at the Hollywood Bowl last year. St Vincent (Annie Clark) presented the scaled-down nine-song set, resembling a theater production, complete with stand-up comedy sketches and dance routines. Clark is a mercurial figure in every sense of the word, from her persona to her music. The multi-talented singer and musician is a consummate performer in the vein of Lady Gaga. Clark opened with the song “Digital Witness,” from her 2015 self-titled album that deals with the voyeurism of social media and the admiration we seek from our “audiences.”

The bulk of the set featured songs from Daddy’s Home, which may be Clark’s most personal album, centering around a 1970s New York backdrop. The band was nothing short of phenomenal. Often referred to as the “Down and Out Downtown Band,” it was led by the funkmaster Justin Meldal-Johnsen on bass and featured Jason Falkner on feedback-drenched guitar, Rachel Eckroth on keys, and Mark Guiliana on thundering drums. Meldal-Johnsen’s role as musical director was a perfect fit for the retro-funk grooves on “Daddy’s Home,” given his rich history of producing and performing with Beck. His funk-laden style permeated songs like “Pay Your Way In Pain.” Clark herself led many musical mood changes by playing multiple instruments throughout the show. During the first song, “Digital Witness,” Clark played the theremin, creating a moody science-fiction feel to the opening. Clark also played her signature St. Vincent guitar from Ernie Ball, switching colors to match the moods of different songs. Clark paid homage to Roxy Music several times during her performance, eliciting a roar each time from the crowd. Her creative take on rock music was a perfect segue into the magical performance to follow by the English glam rock legends.

During the break music, fans enjoyed some of the perks of the remodeled Forum, including the swanky VIP club which features a full sumptuous buffet and private bars. The 55-year-old venue is a landmark of the Inglewood community in south central Los Angeles. The original home of the Lakers, the arena has seen decades of legendary sports events and concerts. Holding just shy of 18000 fans, the venue is still one of the largest indoor arenas in southern California. The historic venue was a fitting location to host the 50th-anniversary tour of Roxy Music.

Just after 9 pm, the lights went out in the arena, and a huge cheer erupted throughout the cavernous hall. A tape began to play the instrumental tune “India” from the 1982 Avalon album. Then the four members of the group that played on the first album, including singer and keyboardist Bryan Ferry, saxophonist Andy Mackay, guitarist Phil Manzanera, and drummer Paul Thompson, sauntered onstage to ever-growing applause. They were joined onstage by no less than nine talented backing musicians and singers. A gigantic multi-story multimedia backdrop came to life and the band launched into “Re-Make/Re-Model” from the band’s first album Roxy Music, recorded in 1972. The massive LED backdrop was all the more impressive considering that the night before, the Forum hosted the all-star Taylor Hawkins tribute, which went on until 130am. An army of technicians and stagehands had to dismantle that set to allow yet another army to come in hours later and build the all-encompassing set for Roxy Music. The results were astounding, with a live video mix of the band interspersed with carefully coordinated graphics to create a continuous storyline.

Shortly into the set, the iconic lead singer, Ferry, began to banter with the crowd, explaining the timeline of songs and praising the opening set by St. Vincent. “It's St Vincent’s Birthday,” Ferry shared at one point, which elicited a massive cheer from the audience. Later the beloved singer shared that it had been his birthday a few days earlier.

The bands 18 song setlist drew from seven of their eight studio albums. The group performed three songs from their first record, including “Re-Make/ Re-Model” and “Ladytron," early in the set and added “If There Is Something” later on. The bulk of the set came from two other Roxy Music albums. The 1982 final album Avalon accounted for the majority of the set by far, with six songs, including the album’s title track making it into the performance. Four songs came from the group’s second album, For Your Pleasure, released in 1973. The rock-infused album was a precursor for punk music, and the performance ended with “Do The Strand," a cut from the second album that foreshadowed the punky new wave dance music that would become mainstream a decade later. Many in the cavernous Forum could be seen doing the Pogo dance for this feel-good finale of a concert that was decades in the making.

Check out more photos from the show.

The Doobie Brothers brought their much anticipated 50th-anniversary tour to the YouTube Theater in Inglewood, California, on Sunday, October 2nd. The show came just four days after Roxy Music brought their 50th-anniversary tour to the Forum, which is just one large parking lot away from the YouTube theater. The California “Brothers” brought their exquisite harmonies and dueling guitar jams to a nearly sold-out crowd of adoring fans filling the three tiers of the fabulous new venue with state-of-the-art sound. The smiling band members enjoyed themselves during the 26-song set, acknowledging that many of their friends were in attendance. Despite their age, the immensely talented musicians had no problem performing the nearly three-hour non-stop set.

A longtime member of the band, singer, and keyboardist Michael McDonald opened the show with piano improvisation. Founding members, including singer and guitarist Patrick Simmons and singer-guitarist Tom Johnston, then sauntered onstage to a standing ovation. They were quickly joined by longtime band member John McFee, a talented singer, guitarist, and multi-instrumentalist. The band’s more recent members then appeared on stage, including saxophonist Marc Russo, drummer Ed Toth, percussionist Marc Quiñones and bassist and backing vocalist John Cowan.

The group opened with one of their oldest songs, “Nobody," from their 1971 debut album. Johnston took on lead vocal duties for the first song, with Simmons and McFee backing him up on acoustic guitars and McDonald on piano. The rest of the band joined in and picked up the pace on the second tune, “Take Me In Your Arms (Rock Me A Little While).” The song was a big hit for The Doobie Brothers in 1975, but it was a actually a cover. The original was first recorded by soul singer Kim Weston in 1965.

The mood switched on the following song, “Here To Love You,” from the 1978 album, Minute By Minute, as McDonald took over lead vocal duties. His soulfully funky voice and his honky tonk piano skills took the band in a new direction. From there, the triple guitar-driven sound of Johnston, Simmons, and McFee took over on songs like “After “Dependin’ On You” and “Rockin’ Down The Highway.” Later McFee showcased his diverse musical skills on the tune “South City Midnight Lady," playing mean pedal steel guitar.

The band would vacillate between the more guitar-driven rock tunes back towards the funky tunes that McDonald made famous with the band in the 70s. He led the way on songs like “You Belong To Me” and “What a Fool Believes.” On the tune “It Keeps You Runnin'," McDonald traded licks with saxophonist Russo in a jazz-infused dance-inducing jam.

Towards the end of the set, the band led the audience in a sing-along during a rendition of their early guitar-driven hit “Jesus Is Just Alright.” The end of the set also included other well-known hits like “What a Fool Believes,” “Long Train Runnin'," and “China Grove.” By this time, most of the audience was dancing and singing along.

The four-song encore began with the swamp-drenched bluesy tune “Black Water” with Simmons on 12-string acoustic guitar and lead vocals and McFee playing a haunting violin. The beautiful vocal harmonies were reminiscent of the Crosby Stills, Nash, and Young era. That was followed by another McDonald and Russo jazz improvisation. The band finished with two of their biggest hits, “Takin It to the Streets” and “Listen To The Music," while a euphoric crowd danced and sang through the aisles and balconies.

The Rock and Roll Hall of Fame inductees, four-time Grammy winners, and a band that has sold over 40 million records proved that despite their seniority, the group can still perform a nearly three-hour set with masterful musicianship and exquisite harmonies. Southern Californians still wishing to see The Doobie Brother's 50th-anniversary tour will have another chance when the band returns to the area on December 15th to play at the new Acrisure Arena in Palm Springs.

More than 10,000 country music fans flocked to Surfers Point in Ventura, California, on October 14th for the Boots & Brews Festival. Western attire, including boots and hats, was the norm in the festive crowd. Country music superstar Tim McGraw headlined a lineup of 4 country music bands drenched in rock overtones. The festival had more of a county fair feel than just an ordinary concert. A large variety of gourmet food trucks greeted festival goers, as well as multiple beverages stands. Wine and mixed drinks were readily available, but copious amounts of myriad brews seemed the most popular imbibement. In addition, there was a line dance tent for those in the dance mood, an artificial beach, other colorful installations, and various arts and crafts vendors.

The festival grounds were divided into three main sections. The general admission section in the back featured a mini grandstand, a large field area where patrons could sprawl out on blankets or in chairs they were allowed to bring, and a standing and dancing area at the front. The middle section had a similar layout but also included reserved Cabana tents on the side. Finally, the VIP section featured its own bars and food trucks, and tents with tables and chairs.

The massive stage that CBF productions organized featured three giant video screens, an elongated ramp extending into the audience, and an enormous sound system. Local Ventura trio Acoustic DNA opened the show. The band featured Dave Rea on lead vocals and guitar and Aaron Roth and Scott Felton on bass and drums. The band set the tone that would continue throughout the evening, which featured ear-ringing hard rock music in the vein of country music.

Daniel Bonte and the Bona Fide took the stage next with an explosive opening sound that resembled the metal band Black Sabbath more than a traditional country band. However, the six-member group from Costa Mesa, California, puts its own stamp on country music. The band featuring lead singer Bonte with a throaty country-tinged singing style tore through a ninety-minute set of rock-drenched music.

As a misty fall evening began to envelop the festival in darkness, the massive stage came to life with a spectacular light show, and Florida country rocker Michael Ray and his band took the stage. Like the bands before them, Ray and his entourage launched into country-inspired tunes draped in heavy rock rhythms. Ray opened with his most well-known song, “Holy Water," and continued with tunes from his four studio albums. By this time, a giant crowd had enveloped the stage and its protruding runway, which Ray utilized to the fullest, much to the delight of the surging crowd.

Tim McGraw exploded onstage just after 9 pm with his band of veteran country rockers in a multimedia and lighting cacophony. The multi-Grammy winner and actor bantered with the audience, frequently endearing himself to an adulating crowd. McGraw quipped early in the show, "Do you say Ventura, or do you say Venchurra? So, if it is Ventura, raise your hand. If it is Venchurra, raise your hand. (The crowd responded with the correct pronunciation) so, Ventura is it.” The singer was no doubt referring to the muddled pronunciation of the hometown in the classic hit tune “Ventura Highway” by country rockers America. McGraw even played referee for the crowd at one-point, admonishing people in the front of the audience that were shoving each other, pointing them out, and telling them to settle down. The hit-laden set lasted about ninety minutes and the Ventura cowpokes for the night seemed to love every minute of it. The Boots and Brews festival takes place in three California cities and will undoubtedly be back bigger than ever in 2023.

Maynard James Keenan, the enigmatic lead singer of the heavy metal rock band Tool, brought his fascinating side project Puscifer, to perform the final live music event of the season at the beautiful Vina Robles Amphitheatre in Paso Robles, California.

The concert on Sunday, October 16th, opened on a cool, clear evening with a set by the Darkwave EDM duo from Los Angeles, Night Club. Keyboardist and music composer Mark Brooks and moody singer Emily Kavanaugh have been making their dark electronic dance music for a decade, with much of their material making its way into movie soundtracks. Brooks milked a remarkable array of sounds from his synthesizers while Kavanaugh pranced about in a dance frenzy singing in an emotive wail. The duo performed in near darkness amidst an occasional explosion of backlit strobes. The lighting added to the sinister atmosphere of the trance-inducing music. Kavanaugh was in constant motion, dancing, shouting at the crowd, and writhing on the stage while Brooks stood stoically, creating a symphony of dark electronic beats. The short set was an appropriate opening for the madcap performance from Puscifer.

After a short break, the Puscifer show opened with a video presentation of Maynard appearing in the persona of agent Dick Merkin touting the virtues of Spam and forbidding the usage of cell phones during the concert. He stated that those who violated the policy would be thrown into giant meat grinders to add “extra spiciness” to the Spam. The video set the tone of the concert, which was much more akin to a Broadway performance than to a traditional concert. Next, Maynard introduced the band, featuring special agent Carina Round on vocals, general agent Mat Mitchell on guitar and keyboards, general agent Gunnar Olsen on drums, and general agent Greg Edwards on bass and keyboards, all dressed in black suits and dark sunglasses like FBI agents.

The theatrical presentation featured the dancing duo of lead singers Maynard and Round while the band alternated between heavy metal and heavy synth backing sounds. The group's storyline sought to track down space creatures, who were, in turn, in pursuit of a recurring Puscifer character, Billy D, a hard-drinking lout. Meanwhile, other agents and visiting aliens make appearances and exits throughout the show, sometimes joining in the dancing and other times performing mysterious tasks. Finally, in a classic Maynard bait and switch, the Billy D character, looking much like Colonel Sanders of Kentucky Fried Chicken fame, appears at the foot of the stage taking photos with his phone. Maynard points to him and declares, “spam," prompting special agent characters to grab Billy D and carry him off, presumably to turn him into Spam.

During the intermission in the 3 part presentation, Keenan appeared on video again as Agent Dick Merkin, explaining to the audience that red-carpet celebrities are in reality, alien clones. Merkin included Maynard in the conspiracy plot, explaining that the front man for Tool is a gender-reassigned version of Plasmatics singer Wendy O. While this was going on, the Billy D character could be seen posing for photos with fans and partaking in the offerings at the wine bar. Then a presumably drunk Billy D appears at the top of the multilevel platform onstage and begins a drunken diatribe as the band returns. Then the music started, and Billy D broke into song, revealing that Maynard had dressed as the character who had been hauled out of the audience earlier. Maynard finished the set in his new persona.

Amidst all this theatrical drama, the core band shined brightly, sounding like a mashup of 80s synth music and Tool-like heavy metal riffs. The beginning of the 18-song set featured material from the band's latest album, Existential Reckoning. The second and third acts of the show mixed songs from four of the band's earlier albums with more material from Existential Reckoning, many of which became singalongs with the fiercely loyal fans in the audience.

Maynard ended the evening with another surprise during the final song. The impish maestro broke character and allowed the audience to “pull out your stupid cell phones” and photo and video the last song if they liked. The amphitheater then lit up with cell phones capturing the finale of one of the most interesting musical presentations of the 2022 concert season.

A sold-out crowd filled the opulent Fred Kavli Theater in Thousand Oaks, California, on Saturday, November 5th, to witness the guitar wizardry of arguably the greatest living rock guitarist, Jeff Beck. It was the first post-pandemic tour for the iconic guitarist, who looks and sounds like a man decade younger than his 78 years. The musician has won six Grammy's for his masterful recordings and has been inducted into the Rock and Roll Hall of Fame twice. The current tour supports Beck’s newest album, 18, the much-publicized collaboration with Johnny Depp.

Beck began the concert in his usual diminutive style, strolling on stage and smiling at the audience before putting on his dark glasses and getting down to business. The guitarist opened with the innovative tune “Freeway Jam” from his groundbreaking 1975 album Blow By Blow. The song, fusing Jazz, Rock, and Funk music, immediately showcased the guitarist's immense talent. The musician seemed so at ease that he could sip a cup of English tea between his innovative licks. Then, the guitarist offered up one incredible medley after another during 11 tunes, backed by a phenomenal trio of jazz rockers, including bassist Rhonda Smith, drummer Anika Nilles, and keyboardist Robert Stevenson.

The opening set included a selection of tunes from the rocker's long career and classic covers, including the Beach Boys’ “Caroline, No;” and a fierce interpretation of John McLaughlin’s Mahavishnu Orchestra tune “You Know You Know." Beck also included a cover of the Syreeta song “Cause We’ve Ended as Lovers.”

As Beck was about to begin his 12th tune of the night, he welcomed “a good friend” to the stage to join him. Beck and his band launched into one of his favorite covers, “Rumble.” The original tune was released in 1958 by Link Ray and His Ray Men. Ray composed the innovative tune onstage one night. Many radio stations in its day banned the song because Rumble was the teenage slang for a gang fight. However, Beck was so enamored by the early tune it has long become a staple of his playlist. Beck has even partnered with Fender recently to promote the company's 1957 Stratocaster guitar that was used in the original recording of “Rumble.” Shortly into the song, Johnny Depp, looking much like a 70’s rocker, sauntered onstage, much to the delight of many well-dressed young ladies in the audience. Many of Beck’s more testosterone-driven fans may dismiss Depp as an interloper, but the actor has past credentials as a bonified musician.

While few guitarists could do a credible battle with Beck onstage, Depp is an accomplished rhythm guitarist with an engaging singing voice. Beck would be the first to tell you that vocal skills are not his forte. Depp has been playing guitar since he was 12 years old and has played in various rock bands since 1980, including the supergroup The Hollywood Vampires. During the show's second part in Thousand Oaks, Beck and his band would continue to lay down intricate rock riffs while Depp took over vocal duties and played a competent rhythm guitar.

Depp sang first on his collaborative original with Beck, “This Is a Song for Miss Hedy Lamarr,” then on a cover of John Lennon’s “Isolation.” Depp made the song his own with a distinctive vocal arrangement. He also sang a version of Dennis Wilson’s “Time” and played a 12-string on The Beatles’ “A Day in The Life.” Beck then took over for a masterful instrumental of Jimi Hendrix's “Little Wing.” The show ended with Beck and Depp performing another cover, this time of the band Killing Joke’s “The Death and Resurrection Show.”

Los Lobos brought their dance-inducing rhythms to the Lobero Theatre in Santa Barbara for two nights on January 20-21st. The first night featured an all-electric set, followed by an acoustic set the second night. The shows were part of the 2023 celebration of their 150th anniversary. The Lobero Theatre is a historic performing arts theater in downtown Santa Barbara, California. It was built in 1873 and is the oldest continuously operating theater in California. The theater has been host to various performances, including live music from nearly every musical genre, theater productions, and dance performances. It has also been used as a movie theater and as a venue for community events. The Lobero Theatre is considered a Santa Barbara landmark and is on the National Register of Historic Places.

David Crosby was scheduled to lead an all-star lineup next month at the Lobero as part of their 150 anniversaries before his recent sudden passing. Rock Cellar Magazine and FestForums had planned the “Get Together” Concert on Thursday, February 2, 2023, which they describe as “an intimate tribute honoring festival leaders we lost in 2021 – featuring the music of Jesse Colin Young with Jazzie Young, Chris Stills, Teddy Jack, The Tribe, and more special guests, with a special presentation by Henry Diltz. A portion of the proceeds will benefit the Get Together Foundation.” The theater recently announced that the night would also pay tribute to Crosby, a long-time patron of the Lobero Foundation.

But the January 20-21st shows with Los Lobos were all about celebrating live music. Many in the usually stoic crowd at the venue were compelled to dance through much of the infectious performance. Los Lobos is a Grammy award-winning American rock band from East Los Angeles, California. The band was formed in 1973 and has released multiple albums throughout its career. They are known for their blend of rock, Tex-Mex, country, and traditional Mexican music. But the band has a wide range, including blues rock, rockabilly, and the masterful musicians even delve into the jam band genre occasionally. The latter was particularly on display both nights, with the band choosing two distinctive Grateful Dead covers to showcase their prowess in the genre. The first night the band included “Bertha” in their set, and the second night “West L.A. Fadeaway," both from the Grateful Dead catalog. Like the Grateful Dead, Los Lobos tends to perform an almost entirely different set each night they play.

The two crossovers for the Lobero show included a classic traditional Mexican sing-along cover of the legendary Vincent Fernandez tune, “Volver Volver," and a finale of their most famous cover of “La Bamba.” The band is well known for their intricate versions of cover material across many pop music genres, but they have also created volumes of their own insightful material. The band features five original members, including David Hidalgo, Cesar Rosas, Louie Pérez, Conrad Lozano, and Steve Berlin, all incredibly talented musicians and singers. The band tore through an 18-song setlist Friday, including six covers. During the Saturday acoustic set, the group played another 18 songs, including seven covers. The band has toured relentlessly through the decades, improving their skills, and has become one of southern California's best live musical acts. Bien Hecho!

The Lobero has already organized one of the most exciting seasons of live music and performances, and new dates are being regularly added. For the latest information, visit https://www.lobero.org

Check out more photos from the show.

Fest Forums wrapped up their annual two-day conference in Santa Barbara on February 2nd with a marathon concert at the Lobero Theatre. The event was part of the 150th anniversary of the historic venue, California’s oldest, continuously operating theater. Fest Forums is the premiere conference for the festival industry in North America, established in 2015.

The Lobero performance featured an event billed as the “Get Together” concert. The festivities began with a tribute to three festival giants who passed away recently and were former speakers at the Fest Forums conference. The trio included the founder of the Newport Folk Festival, George Wein, Glastonbury Festival founder Robert Richards, and Woodstock founder Michael Lang. In addition, the tribute featured a slideshow and narration from the “official Woodstock photographer” Henry Diltz.

The concert featured a multi-generational musical tribute to the music of the Woodstock era. The evening began with a short set by Jesse Colin Young. He was a founding member and lead singer of the 1960s group the Youngbloods, who performed at Woodstock. The 81-year-old singer had no problem belting out some of his biggest hits from an extensive solo and collaborative material catalog. Later in the set, he was joined by his daughter, singer-songwriter Jazzie Young and the son of another Woodstock veteran Leon Russel, whose moniker is Teddy Jack. Both Jazzie and Teddie took turns later singing their original solo material.

The Woodstock connection continued in the next set with the son of Stephen Stills, Chris Stills, performing a riveting solo set. Stills sang passionately and played fierce rhythms on several covers of Crosby Stills and Nash. The songs honored his father and David Crosby, who recently passed away unexpectedly. He also played original material, including the first song he wrote at age 14. The young singer said that he “terrified his parents” when he first played it for them, and they realized he would also be a musician.

The Tribe band played a set of classic rock covers from the Woodstock era next. The group is a talented collective of Los Angeles-based professional musicians who perform a variety of classic rock tunes. Then Chris Stills returned to the stage with two guest singers who offered beautiful gospel-inspired harmonies. The trio nailed a cover of Crosby Still and Nash's iconic hit “Suite: Judy Blue Eyes.”

Another Woodstock veteran, John Fogerty, then surprised everyone with an appearance to introduce a young new band featuring his sons Tyler and Shane. The Hearty Har band is a psychedelic rock band from Los Angeles, founded by brothers Shane Fogerty (guitar/vocals) and Tyler Fogerty (guitar/vocals). The band played a short blistering set of guitar-driven rock sounds that mixed classic rock rhythms with punk-infused jams.

The night ended appropriately with all the musicians from the marathon performance returning to the stage for an emotional rendition of Jesse Colin Young's iconic hit song from the 60s, “Get Together.”

Singer Paul Anka brought a fantastic musical extravaganza to the Chumash Casino Resort in Santa Ynez, California, on February 11th. Almost no living musical artist in pop music has had a longer-lasting career than this Canadian singer and songwriter. Anka recorded his first single, "I Confess," when he was just 14 years old, way back in 1956. A year later, he recorded a hit song, “Diana," at the tender age of 15, becoming an instant teen idol. Nearly seventy years later, the energetic 81-year-old singer continues offering mind-boggling concerts, complete with multiple forays across the cavernous sold-out venues he plays.

The show at the Chumash casino opened with an impressive 15-piece band playing a stirring musical medley that transformed into the music for “Diana.” Suddenly the audience could hear Anka’s distinctive vocals belting out the classic tune, but the performer was nowhere to be seen. Then a spotlight revealed the beaming singer sauntering into the venue from the very back. Slowly, the crowd realized his location, and the sold-out venue rose to their feet with their cell phones held high, trying to glimpse the beloved singer as he made his way toward the stage. The iconic performer stopped along the way, hugging and kissing fans, shaking hands, and even posing for selfies with fans. The energetic performer would traverse the venue at least three more times during the night. At one point, Anka rounded up young starry-eyed fans and moved them to empty seats at the front of the venue garnering copious hugs and kisses.

Anka, who has written songs for many of pop music’s most outstanding performers, played many of the hit songs he wrote for others. During a nearly two-hour performance, Anka led his veteran band through much of his library of hit songs that led to the sale of over 100 million albums. The prodigious musical genius has over 500 writing credits, including hit songs for Frank Sinatra, Elvis Presley, Barbara Streisand, Sammy Davis Junior, and Michael Jackson.

The set continued with some of Anka’s biggest hits, including “You Are My Destiny,” the Bossa nova rhythms of “Eso Beso (That Kiss),” and the classic ballads “Put Your Head On My Shoulder,” “Puppy Love” and “Lonely Boy.” Then, the ever-smiling crooner brought the crowd alive when he bolted back into the crowd for a jolting rendition of “She’s A Lady,” a hit song he wrote for Tom Jones.

Anka frequently bantered with the audience, sometimes telling raunchy Las Vegas-style jokes and sharing his rich musical history. He told stories of hanging with the “Rat Pack” when he was just 20 years old and writing songs for Frank Sinatra. But in a particularly intense moment, he shared his love for the talent of Samy Davis Junior and then sang a duet featuring a video of Davis singing “I’m Not Anyone.” Later Anka shared a story about acting in the hit movie, “The Longest Day," and how he convinced director Darryl Zanuck to use his theme song. The band then played a stirring version of the patriotic theme song.
 

The band then left the stage while Anks performed solo sitting at the piano for “Do I Love You (Yes In Every Way),” which he recently turned into a duet with Dolly Parton. Later he pulled out the acoustic guitar to salute Buddy Holly playing “It Doesn’t Matter Anymore.”

Anka brought the band back out for a finale that brought the audience back to their feet, including a cover of Prince’s “Purple Rain” and ending with the song that Frank Sinatra made famous, “My Way.” Anka showed no signs of slowing down with an extended performance that would exhaust a singer half his age.

The soft rock superstar duo, Air Supply, consisting of Englishman Graham Russell and Australian Russell Hitchcock, performed before a sold-out crowd at the Chumash Casino Resort on February 17th. The beautiful Santa Ynez valley concert was a massive hit with the band's many fans, who call themselves “Airheads.”

Hitchcock on lead vocals and Russell on guitar led a surprisingly hard rock backing band through a nearly two-hour set of some of the duo's biggest hits from their almost 50-year history. The backing band featured Aaron McLain as lead guitarist and musical director, Mirko Tessandori on keyboards, Doug Gild on bass guitar, and Pavel Valdman on drums. Much to the delight of the boisterous crowd, many of whom sang along to most of the lyrics, the band played many of their favorites. The list included the group's eight top-five hits on the US Billboard Hot 100, "Lost in Love" (1979), "All Out of Love," "Every Woman in the World" (both 1980), "The One That You Love" (number one), "Here I Am" (both 1981), "Sweet Dreams," "Even the Nights Are Better" (both 1982) and "Making Love Out of Nothing at All" (1983).

Midway through the show, 73-year-old Hitchcock took a backstage break to rest his voice, and Russell took over for a stirring solo performance that wowed the crowd. First, the Englishman told how the pair met in Australia, auditioning for “Jesus Christ Superstar” and instantly establishing musical chemistry that would endure for five decades. The songwriter then recited an original poem, “Am I.” That was followed by a stunning performance on acoustic guitar strumming wildly on his original tune “Only One Forever.”

Hitchcock returned, singing an acoustic set with Russell on acoustic guitar. Then the band rejoined the pair for an electric, explosive finish, including a cover of the Badfinger classic “Without You." The band is currently on a massive tour, much to the delight of “Airheads” across the globe.

Great performances continue at the Chumash Casino Resort in March with concerts including the legendary George Clinton and Bonnie Raitt.

Former Santa Barbara resident surfer and musician Jack Johnson made history on the stormy California night of Fat Tuesday, February 21st. The master of contagious acoustic pop hits played an extraordinary performance at the historic downtown Lobero Theatre as part of the venue's 150th-anniversary celebration. Johnson, a huge draw, especially in Santa Barbara, quickly sold out two nights at the 4500-seat Santa Barbara County Bowl last summer. So, the surprise concert at the tiny 600-seat Lobero Theatre created a massive buzz amongst the singer's huge fan base. Hopeful concertgoers lined up as early as the night before the tickets went on sale, which were only available at the venue.

Many lucky ticket holders filled the historic El Paseo restaurant across the street from the venue for a festive VIP pre-party. The courtyard establishment was the perfect location to begin the night's festivities steeped in the long history of Santa Barbara. The 100-year-old restaurant was built as an annex to the original 1826 home of the Commandant of the Presidio Royale de Santa Barbara. The restaurant was a hot spot escape for early Hollywood stars and generated a rich literary history for many famous writers in the early 20th century. Concertgoers and patrons of the theater celebrated with an open bar and sumptuous appetizers while a fierce winter storm began to generate wailing winds outside.

The party participants then began to stroll back to the theater to join a large crowd of eager ticket holders slowly entering the theater, facing a strict security screening. Long-time Johnson collaborator and member of Santa Barbara-based band ALO, Zach Gill, opened the show about 15 minutes behind schedule, allowing extra time to get the audience through security. The charismatic singer and songwriter began his solo set playing piano and swapping silly hats between songs. He sat on a well-lit stage fronting an array of musical equipment ready for a full band to back Johnson’s set. Just as Gill switched to his signature accordion for another song, the power went out all across downtown Santa Barbara as a result of the fierce winds from the storm. Gill continued to play in the dark, eventually lit but patient audience members using their cell phones.

Then Johnson appeared onstage, joining Gill, seeming disoriented and confused by the outage. He addressed the crowd, indicating he wasn’t sure if the theater would need to be evacuated and wanted to try at least perform a few songs before that happened. What transpired was a nearly 2-hour performance that will go down in the history books with many of the special presentations at the theater during its long history

Some of the more recent stand-out moments at the Lobero that took place in the 21st century include a 4-hour jam concert by My Morning Jacket, a show by the Smashing Pumpkins with amplifiers stacked to the ceiling of the small venue, and three nights of Neil Young and The Promise of The Real tuning up for their headline set in front of 50,000 people at the Arroyo Seco music festival in 2018. Johnson began his set with Gill, valiantly lit by two stagehands holding led flashlights on the sides of the theater. An acoustic performance is typically not possible in a 600-seat venue. However, the acoustics at the Lobero has long been praised by visiting musicians as some of the best of any concert hall.

Johnson and Gill were eventually joined onstage by bassist Merlo Podlewski playing acoustic guitar and drummer Adam Topol switching to boxes to play percussion. The frequently improvised set list included crowd-pleasers from Johnsons' extensive catalog of hits, including “Banana Pancakes,” “Better Together,” “Upside Down," and “Flake.” But the quartet also included memorable covers, including “Teach You Children” by CSN and Y as a tribute to David Crosby. Long-time local resident Crosby, who just recently passed away, was on everyone’s mind. He was scheduled to play a triumphant concert featuring special guests the following evening. February 22nd (Ash Wednesday) was the official 150th birthday of the Lobero Theatre, and the Crosby show was scheduled as the highlight of the year-long celebration. The tune brought tears to the eye of many in the audience and elicited a sing-along. As the night progressed, that atmosphere became more jovial, and the sing-along intensified, feeling and sounding much like a summer campfire. Other notable covers by the group included two Sublime tunes, “Badfish” and “Boss DJ.” Later in the set, Johnson elicited requests from the audience, many of whom had a personal connection to the performer. The singer acquiesced by playing two more covers, including “Intro to One” by Metallica and “Father and Son” by Cat Stevens.

But the crowd responded most excitedly to Johnsons' original tunes as the band stretched the set into 19 songs later in the night. Then, finally, the show ended with a sing-along encore of one of the songwriter's biggest hits, “Bubble Toes." Right on cue, the power returned, relighting the audience in the middle of the tune. It was a magical night that the audience and the musicians soon wouldn’t forget.

By his own admission, George Clinton is a freak, and in the best possible way. James Brown may be considered the godfather of soul music, but the 81-year-old Clinton must be regarded as the Patriarch of funk. His legendary concerts are the freakiest mash-up of rock, jazz, soul, funk, and hip-hop music that have endured almost as long as Paul McCartney has performed Beatles songs.

Clinton continued his farewell tour with his massive musical entourage Parliament-Funkadelic including a stop at the Chumash Casino Resort in Santa Ynez, California, on Saturday night, March 4th. The Samala showroom in the casino continues to feature the finest in-house sound and lighting of any venue in Santa Barbara County. In addition, live videos of the performance dramatically flashed across the massive video screens throughout the night. Since Clinton's ever-evolving posse tops more than a dozen musicians, singers, and dancers, the video was particularly helpful in absorbing the full scope of the circus-like presentation.

Over the years, Clinton's bands, including Parliament and Funkadelic, have yielded a legion of incredible musicians, many of whom have become musical legends in their own right. The current lineup includes veterans Bennie Cowan (trumpet), Greg Thomas (sax), Lige Curry (bass), Blackbird McKnight (guitar), and many younger generations of Clinton's family. But musicians come and go in the group constantly, so it is hard to keep tabs on who plays on any night.

The show at the Samala showroom was a real crowd-pleaser, with the band playing genuine jazz, blues, and rock jams and plenty of funk and soul-driven music with a layer of hip-hop thrown in for good measure. Clinton acts as a pied piper during his shows, sometimes singing, sometimes dancing, and more often than not, acting as a cheerleader. The result is to bring the audience into the frenzied jams that mark the group as one of the most talented live jam bands. The show featured magnificent Jazz drenched solos from the keyboardist and horn players while Clinton took a break and sat in an oversized chair in the middle of the musical melee. Then the tunes turned bluesy with a soft acoustic blues guitar solo that became a duet with lead guitarist Michael Hampton, known as “Kidd Funkadelic.”

A rock jam ensued, turning into a trio of guitarists wailing a Hendrix-like marathon riff. While the group went off into forays of many musical genres, there was still plenty of “freaky” funk to keep the loyalists of the genre happy. The set began and ended with some of Clinton's signature classics, including “Give Up the Funk Tear the Roof Off the Sucker,” “Get Off Your Ass and Jam," and 1982’s hit "Atomic Dog.” Clinton, the master of funk, led a delighted crowd in one final chant, “We wanted the funk, we needed the funk," and the band delivered.

The Punk in the Park music and brew festival returned to the Ventura County Fairgrounds on a beautiful sunny Saturday afternoon, March 25th. After a cold, wet winter, it was a breath of fresh air to see a sunny cloudless sky for the event. About 5000 multi-generational punk music aficionados gathered for the 10-hour concert, many coming early to take advantage of free beer samples from over 80 microbreweries. Unlike last year, when long lines made it difficult to taste more than a few samples, the beer flowed quickly and freely, much to the delight of brew lovers. By the time the 3-hour giveaway was finished, most everyone had their fill of the multitude of free samples.

The mood at the festival was rowdy but respectful, while music fans of all ages packed tightly against the two stages with a mosh pit behind them. The venue is one of the few in the area allowing crowd surfing, and many fans took advantage of the punk ritual. The two stages offered near seamless music throughout the day until sunset, when the smaller stage shut down.

The bands kept to a nearly perfect schedule throughout the day. When Santa Cruz hardcore punk band Drain hit the stage at 245, the free beer samples were about to run out, and a large crowd surged around the smaller stage for a fiery performance. The young band played old-school Punk infused with the enthusiasm of youth. Lead singer Sammy Ciaramitaro repeatedly dived into the adulating crowd, sometimes surfing across outstretched arms. Meanwhile, the band played ear-piercing riffs with the mosh pit going for the entire set. With most opening bands having only 30 minutes to perform, the bands gave up the usual banter for mostly short, intense tunes, and the formula worked perfectly for rowdy fans.

The notorious Dwarves band took the main stage next for an intense set of classic punk tunes. The California-based band, originally from Chicago, had a sordid reputation in the past. The band was reported to have engaged in what some may consider outrageous onstage antics like for self-mutilation and onstage sex. But in what can only be described as punk music moving more into mainstream pop culture, Singer Blag Dahlia actually politely stopped his set to seek aid for an injured music fan in the mosh pit. The band played fearless punk music in their short set sans the infamous onstage antics. The band's bass player Nick Oliveri (Rex Everything) has a ridiculously legendary resume playing for bands like Kyuss and Queens of the Stone Age.

The Bronx followed on the smaller stage with another ear-splitting crowd-pleasing set. Lead singer Matt Caughthran pranced about the stage, belting out screaming vocals. He joked that his guitarist had played an earlier southern California date but wouldn’t come to Ventura because he didn’t like it there, trying to rile up the crowd. Meanwhile, the rhythm section, including drummer Joey Castillo, guitarist Joby Ford, and bassist Brad Magers kept a heart-pounding pace.

The legendary Lee Ving took the stage next with his latest incarnation of Fear. The larger-than-life true villain of Punk has performed some legendary concerts including the notorious Saturday Night Live show. That infamous 1981 performance had the group banned from the show but cemented their hardcore punk reputation across the country. Ving valiantly soldiered through lead vocals despite appearing frail and unable to play rhythm guitar anymore. However, he did belt out a few tunes on his harmonica.

A vastly different set followed as Manic Hispanic closed out the smaller stage just before sunset. The Orange County band infused Chicano culture with a youthful punk presence reworking classic rock songs into faster mosh, inducing tunes. The current band features the three remaining original players, Maurice Torres, Rue Rivera, and Warren Renfrow. (Mo Grease, Chino, and Oso) with new members Efrem “Chuey Luis” Martinez Schulz, Louie “Juan Solo” Perez III, Gilbert “Dreamer” Pichardo, and Elvis Cortez. For many in the crowd, the band performed one of the best sets of the long punk-drenched day.

As the sun faded and a crystal clear twilight revealed a crescent moon aligned perfectly in the sky with the planet Venus, the music returned to the main stage for a triumphant set by veteran punk rockers Strung Out. The band, formed in nearby Simi Valley in 1989, played some of the most melodic punk rock of the day, led by the strong vocals of lead singer Jason Cruz.

After a short break, another veteran punk group formed in 1989 took the stage for a high-energy performance. The Bouncing Souls played one of the first extended sets of the festival, much to the delight of the ever-growing crowd. Lead singer Greg Attonito toyed with the crowd, at one point praising Ventura as the second-best place to play but then riling up the audience by declaring their hometown of New Jersey as the best place to play. Original lead guitarist and bass player Pete Steinkopf and Bryan Kienlen kept up a fierce assault of hardcore rhythms.

The senior statesman of thrash punk skate music, Suicidal Tendencies, played next. Lead singer Mike Muir, who had led the Venice, California-based band since their formation in 1980, is a true icon of the hardcore genre. Dozens of musicians have come and gone backing his visceral vocals. The current band included Dean Pleasants who has been playing screaming lead guitar since 1996, Ben Weiman on rhythm guitar since 2018, and a youthful rhythm infusion from young drummer Brandon Pertzborn and Tye Trujillo on bass. Tye has an impressive pedigree, as the son of Metallica bassist Robert Trujillo (who was also an early member of Suicidal Tendencies.) The young bassist lived up to his family's reputation and played a stunning bass rhythm that wowed the crowd. The group tore through a fierce ten-song setlist that included classics like “I Shot The Devil” and “Possessed to Skate.”

Hermosa Beach surf and skate punk rock heroes, Pennywise closed the show. The band performed last year, but this time around it headlined the event. Last year, the band's set was interrupted by a mosh pit fan accidentally breaking his ankle, and the show was paused to remove him by ambulance. Subsequently the band had to cut their set short. But this year, the beloved punkers were able to complete a full set before the 10 pm curfew closed in. Fans began bundling up as the cool ocean breeze blew into the night air. Pennywise finally took the stage, eliciting a roar from the ever-tightening crowd. Original lead singer Jim Lindberg had the crowd moshing almost before the first note was played with his charismatic vocals and vigorous cheerleader style. The band featured three of the four original members, including Lindberg, guitarist Fletcher Dragge and drummer Byron McMackin. Bass player Randy Bradbury took over for original bassist Jason Thirsk, who sadly faced an untimely death. The band had a catalog of at least nine albums of material to choose from and tore through a little more than an hour of mosh-inducing material. It was a marathon of rowdy music drenched in quite a bit of brew and a fun time for all.

The historic Lobero Theatre continued its 150th-anniversary celebration on April 13th with an exceptional intimate performance by the masterful singer-songwriter John Oates. The evening began with an opening set by veteran sessions singer/songwriter/guitarist/composer and producer Steve Postell. The guitarist played the Lobero recently as part of the Immediate Family band, a group of talented sessions musicians and songwriters. Postell performed with his longtime keyboard collaborator and his daughter, singing backing vocals. The trio played songs from Postell’s newest record, including contributions from David Crosby, Jennifer Warnes, Robben Ford, Eric Johnson, Dave Koz, Paul Barrere, and, fittingly, John Oates as well.

After a short intermission, John Oates took the stage with an acoustic guitar joined by a percussionist. Oates is a musical marvel, a triple threat of immense talent, including singing, songwriting, and exquisite guitar mastery. Best known as the hit-making duo Hall and Oates, the musician met his musical partner Daryl Hall in 1967. The duo released their debut album in 1972, and by 1984 Hall And Oates had earned 19 gold and platinum awards, surpassing the Everly Brothers as the most successful duo in rock history. Oates released his first solo album, Phunk Shui, in 2002. Mississippi Mile, his latest solo album, was released in April of this year.

Oates endeared himself to the intimate gathering early on with a mix of powerful storytelling and good humor. In the first half of the evening, he featured songs from his solo albums mixed with songs from Hall and Oates's final album and a few stunning covers. Each piece was referenced with an explanation of how it evolved. At the same time, Oates toyed with a member of the audience, anticipating hearing some of the Hall and Oates classics. “We will get there eventually, maybe," he quipped repeatedly. The mercurial musician has been an academic observer of American pop music history. He has been fascinated with the roots of music and the songs that inspired him to become a musician when growing up in Philadelphia.

The set included covers of some classic African American blues songs that Oates has brought new life into with an incredible three-octave singing voice and some of the most amazing guitar-picking skills of any guitarist in pop music. The set ended with some of Hall and Oates's biggest pop hits, but there was a twist even then. Ending with perhaps the duo's biggest hit, “Maneater,” Oates first told the story of observing a young New York model that inspired the song. Then he explained how he first envisioned the song as a reggae-influenced tune and recently recorded it in Jamaica the way he originally envisioned it. Finally, he ended with the upbeat Reggae version, much to the audience's delight. After a standing ovation, Oates returned for a final encore ending a memorable night of musical history.

After nearly two weeks of cold rainy, and foggy weather on the southern California coast, the sun came out just in time for the opening day of the 2023 Skull and Roses Music Festival on Surfers Point in Ventura. The shortened first day of music, which began at 5 pm, was a bonus day for the many fans of the Grateful Dead genre who filled the sold-out campgrounds earlier in the day.

In a crystal-clear sky, strange clouds were painted with myriad colors during a spectacular sunset, which gave way to a brilliant star-filled night sky. The evening sky dominated all five nights with a view of a partial moon aligned with the planet Venus. The Beam Brothers joined the Wahlbangers for an opening set in the afternoon. Surfers could be seen catching chest-high waves on Surfers Point in the Pacific Ocean fronting the vast campground. Bejaraño and Chris Wahl of the Wahlbangers Drum Circle Organization are The core of the Beam Brothers Band. They were joined onstage but multiple percussionists, including some who brought their youngest children to the jam session. It was a fitting opening to the multi-generational gathering at the Fairgrounds.

Everything was bigger and better at this year's Skull and Roses Festival, expanding for the first time to five days. The massive stage, which took nearly two weeks to construct, featured giant video screens, state-of-the-art lighting, and a gigantic sound system. A labyrinth of art vendors stretched across the campgrounds with all manner of handmade goods. The food vendor choices also expanded this year with offerings like corn on the cob Cambodian style with a secret coconut sauce and, for the meat eaters, a sumptuous barbecue and taco stand. There was even an all-vegetarian vendor option on the campgrounds. Plenty of beverage options kept the crowd satiated. Many in the crowd took advantage of the legal status of Marijuana in California to smoke and consume all manner of edibles.

The crowd was literally in high spirits by the time BoomBox and the BackBeat Brass brought their trippy tunes to the sunset hour. The group merged electronica with funky rhythms and a jazz-inspired horn section to create a unique blend of modern jam music. Led by founder, songwriter, producer, and multi-instrumentalist Zion Rock Godchaux the enigmatic group played a fascinating 90-minute set of esoteric music. The revolving stage performed flawlessly, spinning one band out as the next appeared ready to perform with no downtime.

As the twilight set in and the beautiful night sky sparkled, Sages and Spirits took the stage for a nearly four-hour jam session. The ensemble is a jam band supergroup that includes Melvin Seals, Rob Eaton, John Kadlecik, Rob Barraco, Jay Lane, Skip Vangelas, and Jake Wolf. The band performed many classics from the world of Grateful Dead music, much to the delight of enthusiastic fans, many of whom danced about for the entirety of both sets.

The band set list for the evening can be found on their Facebook page:

Thursday, April 20th, was the first full day of music at the 2023 Skull & Roses Music Festival. Many in the crowd happily celebrated 4-20 in a smokey haze during the 12-hour musical marathon. The fact that cannabis is now legal in California made the occasion all the more celebratory. A strong wind picked up, clearing the sky of clouds, making for a warm afternoon and a crystal-clear evening.

By early afternoon the festival was full of music fans catching a compelling set by Xtra ticket. The group is Arizona's longest-running Grateful Dead tribute band, first formed in the summer of 1994 and fronted by Evan Jones and Dave Hebert of the JGB band. The band also features Elliot Jackson Rauch on Keyboards and backing vocals, Michael Roberts on Drums, and Charley Gnecco on Drums. The band tore through a set of mostly Grateful Dead covers, much to the delight of the smokey crowd.

The nonstop music continued mid-afternoon as the rotating stage spun to reveal a completely different take on the Grateful Dead musical genre. The Latin Dead is a California-based collective that fuses the music of the Grateful Dead with Latin Jazz, including a sensational horn section. The band featured guitarist and vocalist John Kadlecik (Furthur, Dark Star Orchestra, Melvin Seals & JGB) and Latin legend Oscar Hernandez (4 time Grammy-winning pianist/composer/arranger/producer and leader of the Spanish Harlem Orchestra). The band's infectious jazz-drenched rhythms made the crowd dance in the hot afternoon sun.

Guitarist Stu Allen brought his Mars Hotel Band to the stage next in the late afternoon. The group is an ever-evolving group of musicians from the genre. The Thursday performance featured veteran musicians Nick Sandoval, Skip Vanjelas, Rob Barraco, and Jay Lane, led by Allen. The band played a ninety-minute set of crowd favorites.

Big Steve and The Assbites brought a short set of nostalgic songs to an approving crowd. Deadheads know that Steve Parish has been a primary member of the Grateful Dead family for 50 years since he joined the band as a roadie in 1969.

The stage spun after the short set to reveal one of the crowd favorites, Grateful Shred, for a 90-minute sunset jam. The band jammed a 13-song set of mostly Grateful Dead classics. The band featured guest singer Mikaela Davis. https://www.setlist.fm/setlist/grateful-shred/2023/ventura-county-fairg…

The only break in the music came next as the stage was prepared for a two-set evening performance for Oteil and Friends. Unlike last year when technical difficulties cut the iconic bass players set short at the festival, the beaming member of Dead and Company was able to lead his group through two full sets of classics that had fans in a dance trance late into the evening.

The 2023 concert series opened on Sunday, May 14th, at the Vina Robles Amphitheatre, with a spectacular light and music performance by French electronic music group M83. The venue provided a fantastic setting for the concert, nestled among the vineyards of Paso Robles, California. The natural acoustics and open-air amphitheater added a layer of magic to the evening. The weather was nearly perfect, with doors opening during a warm sunny afternoon and fans arriving early to enjoy the extensive food and beverage choices, including prize-winning wines from the surrounding vineyards.

The show began with a short thirty-minute opening sunset session by electronic music maven Jeremiah Chiu, a community organizer, graphic designer, artist, and educator. The smiling synthesist performed using a keyboard attached to a small open suitcase with a device resembling a miniature version of Keith Emerson's massive Moog synthesizer. Chiu served up genuine electronic music in the vein of John Cage, the genre's godfather. The crowd responded enthusiastically to pulsating rhythms as the sun set, bathing the large crowd in an orange glow. The set ended fittingly with a cover of Kraftwerk.

After a 30-minute intermission, the twilight gave way to a crystal-clear star-filled night sky, and a large crowd swarmed the front of the stage in anticipation of the late-night set by M83. The six-piece French ensemble emerged in an explosion of massive backlighting and a cacophony of sound. Playing much of the time as silhouettes in front of the enormous light show, the band blended seamlessly into a tremendous orchestral powerhouse that sounded like a French version of Radiohead. M83, led by multi-instrumentalist and singer Anthony Gonzalez, took the stage to thunderous applause. From the moment they began playing, it was evident that M83 had a deep connection with their music. The band's intricate melodies, soaring synths, and ethereal vocals filled the amphitheater, creating an otherworldly experience. The crowd was completely immersed in the music, swaying and dancing to the infectious beats.

The band performed a 20-song marathon main set before ending with a three-song encore, stretching the performance into a two-hour late-night visual and acoustic marvel. One of the night's highlights was when M83 performed their popular hit "Midnight City” during the encore. The crowd erupted with excitement as the iconic synth intro began, and the band delivered a breathtaking song rendition. The combination of pulsating rhythms, anthemic melodies, and Anthony Gonzalez's powerful vocals created an electric atmosphere sweeping the entire venue.

M83 didn't solely rely on their well-known tracks; they also showcased their talent for crafting atmospheric soundscapes and emotionally charged ballads. Songs like "Wait" and the finale "Outro" showcased the band's ability to create a sense of grandeur and take the audience on an emotional musical roller coaster.

The multimedia production accompanying the music was nothing short of spectacular. The lighting design, projections, and stage effects perfectly complemented the music, creating a visually stunning and immersive experience.

M83's energy never waned throughout the concert, and the six members performed passionately. The band members displayed exceptional musicianship, effortlessly transitioning between instruments and creating a cohesive sonic tapestry. The combination of their mesmerizing music, captivating visuals, and enchanting venue created a night that will be etched in the memory of every attendee. M83's ability to transport the audience to a dreamlike realm is a testament to their talent and artistry. It was an exciting opening night for the beginning of the most ambitious concert season for the Vina Robles Amphitheatre.

The term 'living legend' is frequently bandied about in the world of entertainment, often without the merit it deserves. However, if there's one figure in pop music who warrants this epithet, it's undeniably Ringo Starr. The ex-Beatle rolled out the most recent line-up of his All-Starr band at the stunning Terrace Theater, Long Beach Performing Arts Center in Long Beach, California to inaugurate his 2023 tour. This architectural gem of a venue, nestled in downtown Long Beach, houses a little over 3500 spectators.

This edition of the band features Steve Lukather from Toto, Colin Hay from Men at Work, Warren Ham, Gregg Bissonette, Hamish Stuart from the Average White Band, and the latest entrant Edgar Winter, who took over keyboard duties from Greg Rolle in the previous tour. The majority of the band has been sharing the stage for a considerable length of time, evolving into a finely tuned musical apparatus. The band's synergy was evident as the evening progressed, with each member harmonizing flawlessly, particularly during extensive jamming sessions.

As the night unfurled, Ringo, the eternal youth of rock music, bounded onto the stage with an infectious smile that immediately warmed up the crowd. Despite being in his eighties, the charismatic Ringo continues to awe audiences with his inexhaustible energy. He sang, danced, played drums, and shared his distinctive Beatles-esque Liverpool humor that endeared him to the world all those years ago.

Riding on a fixed 24-song set list, the show opened aptly with an early Beatles' hit, “Matchbox,” a Carl Perkins cover. Ringo followed this up with one of his most memorable solo hits, “It Don’t Come Easy," and another Beatles classic, “What Goes On."

Edgar Winter then took over the reins for his hit song “Free Ride” from the Edgar Winter Group era. Next, Lukather delivered an exquisite rendition of “Rosana," and two other Toto hits, “Africa” and “Hold The Line,” showcasing his prowess on the guitar and powerful lead vocals. It was then Stuart's turn in the spotlight, taking lead vocals on the Average White Band hit “Pick Up The Pieces,” and “Work to Do,” an Isley Brothers cover. His songs accentuated his funky bass lines, while an ensuing jam saw Warren Ham dueling on sax with Edgar Winter.

The first part of the set concluded with a delightful trilogy of classics, featuring the early Beatles' hit “Boys,” a reminder of Beatlemania in full swing. Next was "I'm the Greatest,” a John Lennon-penned song from Ringo's 1973 album, a new addition to the setlist. Someone shouted, "You're the greatest," as Ringo introduced the song. Then Ringo replied with a devilish smile, “I am the greatest.” Then a man yelled out, “I love you, Ringo.” Then the impish former Beatle said, “In the old days, young girls would shout out I love you, Ringo,” saying it in a high voice. “Now all I hear is I love you, Ringo,” repeating the phrase in a deep voice, eliciting howling laughter from the audience. That song was followed by a crowd favorite, The Beatle's “Yellow Submarine.”

Ringo took a breather during the following musical segment, which spotlighted an extended jam session incorporating the Average White Band’s “Cut The Cake” and a blistering rendition of Edgar Winter’s seminal hit “Frankenstein.” Winter astounded the crowd, alternating between a modified handheld keyboard, saxophone, and percussion, while Bissonette supplied a thunderous drum solo.

Ringo returned for the final 12 songs on the setlist, culminating in a communal sing-along to “With a Little Help From My Friends," segueing seamlessly into “Give Peace a Chance,” the band's trademark conclusion. Here's to the enduring magic of Ringo and rock 'n roll - may they live on forever!

The Cruel World Festival marked its second annual celebration on Saturday, May 20th, nestled within the scenic confines of the Brookside golf course, situated beside the iconic Rose Bowl in Pasadena, California. This expansive festival showcased a dynamic array of both seasoned and burgeoning talents from the New Wave, Punk, and Goth genres, presented across three stages for an impressive 10-hour duration. The festival was in full swing, with punk luminary Iggy Pop and supergroups like the 80s' stalwarts Human League in the midst of their evening performances, when an unexpected evacuation was announced due to an impending thunderstorm. This led to the regrettable cancellation of Siouxsie's highly-anticipated first U.S. concert in 15 years, casting a pall over the gathered Goth enthusiasts.

Despite the abrupt ending to the first day, the organizers from Goldenvoice masterfully salvaged the situation by adding a bonus day to the festival. This extension featured more of festival favorites like Gary Numan, an encore by Iggy Pop, and an elongated performance by Siouxsie, extended to all ticket holders from the disrupted day.

The festival kicked off under nearly perfect weather conditions, with minor technical hitches proving insignificant in the grand scheme of the day's events. The throng of Goth-attired music enthusiasts began gathering at the gates early, punctuating the scene with vibrantly colored parasols. The festival began at noon with a DJ serenading the crowds with retro tunes on the smallest of the three stages, the Lost Boys stage. Shortly after, the Outsiders stage welcomed Aurat, an emerging band from the new wave of Goth musicians.

Music aficionados were presented with the challenging task of deciding which acts to catch and which to miss, as the main stages were nearly a mile apart and had overlapping schedules. The seamless transitions between performances further complicated the choices.

Those favoring the Outside main stage were treated to performances by young artists such as Gvllow, who blended various genres into a unique Goth-tinged amalgamation of angst. Following that, synth-pop duo Glass Spells from San Diego continued the musical journey.

Meanwhile, attendees who navigated to the Sad Girls stage were rewarded with a nostalgic set from the Los Angeles-based band, Animotion. Their hit-packed performance was backed by multimedia presentations that added to the vintage appeal. Similarly, bands performing across the other stages incorporated custom multimedia displays.

The Lost Boys stage saw its first act with Urban Heat, a synth-heavy trio from Austin, while over on the main stage, darkwave duo Twin Tribes drew a substantial crowd for their compact set. Following them, Modern English, one of the early pioneers of New Wave, took to the stage, serving up a dance-inducing collection of their iconic hits.

On the Sad Girl's stage, the audience experienced an intense performance by English punk legends, Gang of Four. The group’s set was both a sonic and visual spectacle, showcasing their raw punk energy. Concurrently, on the main stage, newcomers Molchat Doma introduced their brooding Dark Wave sound, singing their visceral lyrics in Russian, thus painting a vast landscape of diverse music at the festival.

As afternoon shadows lengthened, navigating the swelling crowds between the expansive stages became a challenge. The principal stage commanded the largest throngs for the duration of the festival. Yet, there was a notable migration of people towards the other stages, captivated by performances from remarkable legacy acts such as The Vapors, ABC, Squeeze, and Billy Idol. Meanwhile, the devoted music enthusiasts anchoring the main stage reveled in an impressive succession of performances preceding the scheduled show by headliner Siouxsie.

Among the standout acts was electronic music pioneer Gary Numan, backed by a band of formidable hardcore musicians. Numan's performance resonated as one of the festival's most memorable. His noteworthy contributions to the electronic music revolution of the 1980s have solidified him as a genre trailblazer. Despite boasting a dedicated fan base and more than 10 million record sales, many music aficionados overlook the magnitude of his talent. From wielding an electric guitar at 15 to pioneering early electronic instruments, Numan has crafted a five-decade-long career marked by relentless musical innovation.

Indeed, while many recognize Numan for his 1979 hit “Cars,” his prolific portfolio extends to 23 albums, film scores, and notable influences on musicians spanning a broad range of genres, including Nine Inch Nails' Trent Reznor and French electronic music icon Jean Michel Jarre. At 65, Numan's performance was a masterclass in unrelenting energy and passion, his stage presence reminiscent of a youthful rock rebel. His electrifying performance, characterized by ballet-like dancing, fierce guitar playing, and bouts of keyboard magic, established a profound connection with one of his largest audiences in years.

Numan's talented ensemble created an imposing wall of sound, drawing comparisons to a Nine Inch Nails concert. Guitarist Steve Harris and bassist Tim Slade, known for their otherworldly stage presence and uncanny audience interaction, amplified the band's unique charisma. Veteran keyboardist David Brooks and drummer Richard Beasley, long-standing collaborators with Numan, completed the dynamic lineup. The band's compelling performance garnered a deserving encore, which will be revisited later.

Next, Liverpool's Echo and The Bunnymen, a highly anticipated act, graced the main stage. Originally scheduled to perform at the first Cruel World festival in 2022, IRS complications led to the cancellation of their U.S. tour. However, original lead singer Ian McCulloch and guitarist Will Sergeant commanded this year's festival with a thrilling 11-song set featuring iconic 80s hits such as “Bring on the Dancing Horses,” The Killing Moon, and “Lips Like Sugar.”

As the evening sky was adorned with a dazzling sunset, goth music legends Love and Rockets took the stage, marking their first performance in 15 years and the commencement of their 17-date U.S. reunion tour. Composed of the original Bauhaus members minus lead singer Peter Murphy, Love and Rockets ushered in a new era of goth music in the 80s. Daniel Ash's hypnotic, feedback-laden guitar playing, coupled with their innovative hits, made their performance a memorable one.

As darkness descended, punk rock icon Iggy Pop, joined by his new supergroup, stole the spotlight on the main stage. However, an unexpected lightning strike during their set led to an immediate evacuation, leaving the audience of the concurrently playing The Human League in a state of disbelief.

As the possibility of Siouxsie's first U.S. concert in 15 years becoming a missed opportunity loomed, the Goldenvoice promoters swiftly arranged a free makeup concert the following day. This included an encore set from crowd-favorite Gary Numan, a revised performance by Iggy Pop, and a triumphant extended set by Siouxsie and her band. Siouxsie also dedicated her final song, “Israel," to her longtime friend Joseph Brooks founder of the Los Angeles record store Vinyl Fetish.

Check out more photos from Cruel World Music Festival.

The sold-out crowd of 85,000 music fans began arriving as early as Tuesday, June 13th, for the 2023 Bonnaroo Music Festival. Even though the actual festival in Centeroo officially kicks off on Thursday, the ever-expanding campgrounds have become a mini-festival, with music and events beginning as early as Tuesday night. Like Walt Disney’s early vision of an ever-expanding Disney World in a Florida swamp in the 1960s, the original promoters picked a perfect spot for the Bonnaroo festival. Located in remote farmland near Manchester, Tennesse, the location offers plenty of wide open space for the ever-expanding festival. The campground areas and their respective plazas have grown most over the last several years.

As the sun rose over the sprawling grounds of the Bonnaroo Music Festival Campground on Wednesday, June 14th, 2023, anticipation filled the air as festival-goers eagerly prepared for the days ahead. The campground, a vibrant hub of activity, buzzed with excitement and the promise of unforgettable experiences.

The day began with a palpable energy as campers arrived in droves, setting up their tents and creating makeshift homes for the weekend. The campground was a colorful tapestry of different styles and personalities, with campers showcasing their creativity through unique campsite decorations, colorful flags, and handmade signs. The atmosphere was filled with camaraderie and shared enthusiasm as strangers quickly became friends, bonded by their love for music and the upcoming festivities.

Throughout the day, various activities and events were scattered across the campground, providing entertainment and opportunities for festival-goers to connect. A lively drum circle formed in one corner, attracting both participants and onlookers who couldn't resist the infectious rhythm. Laughter and music echoed throughout the campground, creating an atmosphere of joy and celebration.

Food trucks lined the pathways, offering various culinary delights to satisfy every palate. From gourmet burgers and tacos to vegan and gluten-free options, there was something to please every festival-goer's taste buds. The aroma of sizzling spices and mouthwatering dishes filled the air, enticing hungry campers to indulge in a memorable dining experience.

Art installations peppered the campground, showcasing the creativity and imagination of talented artists. From towering sculptures to interactive displays, each piece offered a unique opportunity for festival-goers to immerse themselves in a world of visual enchantment. The art installations served as focal points for conversation and appreciation, igniting discussions about the power of creativity and expression.

As nightfall descended upon the campground, the energy reached its peak. Bonfires crackled and flickered, casting a warm glow over groups of friends huddled together, sharing stories and laughter. Acoustic guitars provided the soundtrack to these intimate gatherings, as impromptu jam sessions spontaneously emerged from the depths of the night.

The campground was a lively prelude to the main event, setting the stage for the unforgettable experiences yet to come. It was a melting pot of diverse cultures, where people from all walks of life came together to celebrate music, art, and the collective spirit of Bonnaroo.

By sunset on one of the year's longest days, activities were in full swing across the vast camping areas. At the House of Yes Pavillion, The Dirty Circus, a Burlesque & Cabaret show, was beginning its first performance.

Where in the Woods stage was already in full swing with a full lineup of EDM artists. The electronic music stage located in a forest, complete with hammocks, video games, art installations, and food and drink stands, has become one of the most popular attractions at the Bonnaroo festival. Up-and-coming EDM stars Tomi, Opiuo, Elohim, and Maya Jane Coles kept the crowd raving until near dawn.

At the same time, the Galactic Giddy-Up barn was hosting Americana acts like Briscoe and Kendell Marvel’s Honky Tonk Experience.

Wednesday, at the campground, was an exhilarating day filled with anticipation, camaraderie, and the vibrant spirit of creativity. It served as a testament to the power of music to bring people together and create lasting memories. The stage was set, and festival-goers eagerly awaited the start of the official performances, knowing they were about to embark on a journey of musical discovery that would stay with them long after the festival ended.

By the time Centeroo opened on Thursday afternoon at the Bonnaroo Music Festival, June 15th, the festivities, and live music had been happening in the campground for nearly two days. Thursday is the traditional soft opening of the annual Bonnaroo music festival, with the two giant main stages remaining dark for one more day. But the four other main stages and some smaller ones offer a diverse lineup of mostly new music lasting until near dawn.

The day started with perfect weather, setting the stage for an enjoyable day of outdoor festivities. As festival-goers entered the grounds, they were greeted by various art installations and lively vendor stalls. The organizers had put much effort into creating an immersive environment that truly embraced the festival's spirit.

The main stages featured some well-known names in pop music, while smaller stages showcased emerging artists and up-and-coming talent. The scheduling was well thought out, with minimal overlap between performances, allowing attendees to catch their favorite acts without missing out on other exciting performances.

But Bonnaroo isn't just about the headliners. The festival truly shines in its dedication to providing a platform for emerging artists. Throughout the day, I discovered some hidden gems on the smaller stages, showcasing the incredible talent and diversity in today's music scene. It was refreshing to see established artists and newcomers sharing the stage and creating a sense of unity among performers and fans alike.

Nordista Freeze played in the early afternoon on the Who stage, which has expanded over the last few years to become a full-fledged major showcase for upcoming performers. Freeze delivered a mesmerizing performance that left the crowd buzzing with excitement. This talented musician and performer captivated the audience with his unique blend of psychedelic rock, indie-pop, and infectious charisma, backed by a rocking band.

The setlist was well-crafted, featuring a mix of fan favorites and newer material. Songs like "Laughter" and "Sunflowers" had the crowd swaying and singing along, while the more introspective tracks allowed for moments of reflection and connection. Nordista Freeze's ability to evoke a range of emotions through his music was awe-inspiring, creating a dynamic and engaging performance.

One of the standout aspects of Nordista Freeze's performance was his interaction with the audience. He had an uncanny ability to make everyone feel part of something special. Whether engaging in playful banter between songs or jumping into the crowd, he effortlessly created a sense of unity and shared experience.

Ezra Furman performed a rock-drenched set at That Tent stage at 530 in the afternoon. Known for their eclectic sound and emotive songwriting, the band captivated the crowd with their raw energy, powerful vocals, and profound lyrical depth. The group mixed glam and punk rock elements into a delightful soup, with fans dancing and cheering wildly.

Originally from Athens, Abraham Alexander brought a soulful R&B set to This Tent, backed by a great band. The crowd responded enthusiastically to his Blues-drenched set.

Molly Tuttle graced the stage at Bonnaroo, captivating the audience with her extraordinary musical talent and heartfelt performances. Known for her incredible mastery of the guitar and captivating vocals, Tuttle delivered an amazing set that showcased her unique blend of bluegrass, folk, and Americana. Songs like "Light Came In (Power Went Out)" and "Take the Journey" had the crowd swaying and singing along, while her cover of a classic folk song brought a nostalgic and familiar vibe. The transitions between songs were seamless, allowing the set to flow smoothly and keeping the energy high throughout.

Just before sunset, Angel Saint Queen brought their unique blend of soul, funk, and rock to the Who stage at Bonnaroo, delivering a performance that was nothing short of electrifying. This talented band showcased their exceptional musicianship, infectious energy, and powerful vocals, captivating the audience and leaving a lasting impression. The band, fronted by the talented duo of Maddie Bouton and Becca Castle, played a searing Indie pop set.

Veteran musician Celisse and her band performed at This Tent at sunset. Celisse delivered an electrifying performance at Bonnaroo, captivating the audience with her powerhouse vocals, exceptional guitar skills, and magnetic stage presence. This multi-talented artist showcased her versatility and unique blend of rock, soul, and blues, creating a memorable and energetic experience for a large crowd of excited festival-goers. In addition to her vocal talent, Celisse showcased her exceptional guitar skills. Whether she was shredding through intricate solos or laying down groovy rhythms, her guitar work was masterful and added another layer of excitement to the performance. Her command of the instrument was evident as she effortlessly navigated different styles and techniques, impressing casual listeners and seasoned musicians alike.

Elephant Heart took the Other stage at Bonnaroo, which is dedicated to EDM music, and delivered a mesmerizing performance that left the audience in awe. This dynamic musical duo showcased their unique fusion of electronic, pop, and world music, creating an atmosphere of pure energy and infectious positivity.

Their vibrant presence and magnetic energy were palpable from the moment Elephant Heart appeared on stage. Comprised of married couple Jason and Victoria Evigan, the duo radiated an undeniable chemistry and a genuine love for their craft.  Their infectious smiles and enthusiasm were contagious, instantly connecting with the crowd and setting the stage for an unforgettable performance.

JP Saxe delivered a remarkable and heartfelt performance at That Tent stage, showcasing his undeniable talent as a singer-songwriter and leaving the audience in awe. With his soulful voice, emotionally resonant lyrics, and engaging stage presence, Saxe created a truly captivating experience. The setlist was carefully curated, featuring a mix of his well-known hits and newer material. Songs like "If the World Was Ending" and "25 in Barcelona" had the crowd singing along and swaying to the music. Each song was delivered with sincerity and conviction, showcasing Saxe's impeccable songwriting skills and ability to capture universal emotions.

Alternative rocker Petey performed at This tent stage as dusk fell across Centeroo. As Petey took the stage, his vibrant and charismatic presence immediately captured the crowd's attention. Dressed in his signature style, he exuded confidence and commanded the stage with an infectious enthusiasm that spread throughout the audience. It was evident that he was fully immersed in his performance and ready to deliver a memorable show.

Musically, Petey's unique sound blended elements of indie pop, rock, and electronic music. His songs were filled with catchy hooks, infectious beats, and dynamic arrangements that energized the crowd. The combination of his skillful guitar playing, live instrumentals, and electronic elements created a rich and textured sonic experience.

The setlist was a well-balanced mix of original songs and crowd-pleasing covers. Petey's original compositions, such as "Take the Time" and "Lean Into Life," showcased his songwriting prowess and ability to craft relatable, introspective lyrics. His chosen covers were reimagined in his own style, offering a fresh and unique perspective on familiar tunes.

Just after 930 in the evening, accomplished actress, model, and singer Suki Waterhouse performed on That Tent stage. Waterhouse portrayed Karen Sirko in the musical drama miniseries Daisy Jones & the Six. She released her debut album, I Can't Let Go, and the EP Milk Teeth, in 2022. The singer, backed by a strong rock band, played a mesmerizing set that invigorated a large crowd gathered to hear her perform. The singer used her modeling skills to create an onstage persona full of charisma and steamy poses.

Cimafunk's late-night performance at This Tent stage was a high-energy explosion of Afro-Cuban funk and soul that had the crowd grooving and dancing from start to finish. The Cuban artist brought an infectious spirit and a unique blend of musical genres, creating an unforgettable experience for all in attendance. Musically, Cimafunk's fusion of Afro-Cuban rhythms, funk, and soul was a breath of fresh air. Backed by a talented band, he effortlessly blended traditional Cuban sounds with contemporary elements, resulting in a familiar and innovative sound. The infectious grooves, tight horn arrangements, and irresistible beats had the crowd moving and grooving throughout the entire set.

The setlist was a well-curated mix of Cimafunk's popular hits and deeper cuts. Songs like "Me Voy" and "Ponte Pa' Lo Tuyo" had the audience singing along and joining in on the energetic dance moves, while slower, soulful tracks allowed for moments of reflection and connection. The seamless transitions between songs kept the energy high, ensuring there was never a dull moment.

Just before midnight, 070 Shake delivered a captivating and emotionally charged performance at Bonnaroo, leaving the audience in awe of her unique artistry and powerful stage presence. Musically, 070 Shake's genre-blending sound defies easy categorization. Drawing from hip-hop, alternative, and electronic music elements, she created a sonic landscape that was both innovative and emotionally resonant. Her distinct voice, haunting and ethereal, cut through the air, delivering her introspective lyrics with raw emotion.

The setlist included a mix of songs from her discography, showcasing her artistic range and growth. Tracks like "Guilty Conscience" and "Morrow" captivated the audience with their introspective and thought-provoking lyrics touching on themes of self-discovery and personal struggles. The transitions between songs were seamless, creating a cohesive narrative that drew the audience deeper into 070 Shake's world. The singer excited the crowd by encouraging a giant mosh pit in the middle of her set.

Diarrhea Planet took to the stage at Bonnaroo for a late-night set just after 1230 and delivered an electrifying performance that left the crowd in awe. This Nashville-based rock band has been gaining momentum in recent years, and their Bonnaroo set showcased why they are quickly becoming a force to be reckoned with in the music industry.

Diarrhea Planet commanded attention from the moment they stepped on stage with their high-octane energy and infectious enthusiasm. The band's unique name may raise some eyebrows, but once they started playing, any doubts were quickly dispelled. Their music is a blend of punk, garage rock, and indie influences, creating a raw and melodic sound. The band members showcased their impressive musical abilities throughout the set. The dual lead guitarists traded blistering solos and riffed off each other seamlessly, while the rhythm section provided a solid backbone, driving the music forward with relentless energy. The crowd couldn't help but be swept up in the band's infectious energy, with mosh pits forming and fans singing along to every word. The band's anthemic songs, such as "Ghost with a Boner" and "Separations," had the crowd jumping and singing with unbridled enthusiasm. The relentless pace of the performance left no room for boredom, as each song seamlessly transitioned into the next, creating an exhilarating flow that kept the audience hooked.

The well-known EDM duo Zeds Dead headlined a dazzling late-night set on The Other stage before retreating to the Where In The Woods stage for another set beginning at 3 am. The duo delivered dance trance tunes that kept the crowd dancing at both sets. Zeds Dead's performance was an explosive and unforgettable experience at Bonnaroo, leaving the crowd in euphoria with their electrifying beats, seamless mixing, and captivating visuals. The Canadian DJ duo brought their signature blend of electronic dance music to the stage, delivering a high-energy set that had the audience dancing and losing themselves in the music.

The visuals accompanying Zeds Dead's performance were nothing short of spectacular. A synchronized display of lights, lasers, and stunning visual effects added another layer of intensity to the show, enhancing the overall sensory experience. The synchronized visuals enhanced the music's peaks and valleys, amplifying each drop's impact and creating a visually captivating spectacle.

One of the highlights of Zeds Dead's performance was their ability to engage the crowd. Their interaction with the audience was infectious, as they encouraged participation and created a sense of unity and shared excitement. They understood the importance of connecting with their fans, making the performance feel like a collaborative experience rather than a one-way DJ set.

Zeds Dead's performance at Bonnaroo was a high-energy journey through the realms of electronic dance music. Their expert mixing, infectious beats, and captivating visuals created an immersive experience that excited the audience. Whether you were a dedicated fan or simply a lover of electronic music, Zeds Dead's set at Bonnaroo was a standout moment that showcased their talent and solidified their reputation as masterful performers in the genre.

Friday at Bonnaroo Music Festival 2023 in Manchester, Tennessee, brought a tidal wave of music, energy, and exhilaration. The festival grounds were once again teeming with enthusiastic music lovers, eagerly awaiting another day of outstanding performances from a diverse lineup of talented artists. From the thunderous beats of rock to the soulful melodies of R&B, Bonnaroo's second day delivered an unforgettable experience that will be etched in attendees' memories for years.

The day began with a short rain delay that kept Centeroo closed for 90 minutes. But most of the acts went on as scheduled for the sold-out crowd of 85,000 music fans.

By 3.00 pm, AFI, the iconic punk rock band, opened the massive What stage, delivering a high-octane performance that ignited the crowd and left a lasting impression. With their powerful blend of punk, alternative rock, and gothic influences, AFI brought an electrifying energy and a raw intensity that resonated with fans and newcomers alike. The What stage became a frenzy of mosh pits, crowd surfing, and passionate sing-alongs as AFI unleashed their ferocious sound on the eager audience.

 AFI kicked off their set with their hit single "Miss Murder," instantly captivating the crowd with its infectious hooks and catchy chorus. Lead vocalist Davey Havok commanded the stage; his energy was contagious, and his voice was as powerful as ever. AFI treated fans to a mix of old and new material, delving into their extensive discography. Hits like "Girl's Not Grey," "Silver and Cold," and "The Leaving Song, Pt. II" had the crowd singing along with unwavering enthusiasm, evoking a sense of nostalgia and reminding everyone of AFI's enduring impact on punk rock.

Davey Havok's charismatic performance, leaping across the stage and engaging with the crowd, was matched by the raw power of guitarist Jade Puget, bassist Hunter Burgan, and drummer Adam Carson. Their tight musicianship and cohesive energy elevated the entire performance to another level. AFI concluded their set with the fan-favorite "Days of the Phoenix," a high-energy anthem that excited the crowd. The band's unwavering intensity and the audience's euphoric response created an electric atmosphere that lingered long after the final notes rang out.

The nearly as impressive giant What Stage opened just before 4 pm. Morgan Wade, the rising star in alt-country and Americana music, took the stage, leaving a lasting impression on the festival-goers with her heartfelt and soulful performance. With her powerful vocals, authentic songwriting, and undeniable stage presence, Wade proved why she is rapidly gaining recognition as one of the most promising talents in the music industry. Her performance at Bonnaroo showcased a captivating blend of raw emotions, introspective lyrics, and a genuine connection with the audience.

A large crowd packed into This Tent stage just after 5 pm for a set by Kentucky Hardcore band Knocked Loose. The band stormed the stage at Bonnaroo, delivering a blistering and unrelenting performance that left a lasting impact on both die-hard fans and newcomers to the genre. With their aggressive sound, intense stage presence, and unyielding energy, Knocked Loose commanded the audience's attention and transformed the festival grounds into a whirlwind of mosh pits, crowd surfing, and cathartic release.

The band wasted no time making their presence known, kicking off their set with an explosive opener that immediately ignited the crowd. The pulsating drums, bone-crushing guitar riffs, and visceral vocals cut through the air, setting the tone for a high-energy performance. Knocked Loose unleashed a barrage of fan-favorite anthems that immersed the audience fully in the chaos. Songs like "Deadringer," "Billy No Mates," and "Oblivions Peak" sparked a frenzy of headbanging, crowd surges, and a sea of bodies colliding in the pit.

Frontman Bryan Garris commanded the stage with his commanding presence, exuding raw intensity and aggression. His ferocious screams and commanding stage demeanor drove the crowd into a frenzy, matching the band's relentless energy note for note. Knocked Loose's performance provided a cathartic release for the masses, offering an outlet for pent-up energy and frustration. The intense music and electrifying atmosphere allowed fans to unleash their emotions and connect in a shared experience of catharsis.

Back over on the Which Stage under a late afternoon summer sun that painted the festival grounds with bright orange hues, concertgoers were treated to a truly mesmerizing performance by the talented pop artist Rina Sawayama. With her infectious energy, impeccable vocals, and captivating stage presence, Sawayama captivated the audience and left an indelible mark on the festival. Seamlessly blending pop, R&B, and electronic elements, Sawayama's performance was a dazzling display of musical prowess and a celebration of individuality and self-expression.

Throughout her set, Sawayama treated the crowd to a mix of her catchy and memorable hits. Songs like "STFU!," "XS," and "Chosen Family" had the audience singing and dancing along, infusing the atmosphere with an infectious energy that spread throughout the festival grounds.

Sawayama's stage presence was nothing short of captivating. Her charismatic performance and energetic dance moves kept the crowd engaged and enthralled from start to finish. Her ability to command the stage confidently and authentically was a testament to her artistry and connection with the audience.

As one of the year's longest days neared its sunset, music festival veterans Portugal The Man performed on the giant What Stage before a large gathering of festival goers. Taking the stage with unparalleled energy and musical prowess, Portugal The Man delivered a memorable set that transcended boundaries, showcasing their unique blend of rock, pop, and experimental sounds. Their performance at Bonnaroo was a testament to their artistry and ability to captivate audiences with their eclectic repertoire and infectious stage presence.

Portugal. The Man's performance at Bonnaroo was a captivating journey through their diverse discography, showcasing their musical brilliance and distinct style. The band wasted no time captivating the crowd, opening their set with the infectious hit "Feel It Still." The catchy hooks, funky guitar riffs, and frontman John Gourley's soulful vocals immediately had the audience singing along and dancing with unbridled enthusiasm. The band mesmerized the audience with their innovative approach to their songs. Blending elements from different tracks and genres, they created unique and exciting medleys that showcased their musical versatility and creativity. Their ability to seamlessly transition between songs and surprise the crowd with unexpected twists made their performance truly memorable.

Each member of Portugal The Man displayed exceptional musicianship throughout their set. The intricate guitar solos, dynamic drumming, and mesmerizing keyboard melodies added depth and complexity to their sound. Their cohesion as a band was evident, creating a tight and polished performance that resonated with the audience. The band closed their set with a climactic finale that had the crowd in a state of euphoria. The anthemic "Purple Yellow, Red and Blue" filled the air, and the band's infectious energy peaked. The audience sang along, embracing the communal spirit that Bonnaroo fosters and creating a lasting memory for all in attendance.

Just after sunset, on the Which Stage, the iconic hip-hop group Three 6 Mafia took Bonnaroo by storm, delivering an electrifying throwback set that transported the audience to the heyday of Memphis rap. With their hard-hitting beats, rapid-fire flows, and infectious energy, Three 6 Mafia reminded everyone why they remain legends in the genre. Their performance at Bonnaroo was a nostalgic journey that had the crowd on their feet, celebrating the enduring impact of their groundbreaking sound.

Opening with "Stay Fly": The crowd erupted excitedly as Three 6 Mafia kicked off their set with the iconic "Stay Fly." The infectious melody, heavy basslines, and hypnotic hooks set the tone for a high-energy performance that immediately had the audience hooked. Juicy J and DJ Paul, the driving forces behind Three 6 Mafia, commanded the stage with their larger-than-life presence. Their charismatic performances and dynamic chemistry created an electric atmosphere that drew the crowd deeper into their captivating world.

Three 6 Mafia took the audience on a journey through their catalog of hits, delivering a medley of nostalgic anthems that had fans rapping along with every word. Tracks like "Sippin' on Some Syrup," "Tear da Club Up '97," and "Late Nite Tip" ignited a frenzy of excitement and reminded everyone of the group's enduring influence. Three 6 Mafia brought some special guests to join them on stage, adding an extra layer of excitement to their performance. Surprise appearances by fellow artists from the Memphis rap scene, including Jelly Roll, further intensified the crowd's enthusiasm and solidified the sense of camaraderie within the hip-hop community.

Fleet Foxes took This Tent stage as a balmy evening fell over Centeroo, creating a captivating and ethereal atmosphere with their signature blend of indie folk and intricate harmonies. Their performance transported the audience to introspection and beauty as their richly layered soundscapes and poetic lyrics resonated through the festival grounds. Fleet Foxes' set at Bonnaroo was a mesmerizing experience that showcased their musical craftsmanship and left an indelible mark on all who witnessed their enchanting performance.

Fleet Foxes' impeccable harmonies were at the forefront of their performance, washing over the audience with a transcendent beauty. The intricate vocal arrangements, led by frontman Robin Pecknold, created a haunting and otherworldly presence that captivated the crowd from the first note. The band's expansive soundscapes created a sonic tapestry that enveloped the audience. From delicate acoustic melodies to lush orchestral arrangements, Fleet Foxes' musical layers built upon one another, evoking a sense of grandeur and introspection. Tracks like "Helplessness Blues" and "White Winter Hymnal" showcased the band's ability to create rich, evocative atmospheres.

Fleet Foxes' set at Bonnaroo felt like a journey through time and emotion. From their early hits like "Mykonos" to newer tracks like "Third of May / Ōdaigahara," the band skillfully navigated their discography, taking the audience on a sonic expedition through their evolving sound. Each song felt like a chapter in a timeless story, drawing the crowd further into Fleet Foxes' captivating world.

A beautiful star-studded summer night sky embraced the festival grounds as tens of thousands of EDM-loving music fans descended on the Which Stage for a massive multimedia extravaganza fronted by Griz. The electronic music maestro took the stage, delivering an electrifying performance that ignited the festival grounds and had the crowd dancing nonstop. With his infectious beats, seamless mixing, and magnetic stage presence, Griz created an atmosphere of pure euphoria and celebration. Griz's set at Bonnaroo was a testament to his mastery of electronic music and his ability to bring people together through the power of his music.

Griz kicked off his set with a bang, instantly commanding the crowd's attention. The opening beats reverberated through the festival grounds, setting the stage for a high-energy performance that had everyone on their feet and ready to dance. Griz's music seamlessly blended funk, soul, and electronic elements, creating a captivating sonic experience. His funky basslines, soulful melodies, and expertly crafted drops had the crowd moving in unison, captivated by the infectious rhythms.

His live instrumentation and collaborations with other talented musicians elevated his performance. His skills on the saxophone added an extra layer of depth and personality to the music, while guest appearances by vocalists and instrumentalists added surprise and excitement to the set, creating moments of pure magic. Griz's set was accompanied by a visually stunning production that added to the overall impact of the performance. Vibrant lights, mesmerizing visuals, and synchronized effects enhanced the music, immersing the audience in a multisensory experience that amplified the energy and excitement.

Just after midnight, The Silent Disco opened at the Who Stage, providing a unique and whimsical dance party experience that enchanted festival-goers into the late hours of the night. Under a starry sky, a silent gathering of extraordinarily united music lovers. With wireless headphones transforming the dance floor into a personal musical journey, the Silent Disco at Bonnaroo created an immersive and unforgettable atmosphere where everyone danced to their own beat. The Silent Disco came alive after dark, as the festival grounds became a pulsating oasis of dancing lights and silent beats. With the night sky as the backdrop, attendees reveled in the joy of dancing under the stars, creating an intimate and unforgettable dance party that stretched into the early morning hours.

Late-night sets are one of the hallmarks of Bonnaroo that make it such a unique festival and 2023 lived up to the reputation. Just after 1230am at This Tent stage, the synth-wave duo The Midnight performed, transporting the festival-goers to a mesmerizing retro-futuristic world. With their blend of dreamy synths, nostalgic melodies, and captivating vocals, The Midnight delivered a spellbinding performance that seamlessly merged past and present. Their set at Bonnaroo was a sonic journey through the neon-lit landscapes of the 1980s, creating an atmosphere of nostalgia, romance, and pure musical enchantment. The band kicked off their set with a surge of retro euphoria, instantly captivating the audience. The blend of pulsating synths, infectious beats, and dreamy melodies set the stage for a dreamlike journey with the crowd swaying and dancing in unison.

The Midnight's seamless vocal harmonies were a standout feature of their performance. The combination of Tyler Lyle's warm, heartfelt vocals and Tim McEwan's ethereal falsetto created a rich and captivating sonic tapestry. Their harmonies soared above the crowd, enveloping the audience in a blanket of dreamy melodies. The Midnight's performance was complemented by a visually stunning production that enhanced the retro-futuristic atmosphere. A dazzling display of vibrant lights, mesmerizing projections, and nostalgic visuals created a multisensory experience that transported the crowd deeper into the world of The Midnight's music. The synchronized visuals accentuated the music, creating a mesmerizing feast for the eyes.

Vulfpeck, the funk-driven collective known for their infectious grooves and irresistible stage presence, took Bonnaroo by storm just before 1 am on the Which Stage. With their unique blend of funk, soul, and R&B, Vulfpeck delivered a high-energy performance that had the crowd moving and grooving from start to finish. Their set at Bonnaroo celebrated pure musical joy, leaving no doubt that Vulfpeck is a force to be reckoned with in contemporary funk. The set even included a marriage ceremony for a couple of festival goers onstage and a rousing chair-carrying salute afterward.

The collective virtuosity of the band members was on full display throughout their performance. The precision and tightness of their musicianship created a wall of sound that was both impressive and captivating. From Jack Stratton's funky bass lines to Joe Dart's dynamic and melodic bass solos, every band member shone with their exceptional talent. Vulfpeck's charisma and enthusiasm were contagious. Frontman Theo Katzman led the charge, engaging the crowd with his charming stage banter and powerful vocals. The band's playful interactions and genuine joy in performing together created a palpable connection with the audience, resulting in a shared experience of pure musical euphoria.

Vulfpeck brought some special guests to join them on stage, adding excitement to their set. Collaborations with renowned artists in the funk and soul realm showcased the band's ability to blend genres and create memorable musical moments seamlessly. These guest appearances added an element of surprise and further energized the crowd.

Bonnaroo 2023 encapsulated a vibrant weekend of diverse music, captivating art, and an unforgettable sense of community. June 17th was a shining example of this spirit, presenting a rich tableau of performances that traversed various music genres. The day's roster flaunted an eclectic mix of artists, ranging from the soul-stirring indie rock melodies of My Morning Jacket to the mesmerizing electronica rhythms of Odesza.

The day started with a bang as Danielle Ponder took the stage at the Which Stage. Ponder's soulful vocals and catchy melodies had the crowd grooving from the start. Earlier, Ponder had performed an intimate solo concert in the press tent, impressing the small gathering with her exquisite vocals.

Over at This Tent, Thee Sacred Souls took the stage at Bonnaroo at 1 pm and delivered a soulful, bluesy performance with the crowd grooving from start to finish. The band opened with "Overflowing," a slow-burning blues number that set the tone for the rest of the set. They followed with “Love is the Way," a more upbeat track that featured the band's signature soulful vocals.

The band's sound is a blend of blues, soul, and rock, and they have a way of making each song their own. Their vocals are rich and soulful, and their instrumentals are tight and funky. The Sacred Souls are a band that knows how to put on a good show, and they had the crowd at Bonnaroo dancing and singing along from beginning to end.

In the meantime, over at That Tent, The Beths took the stage and delivered a high-energy, indie-pop performance with the crowd singing along and dancing from start to finish. The band opened with "Future Me Hates Me," a catchy, upbeat track that got the crowd moving. They followed with "Uptown Girl," a mellow song showcasing the band's vocal harmonies.

The Beths' setlist was a mix of new and old songs, and they delivered each one with passion and energy and performed a few new songs from their upcoming album.

The band's sound blends indie-pop, rock, and power pop. Their vocals are clear and powerful, and their instrumentals are tight and driving. The Beths are a band that knows how to put on a good show, and they had the crowd at Bonnaroo singing and dancing from beginning to end.

Andrew McMahon in the Wilderness opened the massive What stage at Bonnaroo just after 3 pm and delivered a heartfelt, personal performance with the crowd singing along and feeling connected from start to finish. The band opened with "The Mixed Tape," a song that tells the story of McMahon's life and music, and they followed with "Stars," a soaring anthem about hope and resilience.

Andrew McMahon in the Wilderness' setlist was a mix of old and new songs, and they delivered each one with passion and emotion. They played fan favorites like "High Dive" and "Canyon Moon," they also performed a few new songs from their upcoming album.

The band's sound is a blend of pop, rock, and folk, and they have a way of making each song feel personal. McMahon's vocals are clear and powerful, and his lyrics are honest and vulnerable. Andrew McMahon in the Wilderness is a band that knows how to connect with its audience, and they had the crowd at Bonnaroo singing along and feeling linked from beginning to end.

At the coveted Who stage, precisely beyond 5 pm, the charismatic Ben Goldsmith claimed the spotlight, captivating the audience with a performance that resonated with the pulsating rhythms of soul and blues. His presence had the crowd swaying rhythmically from the opening chords to the finale.

The band launched the performance with an original slow-burning blues number, creating an ambiance that lingered throughout the set. It was then followed by a decidedly more buoyant track, showcasing Goldsmith's unmistakable soulful voice, a signature of his artistry.

The entirety of Ben Goldsmith's setlist, masterfully curated with a mix of his original pieces, was brought to life by his fervor and vibrant energy. Each song was a testament to his unique style, drawing influences from blues, soul, and rock. The band's prowess shone through their fusion sound, giving each song a distinctive personality.

Goldsmith's vocals, a rich tapestry of soulful undertones, and the band's robust and rhythmically engaging instrumentals added a unique flavor to their performance, proving that they are not just musicians but artists painting with sound and rhythm.

The Band CAMINO took the stage as the summer sun bathed the Which stage in an Orange glow in the late afternoon. It delivered an energetic, indie-pop performance that had the crowd singing along and dancing from start to finish. The band opened with "1 Last Cigarette," a catchy, upbeat track that got the crowd moving. They followed with "Hush Hush," a mellow song showcasing the band's vocal harmonies.

The Band CAMINO's setlist was a mix of new and old songs, and they delivered each one with passion and energy. They played fan favorites like "Roses" and "California."

Remi Wolf played on This tent stage at Bonnaroo just after 6 pm and delivered a funky, soulful performance that had the crowd grooving from start to finish. The Los Angeles-based singer/songwriter opened with her hit single "Woo!" and followed with "Sexy Villain" and "Photo ID."

At about the same time, over at That tent, Yung Gravy took the stage and delivered a high-energy, meme-worthy performance that had the crowd in stitches from start to finish. The Minnesota-based rapper/singer opened with his hit single "Mr. Clean" and followed with "1 Night" and "Slime Language."

As the summer sun slowly bowed out over the Which stage, Sofi Tukker erupted into a fervent, rhythm-fueled performance that transformed the venue into a pulsating dance floor. The crowd became one with the music, singing in unison and dancing ceaselessly from the opening beats to the closing reverberations. The dynamic electronic duo, hailing from New York, kicked off their vibrant set with the catchy hooks of their hit single "Drinkee", subsequently transitioning into the infectious beats of "Hey Mama" and the unapologetically eccentric “Batshit."

Sofi Tukker's distinct musical style is an invigorating cocktail of electronic dance music, pop, and funk, showcasing their uncanny ability to infuse their unique character into every track. Their vocals, both catchy and upbeat, intertwine with a melodic underlay of funky instrumentals that are guaranteed to make hips sway and heads bob. This duo doesn't just perform—they craft an exhilarating experience, their radiant energy proving infectious. By the end of their set at Bonnaroo, Sofi Tukker had achieved more than just a memorable show; they had crafted an atmosphere of unified rhythm and melody, leaving the audience in a shared state of dance-fueled euphoria.

The summer sky above Centeroo began to fill with stars, as one of the most anticipated shows of Bonnaroo 2023 took place on the massive What stage. The performance of Lil Nas X was a revelation. The young rapper brought the house down with his energetic set, which included a mix of his biggest hits and newer material. He even came out in a custom-made outfit that looked like a giant horse, just one of many memorable moments from his performance.

The Atlanta-based rapper opened with his hit single "Montero (Call Me by Your Name)" and followed with "Industry Baby" and "That's What I Want ."Lil Nas X's setlist was a mix of new and old songs, and he delivered each one with passion and energy. He also covered a few classic hip-hop songs, including "Industry Baby" by Lil Nas X and Jack Harlow.

Returning to the effervescent Which stage, promptly past 9:45 pm, Tyler Childers graced the platform with his undiluted country rhythms, serenading the throng that eagerly absorbed every note. His performance was more than music - it was an impassioned connection that sent waves of enchantment through the crowd. For numerous devotees, Childers' set became the zenith of the day, a compelling spectacle magnetizing them with his sincere lyricism and potent vocal prowess.

Just as the clock struck 11 pm, the sprawling main stage at Bonnaroo, affectionately known as the What Stage, saw a sea of passionate EDM aficionados converge. Each one, bearing their unique totems, eagerly anticipated the grand spectacle that was to be the highlight of the festival. Odesza, in full form, embarked on a monumental audio-visual journey, a marathon performance composed of 26 breathtaking tracks that left the audience spellbound.

The electro-symphonic duo's set was an unabashed sensory feast, painting vivid soundscapes amidst a canvas of stunning visuals that transcended the confines of the concert venue. The ethereal opening notes of their hit single "A Moment Apart" were the prelude to a musical odyssey, followed by the pulsating rhythms of "Bloom" and the mesmeric "Line of Sight".

The carefully curated setlist of Odesza was an expertly woven tapestry of their musical evolution, comprising both fresh compositions and iconic classics. Each song was rendered with an infectious ardor that resonated throughout the festival grounds. Their signature sonic blend—a seamless fusion of electronica, indie, and ambient—spun an aural web of moving soundscapes that were as mesmerizing as they were memorable.

Complementing their auditory mastery was an unrivaled visual prowess. A staggering array of lasers, pulsating lights, and evocative projections coalesced to form a multi-dimensional spectacle, creating an immersive experience that was nothing short of spellbinding. Odesza, a duo with an undisputed knack for stellar performances, held the rapt attention of the Bonnaroo crowd from the inaugural beat to the resonating echoes of the closing note. Their set was a testament to the transcendent power of their music, transforming the stage into another world and leaving the audience in a state of profound awe.

Jam band fans were treated to a special late-night set at 1230am on the Which stage. My Morning Jacket delivered an unforgettable performance at Bonnaroo 2023, showcasing their musical prowess with a 23-song marathon set. The band debuted a haunting cover of Kate Bush's "Running Up That Hill (A Deal With God),” They followed it up with a rousing rendition of Traffic's "Feelin' Alright?" before delving into songs from their extensive discography. The audience was treated to six songs from their 2003 album It Still Moves, four songs from 2005's Z, and newer tracks from their self-titled 2021 LP and 2008's Evil Urges.

The band's energy was infectious, and frontman Jim James' passionate vocals were a standout feature of the performance. The set lasted nearly three hours, ending with an encore that included fan favorites like "One Big Holiday" and "Touch Me I'm Going To Scream Pt. 1." My Morning Jacket proved once again why they are one of the most exciting live acts in the music industry.

Overall, the performance was a triumph for My Morning Jacket and a highlight of Bonnaroo 2023. It left the audience energized and eager to see what the band had in store for their upcoming US tour.

Just before 1 am, Korn electrified the crowd at Bonnaroo 2023 with a high-octane setlist that left fans in awe. The nu-metal pioneers performed their hits like "Blind," "Got the Life," and "Freak on a Leash." The band played classic hits and new material, showcasing their musical prowess and stage presence. The audience was on their feet throughout the performance, with mosh pits forming in front of the stage. Korn's energy was palpable, with Jonathan Davis' signature growls and the band's heavy riffs creating an electrifying atmosphere. Overall, the performance was a memorable experience for metal fans at the festival.

Korn's sound is a blend of nu-metal, heavy metal, and alternative metal, and they have a way of creating heavy and melodic music. Their live shows are known for their energy and intensity, and they had the crowd at Bonnaroo going wild from the beginning to the end of their 15-song set.

The Bonnaroo SuperJam on June 17, 2023, masterminded by the incomparable Cory Wong, certainly went down as a monumental event in the music world. A constellation of brilliant artists illuminated the stage, engaging in a dynamic interplay of electrifying performances that kept the audience spellbound. A superbly curated setlist harmoniously interwove timeless classics with fresh, innovative tracks, achieving a pitch-perfect balance that delighted every listener.

The SuperJam, meticulously planned and executed by Cory Wong along with his versatile 12-piece band, was enriched by surprise guest appearances from an array of distinguished artists from various genres, all of whom had flown in exclusively for the occasion. This formidable ensemble breathed new life into the night's material with innovative arrangements, infusing the festival's signature funk with an extra dose of jam. The initial segment was made more colorful with the addition of exceptional guests such as Sammy Rae, Big Wild, and Tal Wilkenfeld.

Their captivating performance was complemented by an exceptional lineup of virtuoso musicians, including Victor Wooten, Hanson, Jake Luppen, and members of Vulfpeck. Sierra Hull led a memorable jam with Vulfpeck, showcasing their song, "Daddy’s Got a Tesla." Her unique blend of bluegrass, folk, and country melodies, combined with her extraordinary mandolin skills, left a lasting impression.

Vulfpeck's own Theo Katzman then led the stage, conducting a phenomenal ensemble of musicians in a rousing rendition of the Red Hot Chili Peppers' classic, "Give It Away." He was followed by Nashville's prodigy, Cody Fry, who expertly navigated the band through a captivating cover of Peter Gabriel's "Sledgehammer."

Danielle Ponder, with her powerful vocal prowess, infused a touch of gospel into a mesmerizing cover of Tower of Power’s “Don’t Change Horses.”

The Hanson trio then treated the crowd to two stirring covers - Stevie Winwood's "Roll With It" and The Jacksons' "I Want You Back." With their respective skills on piano, drums, and guitar, and their soulful vocal abilities, they definitely left the crowd awe-struck.

The virtuoso Victor Wooten then took the reins, captivating the crowd with a trio of performances that showcased his unparalleled musical talent. The five-time Grammy winner and founding member of super-group Bela Fleck and the Flecktones commanded the stage with a breathtaking bass duel on a cover of Earth Wind and Fire’s “Can’t Hide Love.” Sierra Hull joined him for a lively jam on “Stomping Grounds,” before Wooten led the ensemble in a rendition of Vulfpeck’s “Dean Town.”

Remi Wolf concluded the SuperJam with her powerful vocals on two iconic covers, Prince’s “I Wanna Be Your Lover” and Rufus' “Tell Me Something Good.” The SuperJam culminated in an enchanting ambiance that had everyone feeling elevated, marking the event as a triumph. In essence, Bonnaroo 2023 was a musical journey that will be etched in the hearts of music aficionados for years to come.

The concluding day of Bonnaroo 2023, Sunday, June 17th, kept the 85,000-strong crowd of festival-goers spellbound with a grand curtain call performance by The Foo Fighters. The simmering tension of a potential thunderstorm only heightened the anticipation, adding a dramatic edge to an otherwise electrifying day. But in an instance of atmospheric serendipity, the celestial downpour held off, allowing the final chords to echo across Centeroo before the heavens unleashed their symphony.

Attending Bonnaroo Music and Arts Festival 2023 was an unforgettable experience. The festival was held on a 700-acre farm in Manchester, TN, which provided the perfect backdrop for over 150 diverse musical acts playing on iconic stages around the clock. The Foo Fighters, Lil Nas X, and Jenny Lewis were just a few of the many performers who gave the best performances and moments of the festival.

What made Bonnaroo truly special was the variety of other available activities, including talks, yoga classes, and surprise dance parties. Myriad food options, including vegan, vegetarian, and gluten-free choices, were also available. Bonnaroo's commitment to sustainability was also evident, with a non-profit organization, The Bonnaroo Works Fund, focused on greening practices.

On the festival's final day, Paris Jackson played for the second time. The first was at one of the campground stages. The second was at This tent at 1245 in the afternoon. The famous prodigy played a strong indie rock set backed by a rocking band. Paris Jackson stole the show with her grunge fairy outfit, wearing a silky white corset top and a floral brown mini-skirt, cream mesh tights, and brown boots. Beyond the fashion statement, the young singer appeared personable, bantering with the early crowd and playing original music well-received by a young Bonnaroo audience.

Just after 1:45 in the afternoon, the vibrant ensemble of Sammy Rae & The Friends seized the colossal What stage, marking the onset of the final day at Bonnaroo. The animated group's dynamic show, brimming with zest and zeal, injected the air with infectious positivity that reverberated through the vast expanse of the crowd.

The band's frontwoman, Sammy Rae, is a vocal tour de force, commanding the stage with an aura that radiates confidence and connection. Unfazed by the sea of faces, she makes a point to bridge the gap between performer and audience, fostering a sense of intimacy amidst the festival's grandeur. Her frequent crowd interactions pepper the performance with spontaneity and genuine engagement.

The band's eclectic fusion of soul, funk, and pop reverberates through a remarkably polished performance. The crowd sways, sings, and dances, swept up in the magnetic energy that the band exudes. Among the standout moments of the set are electrifying renditions of “Talk It Up” and “Jackie Onassis.” Adding a touch of nostalgic charm, the band even ventured into a spirited cover of Cher’s iconic hit, “Believe.”

Just after 2.30, The Scottish rockers Franz Ferdinand performed on the Which stage. The group from Glasgow put on a high-energy, crowd-pleasing show at Bonnaroo. The band's setlist was a mix of their classic hits and newer material, and they delivered each song with passion and enthusiasm.

Frontman Alex Kapranos is a charismatic performer who knows how to work in a crowd. He constantly interacted with the audience and even invited a few fans up on stage to sing along. The rest of the band was also tight and energetic, playing their instruments skillfully and precisely. Some of the highlights of the set included "Take Me Out," "The Dark of the Matinée," and "This Fire.”

Over on the Who stage at 245 in the afternoon, a new young country music singer was bringing her original tunes to a receptive crowd. From Nicholasville, Kentucky, Abby Hamilton played pleasant mellow songs with a beautiful voice.

Back on the main stage at 330 pm, Hippo Campus, an American indie rock band from Saint Paul, Minnesota, took over. The band put on a great show for a large sweaty crowd braving the hot summer afternoon sun. The band's dreamy indie rock sound was perfect for the festival setting, and the crowd was really into it.

The band opened with "South," one of their most popular songs, and the crowd immediately started singing along. They played a mix of old and new songs, including “Sex Tape,” “Moonshine,” and "Way It Goes.”

The band's live sound is just as good as their recorded sound. The guitars are lush and atmospheric, and frontman Jake Luppen's vocals are clear and soulful. The band also has a great stage presence, and they were having a lot of fun playing together.

One of the show's highlights was when they performed their new song, "Boys." The song is a beautiful ballad about love's power and struck a chord with the crowd. The set ended with a rousing sing-along to their biggest hit, “Buttercup.”

Paying homage to its origins as a prime hub for jam band music, Bonnaroo has always ensured a vibrant inclusion of jam bands in its diverse lineup. On the festival's final day, June 18, 2023, this tradition was remarkably embodied by Umphrey's McGee. Gracing the Which stage at 4:15 pm as part of their 25th Anniversary Tour, the venerated jam band engaged an enthralled crowd with their signature fusion of traditional and innovative sounds.

Their performance, pulsating with energy and musicianship, was also streamed live, enabling fans worldwide to partake in the Bonnaroo experience. Whether witnessed on-site or virtually, Umphrey's McGee's performance was a highlight of the festival, underscoring Bonnaroo's enduring allure for jam band enthusiasts and the band's standing as a distinctive force in the genre.

Back over at the Who stage just after 515 in the afternoon, 21-year-old Tennessee native Cecilia Castleman took the stage to perform original material from her new album produced by the legendary Don Was (also a Bonnaroo alumnus). The singer “compares her writing process to sending envelopes to herself over and over again.” The singer performed an hour of original tunes for an audience enjoying a respite from the sun and the large crowds at the main stages in the shaded tent.

Concurrently on Bonnaroo's main stage, The Revivalists delivered a compelling performance, captivating the festival-goers on the final day with their distinctive blend of soul-infused rock. Their sound, perfectly suited to the festival's vibrant atmosphere, energized an already enthralled crowd. Frontman David Shaw, known for his dynamic stage presence, frequently took exhilarating plunges into the sea of eager fans, adding an extra layer of intimacy to the performance.

The band kicked off their set with a particularly moving highlight - their new track "When I Got You." This poignant ballad, steeped in themes of love and loss, visibly resonated with the audience, tugging at the collective heartstrings. The momentum continued as they launched into a medley of fan favorites, with the crowd spontaneously joining in, their voices harmonizing with the band's.

Their well-curated setlist, a thoughtful blend of both vintage and fresh tracks, featured crowd-pleasers like "Kid," "All My Friends," and "Good Old Days." The Revivalists' signature sound, characterized by soulfully bluesy guitar riffs and Shaw's robust, crystal clear vocals, stood out as they strummed and sang their way into the hearts of the Bonnaroo audience.

Shortly afterward, Peach Pit, an indie pop band from Vancouver, British Columbia, Canada, whipped the crowd at This tent into a frenzy of crowd surfing and moshing. The band consists of singer and rhythm guitarist Neil Smith, lead guitarist Christopher Vanderkooy, bassist Peter Wilton, and drummer Mikey Pascuzzi.

The band opened with a cover of the Slayer song “Raining Blood," which immediately drove the young audience wild. The young rockers continued with "Tommy's Party," one of their most popular songs, and the crowd immediately started singing along. They played a mix of old and new songs, including "Being So Normal," "Shampoo Bottles," and their signature song, “Peach Pit."

The group puts on a spirited live performance. The guitars are jangly and upbeat, and frontman Smith's vocals are clear and catchy. The band also has a great stage presence and seemed to revel in their Bonnaroo appearance.

Back on the Which stage, as the sun began to set and painted the festival grounds in a bright orange hue, an entirely different act graced the stage. Marie Ulven Ringheim, a Norwegian singer-songwriter and record producer known for her indie pop project Girl in Red, fronted the group in front of a big crowd.

The band opened with “You Stupid Bitch," one of their most popular songs. They played a mix of old and new songs, including "Girls," "Serotonin," and "Body and Mind."

The band's live sound is great guitar-driven rock, highlighting Ulven's clear and catchy vocals. One of the show's highlights was when they performed their new song, "Bad Idea." The song is a catchy anthem about the power of love, and it got the crowd going.

Over at That tent, Santa Barbara’s own Rebelution was bringing the Reggae music vibes to a large crowd. The band opened with "Safe and Sound," one of their most popular songs, and the crowd immediately started singing along. They played many well-known songs, including "Feelin' Alright," "Roots Rock Reggae," and “So High."

The band's larger-than-life sound with multiple horn players created a rich, layered Reggae rhythm. The guitars were smooth and mellow, and lead singer Eric Rachmany's vocals were clear and soulful. The group had a great stage presence and enjoyed playing together. The band also covered Gregory Isaacs's “Night Nurse.”

One of the festival's most exciting performances was Paramore's set, which had one of the biggest day four sub-headliner crowds ever. The band took the main What stage at 715 pm. The band, especially lead singer Hayley Williams, from nearby Franklin, Tennessee, are Bonnaroo veterans, performing in 2018. Hayley curated her own stage in the campgrounds in 2019 and performed as part of the Superjam.

Paramore's performance at the Bonnaroo Music and Arts Festival was a high-energy set that included a mix of classic hits and tracks from their best albums. The setlist included popular songs such as "You First," "That's What You Get," and "Caught in the Middle.”

Punk rock veterans, the Pixies closed That tent with a mosh-inducing marathon performance of 23 songs. The band opened with “Gouge Away," one of their most popular songs, and the crowd immediately started singing along. They played a mix of old and new songs, including "Where Is My Mind?", "Here Comes Your Man," and “Hey."

The band's live sound was awesome, highlighted by sharp and angular guitar riffs and frontman Black Francis' vocals, which were clear and haunting.

One of the show's highlights was when they performed their new song, “Haunted House." The song is a dark and atmospheric ballad, and it captured the band's unique sound. The set also included diverse covers like The Jesus and Mary Chain’s “Head On” and Neil Young’s “Winterlong.”

Most of the 85,000 must fans at Bonnaroo stuck around for the grand finale by the Foo Fighters at the main What stage just after 930pm. There had been a threat of thunderstorms shutting down the final performance, and when a light rain began to fall just before the set time, a groan could be heard throughout the massive crowd. But the drizzle ceased quickly, offering a pleasant respite from the hot, humid temperatures, and the thunderstorms thankfully held off until long after the band's final notes. The band is on their first tour with new drummer Josh Freese and was in prime form. Inspired by the massive crowd, Dave Grohl led the band in an extended set, adding 15 minutes to their usual hour and forty-five-minute set.

The Foo Fighters performance at the Bonnaroo Music and Arts Festival 2023 was highly anticipated and did not disappoint. The set included a surprise collaboration with Paramore's Hayley Williams, who joined them on stage for a rendition of "My Hero" in memory of former drummer Taylor Hawkins. The band included covers from several other bands, including ones that drummer Freese played in, including a medley of Nine Inch Nails, Devo, and the Beastie Boys. Their set featured bagpipes and had the entire crowd dancing and moshing.

Dave Grohl’s daughter Violet joined the band to sing two songs, “Shame Shame” and “Show Me How.” The 19-song set was full of heartfelt interaction with the vast crowd and a spectacular end to a very successful Bonnaroo 2023.

California’s favorite summertime band, The Beach Boys, played a sold-out concert on July 5th at the Vina Robles Amphitheatre in Paso Robles. The iconic band had just played their annual July 4th concert at the Hollywood Bowl for 18,000 people. That show featured special guests Mark McGrath and John Stamos joining the Beach Boys for a 20-song set. That was followed by a spectacular fireworks show with the Hollywood Symphony playing a live score.

While the 3,300 lucky fans at the Vina Robles show did not see the special guests and the fireworks, they were treated to an exceptional two-set performance that included 38 songs. Fans arrived early, lining up long before the doors opened, to enjoy the summer day, drink wine and other spirits, and munch on various fun food offerings.

The first set began in the late afternoon, with the setting sun painting the venue and surrounding mountains in an orange hue. Hot, dry winds buffeted the amphitheatre as the band took the stage. The original lead singer, 82-year-old Mike Love, and the original keyboardist and vocalist, 81-year-old Bruce Johnston, led the group. Longtime core members included Love’s son Christian on rhythm guitar, Tim Bonhomme on keyboards, Randy Leago on Saxophone, Keith Hubacher on bass, and guitarist Brian Eichenberger. Eichenberger has also taken over as the band’s music director. Two new members of the band joined them for the current tour. Brilliant lead guitarist Keith Hubacher and animated drummer and vocalist Jon Bolton have invigorated the group with fresh new energy.

The first set opened with one of the band's big hits, “Do It Again," and included 19 songs from across the spectrum of the group's extensive songbook. Each piece included a synchronized video full of nostalgic beach and surf scenes. The first set was dominated by the surf culture with hits that made the band famous, like “Surfin USA,” “Surfer Girl,” “Surfing Safari,” and “Catch A Wave.” A cover of the Ramones’ “Rockaway Beach” fit right in. The opening set included the hits that car-obsessed teenage culture in the '60s was transfixed on with songs like “409,” “Little Honda,” and “Little Deuce Coupe.”

The second set, which included 17 songs, proved much more introspective, including some of the band's most intricate work from their later years. The octet shined on the more sophisticated material, like the songs from the heralded Pet Sounds album, offering complex layers of live music and sophisticated vocal harmonies. The second set included some great covers that fit well with the band’s legacy, including “California Dreamin’” by The Mamas and Papas and “Rock and Roll Music’ by Chuck Berry.

Drummer Jon Bolton took over lead vocals on the “California Dreamin” song and lived up to his moniker of “Lightning Bolt.” The drummer played standing much of the time and took on lead vocals for an occasional song. Bolton’s snare drums rest mostly below his high hats and bass drum. When he plays standing up, it appears that he is attacking the drum kit from high above.

The show ended with the sold-out crowd on their feet for the aptly titled final song, “Fun Fun Fun,” offering up the perfect ending to a summer day at Vina Robles Amphitheatre in Paso Robles, California. Nederlander Concerts have organized the most ambitious season yet at the beautiful venue. To check the upcoming schedule, visit the venue website: https://vinaroblesamphitheatre.com/concerts

Graham Nash, the venerable icon of classic rock, graced the stage once again for a two-night, sold-out spectacle at the Lobero Theatre on the 15th and 16th of July. The extraordinary performance was a significant part of the theatre's 150th-anniversary festivities, adding an air of timeless charm to the historical milestone. The last time Nash's resonant melodies filled the theatre was in 2018, a memory that added a nostalgic touch to his return.

Nestled in the heart of downtown Santa Barbara, the Lobero Theatre is not merely a venue but an architectural marvel rich in history, which provided an unparalleled setting for the spellbinding event that was about to ensue. Its decades-long legacy of hosting illustrious musicians lends to its revered status in the music community Stepping into the theatre is akin to entering a musical sanctuary. As you cross the threshold, you are immediately wrapped in an aura of warmth, the sublime atmosphere effectively transporting you to a realm where the rhythm of music is the only sovereign.

The extraordinary performance began somberly, with Nash starting with a song he penned with former bandmate David Crosby, who passed away on January 18th at his nearby home in Santa Ynez, California. Crosby was set to play his first post-pandemic concert as part of the 150th anniversary and to celebrate his new album. The local rock legend had assembled a new band and was working on rehearsals before his sudden passing.

That core band, now called Stand and Be Counted, is a who’s who list of rock talent featuring Steve Postell, James Raymond, Stevie Distanislao, Dean Parks, Chris Stills, and Andrew Ford. They are scheduled to play a tribute concert at the theater on August 20th to celebrate the music and life of Crosby. The band will be joined by a large contingent of special guests and local musicians, including Shawn Colvin, Colin Hay, Richard Page, Lara Johnston, Ken Stacey, Gracie Ray, and Nathan McEuen.

After Nash praised his former partner, he played “Wasted on the Way,” a Crosby Stills and Nash tune on piano accompanied by his guitarist and surrounded by candles on a softly lit stage. Then the master storyteller moved out front to banter with the crowd and switch to acoustic guitar. A keyboardist joined the duo, and for the rest of the night, the band played as a trio, with all three musicians harmonizing beautifully on vocals. Shane Fontayne played brilliant lead guitar, while Todd Caldwell played keyboards.

Graham's stage presence was magnetic. As he strums his guitar and starts to sing, it's as though time stands still. The connection he forges with his audience is evident as if he's sharing intimate moments and stories with dear friends. He effortlessly took the audience on a journey of his musical evolution, spanning decades of hits and heartfelt observations.

From his days as a member of The Hollies, the crowd was treated to beloved classics like "Bus Stop.” Nash's voice has matured like a fine wine, adding new layers of emotion to these timeless tunes. The crowd swayed in unison, singing along to every familiar lyric, exchanging knowing glances that acknowledge we're all here under the spell of a true music legend.

Nash delved into his repertoire from the iconic supergroup Crosby, Stills & Nash as the night progressed. Hits like "Teach Your Children" and "Our House" reverberated through the theater, stirring up emotions and memories from a bygone era. It was a reminder of the societal changes that echoed through the music of those times and continue to resonate today.

Graham also showcased his solo artistry, treating the crowd to gems like "Immigration Man" and "Chicago." These songs testify to his individuality as an artist, solidifying his place in music history. With each heartfelt lyric, Nash captivated the audience, drawing them into his world of emotionally charged storytelling.

What set Nash's performance apart was his ability to weave personal anecdotes and stories between songs. As he shared moments from his legendary years, the theater morphed into a time machine, transporting the audience back to pivotal moments in music history. An enthralled audience was given a glimpse into the inspiration behind Nash’s songs and the experiences that shaped his creative process. The singer led an intimate conversation filled with laughter, reflection, and a deep sense of gratitude.

Nash's timeless lyrics touched on socio-political themes that still reverberate today. In "Military Madness" and "Chicago (We Can Change the World)," he addressed war, activism, and the power of coming together for a common cause. The words feel as relevant now as they were when they were first penned. The audience listened, captivated by the timeless relevance of his message.

As the final notes of Graham Nash's performance dwindled amidst the roaring ovation, a profound sense of gratitude pervaded the atmosphere, underscoring the immense privilege of witnessing such a monumental performance. The evening had been an emotional odyssey, a soul-stirring voyage through time that imprinted itself unforgettably on the hearts of those fortunate enough to be present.

The Lobero Theatre, with its enticing blend of historical allure and intimate atmosphere, played an indomitable role in fashioning this unique, once-in-an-eternity spectacle. This stage, witness to an illustrious pantheon of legends, added another feather to its cap on these two nights, as it showcased the captivating performance of Graham Nash.

The grandeur of the past, the pulse of the present, and a hint of the mystic future converged in the Theatre, making each moment a priceless keepsake in the treasure chest of time. From the intense silence before the first note to the resounding applause at the end, every second was an irreplaceable piece of music history.

On July 20, 2023, the Lobero Theatre resonated with the sounds of mastery and innovation as Jerry Douglas, the dobro virtuoso took the stage by storm. A palpable electricity permeated the air, the anticipation crackling like a live wire as fans, their faces glowing with excitement, gathered for a night destined to be filled with melodic enchantment. Nestled in the beating heart of the city, the Lobero Theatre, with its elegant acoustics and historic charm, provided the perfect canvas for this sonic masterpiece. As part of their illustrious 150th-anniversary celebration, Douglas and his ensemble of seasoned musicians unfurled a symphony of strings that danced through the opulent theater. Having graced the venue's stage at least "12 or 13 times," Douglas fondly regards the Lobero as "one of his all-time favorite venues," a sentiment that reverberated through every note of the unforgettable concert.

Douglas, the undisputed king of the dobro guitar, dominated the night with his awe-inspiring talent. With each note that resonated from his resonator guitar, the audience was transported to a realm of musical genius. Douglas's unparalleled expertise garnered him numerous Grammy wins and a loyal fanbase that hung on his every chord.

"Hey, it's Jerry Douglas!" echoed through the theater's walls as the man graced the stage, a mischievous glimmer in his eyes. The crowd erupted; their exhilaration palpable. It was evident that this would be an extraordinary night of musical magic. From the soulful twang of bluegrass to the foot-tapping rhythm of country and the smooth melodies of jazz, Jerry Douglas took us on an unforgettable journey through genres. The transitions between each were as seamless as a musical time warp, leaving the audience in awe of Douglas's versatility.

In addition to his own timeless tunes, the masterful musician played a diverse set of covers. From Tom Waits “2:19” to The Beatle's “While My Guitar Gently Weeps,” Douglas and his band made different musical genres their own. He even included a jazz-tinged nod to Chic Corea with a cover of the Return to Forever tune “Spain.”

Douglas's own tracks like “Gone to Fortingall" and “Senia’s Lament" showcased the emotional depth and technical brilliance that has become synonymous with Jerry Douglas. The theater erupted in thunderous applause after each performance, leaving no doubt about his music's impact on his captivated audience. It was as if the Lobero Theater had been charged with an electric current as Jerry Douglas strummed his guitar. The crowd could not help but be swept up in the energy radiating from the stage. Foot-stomping, head-bobbing, and even impromptu dancing filled the theater as the melodies transported fans.

Jerry Douglas wasn't content with merely playing his music; he engaged with the audience throughout the night, connecting on a personal level. Sharing anecdotes, he drew laughter, tears, and nods of understanding from his loyal supporters. It was a testament to his ability to touch hearts through his music and charismatic storytelling.

While Jerry Douglas undeniably commanded the stage with his stellar performance, it was clear that he valued collaboration above all else. The band that accompanied him was a group of musical virtuosos in their own right. With each musician taking turns in the spotlight, they brought a powerful chemistry to the performance.

Strings on fire, hearts ablaze with passion, and an audience left hungry for more, Jerry Douglas's concert at the Lobero Theatre was a night to be remembered. Every moment left an indelible mark on those fortunate enough to be present, from his musical mastery and genre-bending performances to the engaging atmosphere and collaborative brilliance. If you ever have the opportunity to witness Jerry Douglas live, don't hesitate. Grab your ticket and prepare to be transported to a world where strings sing and fire dances.

Bathed in the warm glow of a summer sunset, music aficionados descended upon the idyllic Vina Robles Amphitheatre on July 19th, eagerly anticipating the symphony of rock melodies from the acclaimed bands, Train and Better Than Ezra. As the evening sun washed the venue in hues of vibrant orange, the stage was primed for a transcendent fusion of music and fellowship.

Better Than Ezra, a titan of the alternative rock scene, ignited the celebrations with their fiery performance. Spearheaded by charismatic frontman, Kevin Griffin, the band had the audience enraptured from their first chord. The expert blend of iconic hits with a sprinkle of fresh tunes set the arena ablaze. Anthems such as "Good," "Desperately Wanting," and "Misunderstood" stirred waves of nostalgia, taking fans back to the heydays of the '90s alternative rock epoch. The band's captivating charm and synchronous musicianship had the amphitheater pulsating to their rhythm, while classic covers such as the Violent Femmes' “Blister in the Sun” added an enticing layer of familiarity.

As twilight fell on the amphitheatre, the electric atmosphere was charged further with the anticipation of the headline act, Train. A minor pause in the proceedings allowed for a visually spectacular prelude: a missile launch from Vandenberg Air Force Base on the coast. As the missile etched its way across the night canvas, it signaled the perfect overture to Train's mesmerizing performance.

Train, lauded for their soul-infused rock and pop repertoire, took command of the stage under the guidance of the vibrant Pat Monahan. His dulcet tones and dynamic presence resonated with the audience, forging an immediate bond. A vibrant medley of timeless classics such as "Drops of Jupiter" and "Hey, Soul Sister" alongside their recent chart-toppers, underscored the band's ability to straddle musical eras with ease. The band's intimate connection with their fans transcended the expansive audience size, providing a uniquely personal experience.

A highlight of the event was the unexpected onstage collaboration between Better Than Ezra's Kevin Griffin and Train, breathing life into a medley of each band's hits. The genuine camaraderie was a sight to behold, reflected in their seamless synergy. Later, the stage played host to an endearing father-son duet between Pat and his 11-year-old son Rock, performing “Save the Day,” followed by a vivacious rendition of The Eagles' “Hotel California."

The Vina Robles Amphitheatre, with its panoramic vineyard views and top-tier acoustics, offered the perfect backdrop for this memorable event. The amphitheater's open-air design paired with wine tasting sessions provided concert-goers with a truly immersive experience in the heart of Paso Robles wine country.

The impeccable sound engineering and state-of-the-art stage production augmented the bands' electrifying performances. The precise lighting, immersive visuals, and intricate effects heightened the concert's dynamism, holding the audience captive till the very end. The electrifying 2023 concert season at Vina Robles continues until November, promising more such unforgettable experiences. You can check out the upcoming shows at https://www.nederlanderconcerts.com/.

Cowboy Junkies brought their enchantingly brooding Blues sound to the Lobero Theatre on July 21st as part of the 150th anniversary of the venue. The band took the stage at 8 pm sharp, kicking off the night with a stirring cover of Neil Young’s “Don’t Let It Bring You Down.” The band, which is just as well known for playing covers in their somber style, followed with their hit cover of The Velvet Underground’s “Sweet Jane." From there, the group kept the energy high with each consecutive song.

The third tune was an original song called “What I Lost," which lead singer Margo Timmins explained was about her father’s struggles with Dementia. Margo has an uncanny way of turning depressing Blues drenched material into beautiful, emotive ballads. The band played several tunes from their new album, “Such Ferocious Beauty.”

One of the most impressive things about the show was the sound quality. The Lobero Theatre always delivers excellent acoustics, and the Cowboy Junkies' music was perfectly balanced throughout the venue. The sound engineer on the production team deserves a big round of applause for his work!

The band's chemistry on stage was also a highlight of the night. The Canadian siblings Margo, Michael, and Peter Timmins were in top form, playing off each other's energy like they were born to perform together. Michael is the band's chief songwriter. Bassist Alan Anton and longtime touring multi-instrumentalist Jeff Bird rounded out the band. Bird is a maestro of many talents, performing on various instruments, including harmonica, mandolin, and, as Margo quipped, "the shaky things.” In song after song, the aptly named band captivated the audience with their tight harmonies and remarkable musicianship.

The crowd was excited to see the Cowboy Junkies return to the Lobero after a three-year hiatus. They showed their appreciation by dancing along and singing the words to every song, but there were also moments of pure stillness as they listened intently to the more poignant pieces.

The group ended the first of two sets with a brilliant cover of David Bowie’s “Five Years.” The band went on to play an extended second set and a double encore, playing a total of 19 songs for an enraptured audience. All in all, it was a night to remember. The Cowboy Junkies delivered a stunning performance that filled the audience with joy, and the Lobero Theatre proved once again to be one of the premier venues in the city for top-quality live music.

The Lobero Theatre in Santa Barbara, California, hosted an unforgettable evening of soulful blues on July 29, 2023. The legendary five-time Grammy-winning Robert Cray Band took the stage and captivated the audience with their electrifying performance. From the moment the first note resonated through the theater, it was evident that this would be a night to remember. The 69-year-old master Blues aficionado made the short trip from his home in nearby Santa Ynez to help celebrate the 150th anniversary of the much-loved Theater in Santa Barbara.

Nestled in the heart of Santa Barbara, the historic Theatre provided the perfect setting for an intimate and immersive musical experience. As one of California's oldest theaters, its rich history and superb acoustics have made it a favorite among artists and music lovers. The venue's elegant architecture and cozy ambiance set the stage for an evening of musical enchantment. The venue also boasts nearly perfect acoustics.

As the lights dimmed and the crowd erupted in applause, the members of the Robert Cray Band made their way to the stage. Led by the incomparable Robert Cray himself, the band exuded an air of confidence and passion that instantly drew the audience in. The anticipation in the room was palpable as they kicked off their set with an explosive opening number.

The Robert Cray Band showcased their extraordinary musical prowess throughout the night, leaving no doubt about why they are considered one of the greatest blues bands ever. Robert Cray's soulful voice and virtuosic guitar playing were awe-inspiring. His fingers danced effortlessly along the strings, effortlessly weaving intricate melodies and heart-wrenching solos. His phenomenal vocal range sets Cray apart from the legions of great blues guitarists.

The band's carefully curated setlist showcased their vast repertoire of blues classics and original compositions. From the infectious groove of "Smoking Gun" to the heartfelt balladry of "Right Next Door," each song struck a chord with the audience, eliciting cheers and applause. The band's chemistry was evident as they seamlessly transitioned from one song to the next, keeping the energy levels high throughout the performance.

What truly set this concert apart was the genuine connection between the band and the audience. Robert Cray's charismatic stage presence and warm demeanor made everyone in the theater feel part of something special. He effortlessly engaged with the crowd, sharing stories and anecdotes between songs, creating an intimate and personal atmosphere. The blues has always been a genre that evokes deep emotions and touches the soul, and the Robert Cray Band's performance was no exception. They transported the audience to a place of raw emotion and vulnerability with every note. The blues speaks to the human experience; on this night, it spoke volumes.

The Robert Cray Band's performance at the Lobero Theatre was an absolute triumph. From their exceptional musicianship to their ability to connect with the audience profoundly, they proved why they are considered one of the most influential blues bands of our time. The night was filled with soul-stirring music, electrifying solos, and moments of pure magic. Whether you're a die-hard blues fan or simply appreciate great music, experiencing the Robert Cray Band, live is an experience you won't want to miss.

Patti Smith is a treasure trove of living musical history, and she revealed much of that legacy in song and storytelling on August 9th at the Lobero Theatre in Santa Barbara. The concert was a continuation of the celebration of the 150th anniversary of the historic venue.

In the company of her seasoned trio, featuring the steadfast Tony Shanahan on bass and keyboards and her skilled guitarist offspring, Jackson Smith, Patti Smith delivered a 13-song panoramic performance that traversed the nuanced phases of her musical odyssey.

Immersed within the transcendental tapestry woven by Patti Smith’s performance at the Lobero Theatre, the revered artist deftly allocated a significant segment of her set to pay homage to the iconic Neil Young. In the preamble, Smith underscored the abiding relevance of Young’s half-century-old cautionary opus, "After the Gold Rush," with a particular emphasis on its haunting line, "Look at Mother Nature on the run / in the 21st century."

A prevailing motif of timeless import resonated throughout the concert, where the indefatigable and spirited 76-year-old Smith held sway. The evening carried a dual mantle of musical excellence and altruism, masterminded by promoter Earl Minnis. This unique musical event was intended to bolster philanthropic causes, including the Council on Alcohol and Drug Abuse (CADA), the Teddy Bear Cancer Foundation, the venerable Bob Dylan Center, and the illustrious Lobero Theatre. (This luminance was officially crowned by Architectural Digest's recognition, labeling it among the "11 Most Beautiful Theaters in the World.")

Smith’s presentation bore a heartfelt homage to departed musical luminaries, steeped in a spirit of open-heartedness. Straddling the line between gentility and dynamism, she executed the melodic tapestry precisely and interjected her artistic palette, delving into improvisation and deviations from the anticipated trajectory. Her fiery rendition of "All Along the Watchtower" notably showcased this inclination, concluding with a visceral, soul-stirring howl. A comparable impromptu artistic flourish was discernible in her homage to William Blake, manifested in the soulful "My Blakean Year."

The evening bore an enduring thematic thread, punctuated by the motifs of human mortality and veneration of departed legends. From the very outset, Smith dedicated her opening performance of "Grateful" to the memory of Jerry Garcia, aligning it with the anniversary of his passing in 1995—a day she aptly designated his "passing day." Additional tributes unfurled as she channeled Sinead O'Connor's spirit of activism and unfiltered expression through a rendition of "Pissing In A River." The recognition of underappreciated heroes of the alternative rock scene echoed through the chords. Tom Verlaine of "Television" fame—a longtime comrade of Smith—received due honor through her captivating interpretation of "Guiding Light." Likewise, the memory of Robbie Robertson from The Band was granted a haunting tribute in the form of the hypnotic "Beneath the Southern Cross," crescendoing into a poignant chant, "cross over, cross over…"

Returning the focus to her own musical lexicon, Smith concluded the performance with her most iconic compositions. The concert reached its zenith with the resounding chords of "Because the Night," the celebrated masterpiece co-authored with the inimitable Bruce Springsteen. A magnetic encore further augmented the crescendo, featuring the emotionally charged anthem penned with her late husband, Fred "Sonic" Smith—"People Have the Power." The emotional audience joined harmoniously, embodying Smith's concluding exhortation: "Use your voice!"

At this juncture, Patti Smith emerges as a beacon of unassailable self-assurance, her musical catalog interwoven with a rich tapestry of cultural references. The allure of her melodic voice and her captivating stage presence synthesized into an unforgettable sonic spectacle, etching one of the most remarkable musical evenings of the year onto the vibrant canvas of the historic Lobero Theatre.

Chris Isaak and his fabulous band were scheduled to play a 90-minute set just after sunset with no opening band at the Vina Robles Amphitheatre in Paso Robles, CA on Saturday, August 12th. But that didn’t stop many devoted fans from showing up at the venue several hours before the doors opened. Some of the fans who came early enjoyed wine tasting at the tasting room before the show and discussed their multitude of experiences at various concerts by their beloved crooner. Some had followed the band across the state and even across the country.

Later, as the sun dipped below the horizon, the Vina Robles Amphitheatre was filled with an electric sense of anticipation. The occasion? The entrance of Grammy-nominated artist Chris Isaak onto the stage, ready to weave his musical magic in a mesmerizing concert. With a voice known for its haunting beauty and a presence that defines musical iconography, Isaak delivered a performance that exceeded all expectations, effortlessly weaving his spell around the audience and leaving an enchanting impression that lingered long after the final note had faded.

Chris Isaak's velvety croon had an uncanny ability to transport the audience into a world of emotions. His performance was not just a display of his enduring talent but also a testament to his relentless commitment to his craft. As he delivered hit after hit, it was abundantly clear that the years hadn't dulled the ethereal allure of Isaak's voice.

Each note resonated through the night air, crafting an immersive atmosphere that held everyone captive in its embrace. Isaak also had an uncanny ability to connect with his audience. By the second song, the singer began to wander through the venue, taking selfies, sitting on fan's laps, and shaking hands with concertgoers on all levels of the amphitheater. All this activity continued while his band of veteran musicians played fiercely on the stage, and the singer continued to belt out his well-known songs.

Yet, beyond the beauty of his vocal prowess, Isaak's connection with the audience was undeniable. He opened up about his musical journey, providing intimate glimpses into the origins of some of his most cherished songs. The synchronicity between Isaak and his band was seamless, producing a harmonious symphony that carried the audience through diverse musical landscapes. Isaak also wowed the crowd with a rhinestone-encrusted suit. He told the crowd that he wears these suits like doctors wear white robes. It shows that they’re professionals and that people should feel comfortable removing their clothes in front of them. The comment drew a giant laugh from the audience. Isaak displayed humor throughout the night. He told the crowd this was a family show. Then his drummer yelled out, “Bullshit!”. Another large laugh was heard throughout the crowd.

Isaak played his smash hit, “Wicked Game," surprisingly early in the set. He also played Roy Orbison’s “Only the Lonely” flawlessly. Continuing to banter with the crowd, he shared a story of when he opened for Orbison, helping to launch his successful music career.

A standout facet of the evening was the revelation that Isaak had been the mastermind behind an array of film soundtracks. This revelation added another layer of admiration to his performance. Whether it was the haunting melodies of "Eyes Wide Shut" or the raw emotions evoked in "Blue Velvet," Isaak's compositions had an extraordinary ability to elevate cinematic experiences. This revelation lent depth to the concert, reiterating the indelible impact Isaak has made on both music and film.

One of the night's brightest moments was the announcement of Isaak's recent honor—a Lifetime Achievement Award for Performance from the Americana Honors. This recognition stood as a testament to Isaak's enduring influence and invaluable contributions to the musical landscape. The award added significance to the concert, transforming it into a celebration of Isaak's well-deserved acclaim.

Amidst the symphony of melodies and the waves of applause, the spotlight turned toward Isaak's personal life. His status as a lifelong bachelor became a playful focal point, accompanied by the witty challenge of finding someone who could "draw that sword from that stone." This interplay with the audience showcased Isaak's magnetic stage presence and his knack for forging personal connections. Isaak ended the evening returning for an encore wearing his legendary mirror suit, much to the audience's delight.

Chris Isaak's performance at the Vina Robles Amphitheatre on that unforgettable August night was a tour de force. His haunting voice, evocative narratives, and musical genius coalesced to craft an enchanting tapestry that held the audience spellbound. As Isaak continues to reign as a musical luminary, his ability to transport listeners into his musical realm remains as potent and captivating as ever.

It seemed like Deja Vu at the Arlington Theatre in Santa Barbara, California, on August 16th, 2023, as 73-year-old Peter Frampton hobbled onto the stage with a cane and swiftly took a seat for the remainder of his concert. Last year, the 83-year-old legendary singer Tom Jones took the stage in the ornate Spanish-themed theater in much the same way. Nursing a bad hip, Jones waddled onstage and swiftly took a chair before singing a fantastic blues rock set that may have been the best concert of 2022 in Santa Barbara. This year, it was Frampton's turn to play an astounding nearly three-hour set, which was also drenched in rock blues. Frampton is no stranger to his fans in the city, who packed the sold-out show. In 1981, the guitarist extraordinaire played a show at the same theater, performing a back-to-basics set, shortly after the hysteria of his massive stadium tour and live album had begun to wane. In 2015, Frampton performed at the historic Lobero Theatre as part of the Notes For Notes benefit concert. But Frampton’s latest show in Santa Barbara was probably the most special simply because it took place at all. This fact was reflected in the current tour's moniker “Never Say Never.”

On the evening of August 16th, the anticipation in the air was palpable as the curtains lifted for the commencement of what was billed as the "2023 Never Say Never Tour." Peter Frampton, known to many as the golden-haired, golden-boy guitarist of the '70s and '80s, made a profound statement right from the outset. The show commenced with a touching slideshow, taking the audience on a sentimental journey through time. There, amidst a montage of iconic figures like David Bowie, The Rolling Stones, and Olivia Newton-John, was Frampton, a symbol of a bygone era in music history.

Four years ago, Frampton had disclosed his diagnosis of inclusion-body myositis, a degenerative disease, and announced a farewell to the stage. However, the very existence of this tour, aptly named "Never Say Never," underscored that where there is a resolute will, there emerges a way to persevere and continue doing what one loves most—playing music. And play he most certainly did.

Throughout the evening, Frampton remained seated, a testament to his determination and resilience. Despite this physical constraint, he delivered a performance that can only be described as electrifying, triumphant, enthusiastic, and utterly endearing.

He kicked off the gig with a bang, cranking out the 1986 classic "Lying," flaunting his guitar magic immediately (and consistently throughout the night). He casually shed his jacket, quipping, "That's as far as I go. You don't want to see what's hiding underneath now - oh, no!" A cheeky start, setting the tone for the evening.

Frampton swiftly dived into a string of timeless favorites, delivering electrifying renditions of "Shine On," "I Got My Eyes on You," and "Lines on My Face." He dedicated The latter to Jerry Moss, the co-founder of A&M Records, who sadly passed away earlier that day. Frampton shared, "He adored this song, and so do I. His spirit, his support, that's why I'm here tonight," as images of Moss graced the backdrop.

But the melancholy didn't linger. "Show Me the Way" followed that iconic 1975 anthem that's practically impossible not to sing along with. It earned a standing ovation, prompting Frampton's wry remark, "We're our own opening act. We warm up the crowd, and then we dazzle them." Next up was a brief foray into old-school blues, including an instrumental take on "Georgia on My Mind," the 1930 classic by Hoagy Carmichael and Stuart Gorrell, though Frampton was quick to note, "We took our cue from Ray Charles." While he's dabbled in blues with recent albums, this audience was undeniably a rock 'n' roll crowd, evident from the enthusiastic response to "Baby, I Love Your Way," "All I Want to Be (Is by Your Side)," and "(I'll Give You) Money."

And, of course, there was the even more legendary "Do You Feel Like We Do," a song that had the entire theater on their feet, belting out the lyrics in unison.

In a charming nod to his age and limitations, after that epic tune and a gracious introduction of his stellar band (featuring Rob Arthur on keys, guitar, and vocals; Alison Prestwood on bass; Adam Lester on guitar; and Dan Wojciechowski on drums), Frampton joked, "Normally, we would've taken a break, done some wild stuff, and come back, but those days are long gone. It would take me 'til next Tuesday to do that, so let's keep going." He then launched into an encore that included Neil Young's "Like a Hurricane," the Humble Pie classic "I Don't Need No Doctor," and culminated with the beautiful Beatles gem penned by George Harrison, "While My Guitar Gently Weeps."

For nearly three hours, Frampton transported the sold-out crowd into a realm of timeless music. His remarkable energy and unwavering passion reverberated through each note he played. It was a performance that left no soul untouched.

As the night unfolded, an astonishing transformation took place within the audience. The sold-out crowd, comprised of fans who had followed Frampton's journey for decades, found themselves not in their seats but on their feet, dancing and reveling in the music as if they were teenagers once again. It was a testament to the enduring power of Frampton's music, which had the remarkable ability to turn back the clock and make time stand still.

David Crosby would have been proud of the mass musical assembly in Santa Barbara on August 20th to Celebrate his life at the “Stand And Be Counted” tribute concert. Many onstage and in the sold-out audience wondered (some out loud) whether Crosby was looking down, playing a mischievous joke. He may have sent the first tropical storm to the area since 1939, as well as a nearby earthquake, to put his stamp on the unique one-night performance.

David Crosby's musical legacy didn't just gently tap the Lobero Theatre on that Sunday night – it practically waltzed in and set up camp. Initially conceived by the man himself as a celebratory extravaganza for Lobero’s 150th Anniversary Ovation Celebration, the Stand and Be Counted concert had to pivot into a beautiful tribute after Crosby's untimely departure. But, boy, did it pay homage with style!

Enter contemporary folk maestro Shawn Colvin, who strolled onto the stage with her guitar, oozing the kind of mutual admiration usually reserved for double rainbows and perfectly brewed coffee. With a Crosby-curated set that could make even the staunchest skeptic swoon, she belted out a haunting rendition of “Twilight” that would've made even the moon pause to listen. And let's not forget her own classics like “Sunny Came Home,” “Cry Like an Angel,” and “That Don't Worry Me Now” – songs that she claimed had a direct line to Croz himself.

\After some engaging banter and video snippets from David Bender, the pen behind the Crosby-approved masterpiece "Stand and Be Counted: A Revealing History of Our Times Through the Eyes of the Artists Who Helped Change Our World," it was time to dial up the volume. The big band, handpicked by the man of the hour, took the stage, boasting a lineup that could make the heavens sway to the rhythm. The band included Stevie Distanislao on drums/vocals; Andrew Ford on bass; Lara Johnston on vocals; Dean Parks on guitar; Steve Postell, who played at the Lobero last fall with the Immediate Family, on guitar/vocals; Crosby’s son James Raymond, on keyboard/vocals; Chris Stills, son of Stephen Stills, on guitar/vocals; and vocalist Ken Stacey.

Postell, who picked up the torch and orchestrated this grand spectacle after Crosby's curtain call, burst onto the scene with “Long Time Gone,” delivering it like a heartfelt love letter to the cosmos. Eerily channeling his father's legacy, Stills blew the roof off with "Woodstock," the kind of performance that makes you believe time travel might be real. Guest vocalists Nathan McEuen (son of John) and Colvin were soon back on stage, and the fantastic harmonies continued.

The crowd wasn't content to be spectators – Colin Hay knew this. A simple suggestion and the seats were empty, the masses grooving to the notes of "Teach Your Children." Richard Page, the possessor of an emotive vocal superpower, seized the moment and conquered "Deja Vu." And then came the lineup's version of the greatest hits – "Wooden Ships," "Delta," and the harmonious masterpiece “Helplessly Hoping,” a song that's a vocal trapeze act.

Colvin and the delightful Gracie Raymond joined forces for a "Guinnevere" duet that fluttered hearts. The entire ensemble stormed back onstage for a triumphant "Love the One You're With." Then, "I Won't Stay for Long" made an appearance, penned by James Raymond as an ode to Crosby's eighth and final album, "For Free."

Hay, whose enthusiasm was contagious enough to jumpstart a defibrillator, rocked out to "Almost Cut My Hair," a nostalgia trip for the ages. Before performing the song, the balding Hay joked, “So that you know, I used to have long beautiful red hair.” “ "Carry On" followed suit, paving the way for an emotional avalanche featuring "Anything at All," “Ohio,” and the almighty “Find the Cost of Freedom,” commandeered by Stills in a performance so powerful you'd think the stage might launch into orbit.

And those last lines, like a thunderous crescendo, “Find the cost of freedom / buried in the ground / Mother Earth will swallow you / Lay your body down” – they resonated like a booming echo, encapsulating an evening that was nothing short of a sonic odyssey. Just like David Crosby, this show didn't just fade away; it left its mark, an indelible ripple in the tapestry of musical history and another unique moment in the musical history of the Lobero Theatre.

On a scorching summer night, the Lobero Theatre became the epicenter of blues magic as Tab Benoit took the stage for an unforgettable performance on August 19th, 2023. The intimate venue was filled with anticipation, and Benoit did not disappoint, delivering a fiery and soulful concert that left the audience craving more. The show was part of the 150th anniversary of the historic theater.

From the moment he stepped on stage, Tab Benoit's presence was electric. His signature red-hot guitar licks ignited the crowd, and it was evident that he was there to share his passion for the blues. Opening with “Muddy Bottom Blues," the Louisiana-born bluesman immediately transported the audience to the heart of the Mississippi Delta.

Benoit's guitar prowess was nothing short of awe-inspiring. He effortlessly slid between fiery solos and delicate, heart-wrenching melodies. His guitar seemed like an extension of his soul, and he poured his emotions into every note. Tracks like "Nice and Warm" and "I Put a Spell on You" showcased his instrument mastery, and the audience hung on every riff.

Accompanied by his incredibly talented backing band, Benoit's performance was a tight-knit ensemble of exceptional musicianship. His bassist, Carl Dufrene, and drummer, Darryl White, provided a solid rhythm foundation. The chemistry among the musicians was palpable, and they seamlessly played off each other's energy.

Tab Benoit's voice was another highlight of the evening. His rich, gritty vocals conveyed the pain, love, and longing quintessential to the blues. He told stories through his songs, and the audience felt every word. When he performed "These Blues Are All Mine" and "Darkness," it was as though he was baring his soul to the captivated crowd.

Midway through the concert, Benoit took a moment to connect with the audience. He shared anecdotes about his life and the inspirations behind his songs, creating a personal connection with every fan in the theater. It was clear that he genuinely appreciated the support of his dedicated following.

As the night drew to a close, Benoit and his band unleashed an explosive encore that left the audience on their feet, begging for more. The final "Night Train" notes reverberated through the Lobero Theatre, leaving an indelible mark on the hearts of all lucky enough to attend.

Tab Benoit's concert at the Lobero Theatre on August 19th, 2023, was a masterclass in blues performance. His virtuoso guitar skills, soulful vocals, and heartfelt storytelling made for a night Santa Barbara's music enthusiasts will remember for years. Benoit's ability to channel the essence of the blues and share it with his audience is truly a gift, and we can only hope to see him grace the Lobero stage again.

Two hard rock bands, one composed of newcomers and one with veteran rockers, performed on Sunday, September 10, to commemorate the 50th anniversary of the legendary Roxy Theatre on the Sunset Strip in Hollywood. Hard rock fans lined up long before the doors opened in anticipation of the show.

By the time the opening band, The Black Moods, took the stage shortly after 8 p.m., the intimate venue was packed to capacity. Hailing from Tempe, Arizona, The Black Moods brought their high-energy performance to the Roxy Theatre. With charismatic frontman Josh Kennedy leading, they delivered a setlist brimming with their biggest hits and fan favorites, including "On & On," "Sunshine," and "Throwin' Shade." The band opened with a bang, playing the anthem "On & On." The room instantly buzzed with electricity as the crowd sang along. Kennedy's powerful vocals and the band's cohesive drive took center stage. Their set featured a combination of old and new songs, as well as some notable covers like Tom Petty’s “I Need To Know." A standout moment was their performance of the new single "Hollywood," which Kennedy dedicated to all the aspiring musicians in the audience. They concluded their performance with their signature "Throwin' Shade," receiving a standing ovation as they exited.

By 9 p.m., The Dead Daisies took center stage. The venue was now filled with a who’s who of Hollywood rock royalty, including former band members. Originating in 2012 in Sydney, Australia, and founded by rhythm guitarist David Lowy, the band has featured a rotating cast of renowned rockers from bands like Guns N' Roses, The Rolling Stones, and Whitesnake. Their Roxy performance marked the finale of their “Resurrected” tour, showcasing Lowy, John Corabi, Doug Aldrich, Brian Tichy, and newcomer Michael Devin.

Their entrance was explosive, beginning their 18-song journey with “Resurrected.” John Corabi, a former Motley Crue member, embodied classic Hollywood rocker vibes. Doug Aldrich's masterful guitar skills were a testament to his esteemed career, and his partnership with bassist Michael Devin created a rock-solid rhythm. Throughout the evening, Corabi engaged with the audience, sharing amusing anecdotes and interacting with fans. Drummer Brian Tichy's energy was palpable, anchoring the band's vibrant sound. Their setlist was a rich mix of new tracks like "Resurrected" and "Rise Up," alongside classics like "Mexico" and "All The Same."

The audience was fully captivated by the sheer talent on stage. Hits like "Make Some Noise" and "Dead And Gone" further energized the crowd. The band's rendition of covers like Creedence Clearwater Revival’s "Fortunate Son" added a unique twist. Ending the main set with "Midnight Moses," the band returned for an encore, culminating the night with Whitesnake's “Slide It In."

The Dead Daisies' performance was both exhaustive and exhilarating. As the night wrapped up, Corabi invited everyone to continue the celebration at the nearby legendary Rainbow bar, ensuring the party went on into the Hollywood morning.

On the beautiful early fall night of Wednesday, September 27th, under a nearly full moon, Ian Anderson brought seven decades of Jethro Tull’s classical rock to a packed house at the Greek Theatre in Los Angeles. The Nederlander concert featured two well-produced sets of beautiful music.

Jethro Tull's Seven Decades tour is a testament to the enduring power of Ian Anderson's flute and the band's timeless music. While the show had flaws, Anderson's flute playing was spectacular, and the band's sixteen-song setlist offered a well-curated tour of their catalog, from their early days to their most recent releases.

One of the cleverest aspects of the show was Anderson's mix of rock concerts and classical music recitals. Before and between songs, he shared stories and context about their origins, which helped to deepen the audience's appreciation for the music. He also used video montages to create a visual accompaniment for each track, which added another layer of richness and complexity.

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Of course, no Jethro Tull concert would be complete without Anderson's signature flute solos. He dazzled the audience with his virtuosic playing, and his solos were often accompanied by elaborate dance moves reminiscent of his early days with a person as a Svengali pied piper.

While a few fans shouted their disappointment at the absence of well-known classic hits, the show still offered a satisfying overview of Jethro Tull's vast catalog. And while Anderson's vocals may have been a bit strained at times, his flute playing was still top-notch.

Overall, the Jethro Tull Seven Decades tour was a clever and optimistic celebration of the band's legacy. Anderson and the band showed that they still have something to offer fans of prog rock, and their music remains as timeless as ever.

Here are some specific examples of Anderson's cleverness on the tour:

• His use of video montages to create a visual accompaniment for each track was a brilliant way to enhance the audience's experience. For example, the montage for "Heavy Horses" featured images of Clydesdales plowing fields, perfectly capturing the song's pastoral imagery.
• His decision to mix rock concert and recital elements was genius. It allowed him to share his passion for music with the audience more personally. For example, his stories about each song's origins helped deepen the audience's appreciation for the music.
• His flute solos were simply breathtaking. He showed off his virtuosic skills with each performance, and elaborate dance moves often accompanied his solos.

Here is a clever way to think about the show despite its flaws:

• Imagine you are a prog rock fan waiting decades to see Jethro Tull live. You know that Anderson is no longer the spry young man he once was, and you may be worried that the show will be disappointing. But then you go to the concert and are blown away by Anderson's flute playing. You realize that even though he may not be able to hit the high notes like he used to, his playing is still full of passion and energy. And you leave the concert feeling grateful that you had the opportunity to see one of the greats of prog rock perform live.

The Jethro Tull Seven Decades tour is a reminder that even though bands may age, their music can still be timeless. And if you're a fan of prog rock, then you owe it to yourself to see Jethro Tull live at least once.

The inaugural day at BeachLife Ranch unfurled a tapestry of rustic, country charm, enveloping attendees in a warm, familial ambiance. The festival landscape metamorphosed into a luminous oasis, caressed by the gentle kisses of the sun, where cowboy hats dotted the scene and line dancing infused the air with ebullient vibrations. Nestled amidst this, a verdant main stage took pride of place, while another expansive stage, perched literally upon the beach, offered panoramic views of the majestic Redondo Beach harbor and breakwater, intertwining the euphony of the festival with the serene whispers of the ocean.

The festival unfurled its vibrant tapestry on Friday, September 22nd, initially welcoming modest gatherings across its expansive venue. However, as the clock ticked towards 3 p.m., the audience burgeoned exponentially, precisely timed with the first chords strummed by Rome & Duddy - the musical amalgamation of Rome Ramirez and Dirty Heads' Duddy. Their sound, a melodic weave of reggae, roots rock, and country, serenaded the crowd into a celebration of life’s finer moments. The duo artfully navigated through covers from legends like Willie Nelson and Bob Marley, even tipping a hat to Dirty Heads, with the crowd, now a sea of enthused voices, echoing every lyric in a harmonious reverie.

Throughout the day, solo artists graced the two intimate stages, serenading the audience with tuneful melodies and heartfelt performances. This included the enchanting Laci Kaye Booth from Texas, who captivated listeners with her melodious set, and the emotive New York singer-songwriter, Jay Nash, whose performance resonated deeply with attendees.

The main stage became a beacon of vibrant energy and poignant emotion as the Devon Allman Project, joined by Donavon Frankenreiter, celebrated the culmination of their audacious tour: a staggering fifty shows across fifty states in just forty-nine days. The ensemble delivered a dynamic mix of their original compositions and eclectic covers, crafting a set that was simultaneously a tempest of energy and a cascade of emotion, leaving the audience awash in the aftermath of their fervent performance.

The scene transitioned seamlessly into a sunset concert on the beach, where Bahamas’ effervescent melodies and ethereal guitar strands perfectly complemented the sandy stage, crafting a dreamlike departure from the mundane. The audience, caressed by gentle sea breezes, was effortlessly whisked away to a tropical utopia.

Subsequently, Shakey Graves, known offstage as Alejandro Rose-Garcia, claimed the Highlands stage in a solitary yet undeniably potent presence. Expertly finger-picking his hollow-body guitar and concurrently commanding a kick drum, he wove a rich tapestry of country, blues, folk, and rock and roll, crafting a sound that was as captivating as it was unique. Utilizing the entire catwalk that extended into the audience, his energy and charisma magnetically pulled in fans, creating an intimate connection amidst the vastness of the venue. Even as a backing band joined the tableau, it remained unequivocally evident that this was the Shakey Graves' spectacle, his aura pervading every note and interaction.

The Avett Brothers unleashed a torrent of punk-rockabilly vigor upon the Americana stage, their tunes embodying a fervor both passionate and soulful that palpably stirred the collective soul of the crowd. Their rendition of Harry Belafonte's "Jump In the Line" not only paid homage but also infused a fresh, dynamic energy into the classic, while their robust performance of "Head Full of Doubt/Road Full of Promise" reverberated with an invigorating and resounding spirit, etching an indelible memory into the canvas of the festival.

Jack Johnson crowned the evening, delivering a set that was a heartfelt journey through nostalgia and uplifting melodies. His opener, "Do You Remember," instantly transported many in the crowd back through a cascade of memories. Skillfully interweaving a blend of his timeless hits and contemporary creations, Johnson crafted a set that was both reminiscent and refreshingly new.

A delightful surprise awaited the audience as special guests Afie Jurvanen of Bahamas, Donavon Frankenreiter, and a close family friend joined him on stage. Together, they delved into covers like "Breakdown" and "Whole Wide World," and offered a whimsical performance of "A Pirate Looks at Forty" and "Willie Got Me Stoned and Stole All My Money."

Culminating the night, Johnson led a communal sing-along of "Better Together," creating a unified chorus of voices across the crowd, which resembled a fortuitous gathering that could easily grace a Hollywood reality show casting call. As he concluded his generous 21-song set, the audience, now infused with a sense of contentment and giddy joy, lingered in the resonating chords and communal spirit that permeated the night air.

Day 1 at BeachLife Ranch blossomed into an authentic celebration of music and unity, illuminated not only by a lineup that wove a rich, eclectic tapestry of sounds but also by a crowd radiating genuine warmth and spirited enthusiasm. The day transcended mere event status, morphing into a cherished memory sure to be revived in discussions and reflections for years to come. Adding a dash of unparalleled thrill to the day, Devon Allman & Donavon Frankenreiter punctuated the festivities with their audacious attainment of a world record, etching the event indelibly into the annals of musical and adventurous lore.

Al Stewart, accompanied by The Empty Pockets, recently illuminated the stage of the venerable Lobero Theatre in Santa Barbara, California, elegantly flanked by esteemed special guests, Peter White and Laurence Juber. The performance blossomed into a celebration, not only of Stewart's enduring classics but also of the enthralling guitar virtuosity, a melodic dialogue, masterfully crafted by the trio of musicians, resonating through the historic venue.

The Empty Pockets, a vibrant American blues-rock band hailing from Chicago, ignited the stage, opening the show with a spirited, 30-minute set pulsating with their signature music. Initially emerging as Josh & The Empty Pockets, they paid homage to a rock legend with a Buddy Holly Tribute album in 2007 and further enticed their fans with "Under the Bed" in 2008, which spotlighted Erika Brett in a duo of songs. Following Brett’s addition, the band embraced a new identity, rechristening themselves as The Empty Pockets. The quartet, during their performance, elegantly unfurled a tapestry of musical talent and exquisite vocal harmonies, capturing the audience in a melodious embrace.

The night shimmered with a distinctive aura at the historic Lobero Theatre, currently basking in the glow of its 150th-anniversary celebrations, having already been the stage for a myriad of unique musical renditions this year. Local resident Alan Parsons, the maestro behind some of Al Stewart’s initial hits, graced the backstage, mingling amidst a cadre of prominent musicians, adding an extra layer of prestige to the already-special evening.

Stewart inaugurated the show, serenading the audience with a soulful solo performance of “Sirens of Titan.” After enchanting the crowd with a few more solo melodies, Paul White made a surprise and fitting entrance, joining Stewart and The Empty Pockets for a rendition of "Time Passages." Their performance was both a nostalgic nod to the original and a vibrant infusion of fresh energy, aptly celebrated since White co-penned the hit song alongside Stewart.

Laurence Juber, renowned for his tenure with Paul McCartney's band Wings from 1978 to 1981, elegantly took the stage as the next special guest, engaging in a duet with Stewart on "Joe the Georgian." Juber's guitar solos, both soaring and soulful, emerged as a luminous highlight of the show, infusing Stewart's familiar melodies with a fresh, dynamic dimension that captivated the audience.

Chase Huna, the recent saxophonist addition to Stewart's band, made his debut appearance at the Lobero Theatre, weaving his soulful melodies into the tapestry of the band's sound. Huna's expressive playing introduced an additional layer of auditory richness, and he was warmly embraced as a welcome enhancement to the ensemble's lineup.

Stewart, along with the band, orchestrated a musical journey that traversed the entirety of his illustrious career. From early gems such as "The Palace of Versailles" and "Modern Times" to enduring classics like "Year of the Cat" and "One Stage Before," the ensemble's performance resonated with both precision and verve. Stewart's vocals, both timeless and evocative, were a testament to his enduring prowess.

For numerous fans, the crescendo of the show was undeniably the encore performance of "Year of the Cat." Stewart, White, and Juber gracefully exchanged solos, each artist providing a unique voice through their instrument, culminating in a climactic pinnacle that irresistibly swept the audience to their feet, immersed in a collective euphoria.

The Al Stewart concert at the Lobero Theatre unfurled as a magical evening, interweaving music with evocative storytelling. Stewart, backed by his band, crafted an impeccable rendition of his enduring classics. The presence of special guests infused an added layer of exhilaration to the musical tapestry. Whether you're an avid Al Stewart aficionado or simply someone who revels in sublime music, attending one of his performances is an experience I wholeheartedly endorse.

The BeachLife Ranch Festival, nestled in the scenic enclave of Redondo Beach, unfurled its second day against a backdrop that effortlessly mirrored a picture-perfect postcard celebrating the initial embrace of fall. With the Redondo harbor presenting an exquisite view, attendees were treated to a vibrant spectacle of numerous sailors and fishermen embarking upon their tranquil journeys into the placid waters of the Pacific on a sensuously sultry Saturday.

Following a pulsating inaugural day, anticipation permeated the air as enthusiasts eagerly awaited the unfolding of Day 2 at BeachLife Ranch 2023. The lineup, brimming with formidable artists, promised a day of unforgettable melodies and it effortlessly delivered, with a particular spotlight shining on electrifying rock guitar performances.

The day’s musical journey commenced with an eclectic mix of sounds as Joe Purdy, Reverend Peyton's Big Damn Band, The Brothers Comatose, Larkin Poe, and Keb' Mo' graced the stage. Each artist, offering their unique blend, from the heartwarming notes of folk and the soulful chords of blues to the rich, resonant harmonies of Americana, adeptly warmed up the audience, setting a vibrant tone for the festivities to follow.

Bathing beneath the blazing midday sun on Saturday, the Lowlands stage became a hub of energizing vibrations as it welcomed The Brothers Comatose. This exemplary bluegrass and a dash of punk ensemble, originating from the cultural tapestry of San Francisco, wholeheartedly embraced the luminous daylight, melding their contemporary flair seamlessly with classic Americana. Band leader and guitarist, Ben Morrison, deftly intertwined a series of playful banters with the audience, fostering an atmosphere rich with connection and buoyant spirit.

"I'm afraid this next song might make a few of you dislike us," he quipped humorously while introducing a new track. "But there's a line in the sand we have to draw on this one. We're from San Francisco, and we despise IPA!" With those words, they propelled into a whimsical, rapid-fire critique of costly craft beers, extolling the dependable and classic choices of PBR, Coors, and Modelo instead.

Larkin Poe graced the main stage early, captivating all with their electrifying presence. Recognized as one of the most exhilarating acts in contemporary rock 'n' roll, their artistry consistently leaves spectators spellbound. The Lovell sisters' rendition of "Hallelujah!" was nothing less than incendiary. With mastery over their Southern rock and blues-infused guitars, and the resonating sounds of the lap steel enveloping the air, they effortlessly fused the essence of country with the intensity of hard rock, etching an indelible mark on the audience.

"Blues is the heartbeat of our music," proclaimed lead singer Rebecca Lovell, tipping her hat to the iconic Screamin' Jay Hawkins. Her profound, blues-soaked baritone was a revelation in itself, seamlessly melding with the raw vigor that is quintessentially Larkin Poe.

The illustrious Keb’ Mo’, a maestro of the blues and a captivating storyteller, elegantly adorned the Beachlife Ranch festival, en route to the distinguished Crossroads Music Benefit where he was set to share the stage with iconic figures like Eric Clapton and Santana. This multifaceted artist stands as a paragon of genuine musicality. Beyond his collection of Grammy awards and an array of accolades, Keb' Mo' has imprinted his essence on the IMDB, portraying Robert Johnson in the 1998 documentary, "Can't You Hear the Wind Howl?" The film delves into the mystic world and tragically abbreviated life of the enigmatic blues artist. Johnson's profound delta blues influence subtly permeated through Keb’ Mo’s rendition of "Every Morning." Transitioning with smooth agility into a slide technique and rhythmic sway, he conjured an alluring illusion of two intertwining instruments, a brilliant testament to his guitar virtuosity.

Inherently, storytelling in the blues tradition is as integral as a 12-bar chord progression. "I adore the character in this song. His name is Junior. Junior is cool. Junior drinks a lot…” Keb’ Mo’ reflected on the protagonist of "I Remember You." The melody, steeped in Chicago-style blues, induced feet-tapping and head-bobbing amongst the audience. Although the ambiance wasn’t precisely akin to a traditional juke joint at the Birchmere, it teetered on the edge, radiating an indomitable spirit of blues and camaraderie throughout the venue.

Bathed in the gorgeous afternoon sunlight, Blackberry Smoke ignited the stage, unleashing a dynamic set that irresistibly propelled the crowd into a frenzy of dance and sing-alongs. The band, skillfully blending their signature hits with a selection of classic country covers, enveloped the audience in a vibrant musical journey. The melodies of "One Horse Town," "Six Ways to Sunday," and a lively rendition of "Hey Bartender" interweaved, creating a tapestry of both nostalgic and fresh auditory experiences for the enthusiastic festival-goers.

Next to captivate the BeachLife Ranch crowd was the return of Shooter Jennings' Revival. Jennings orchestrated a heartfelt tribute to his father, Waylon Jennings, and The Highwaymen, sharing the stage with a stellar lineup of special guests that included Sara Watkins, Cody Jinks, Charlie Starr of Blackberry Smoke, Amanda Shires, The White Buffalo, Joe Purdy, Robert Randolph, and more. This jam session, characterized by artists seamlessly exchanging verses and solos, emerged as a pinnacle of the day. Classic tunes like "Highwayman" and "Desperados Waiting for a Train" were lovingly reimagined, becoming the undoubted highlight of the day’s diverse musical escapade.

Wynonna Judd, beneath the gentle blanket of the evening sky, once more substantiated her status as a multi-faceted star performer. Her vibrant, high-energy set interwove a selection of her own chart-toppers with classic country melodies, enchanting the gathered spectators. At 59, the luminary of country rock pranced and beamed around the stage with the infectious enthusiasm of an exuberant teenager throughout her extended performance. Accompanied by a robust band of seasoned country rock virtuosos, the singer-songwriter and adept multi-instrumentalist fervently navigated through a set that enveloped numerous of her 19 number-one singles. Nearing the conclusion of her performance, Wynonna unfurled her extraordinary vocal spectrum, guiding her band through a spine-tingling rendition of Led Zeppelin’s “Black Dog.”

Wynonna Judd: Exuding boundless energy, Judd enraptured the audience with a diverse set that melded her unique hits and quintessential country tunes. She enveloped the crowd with melodies like "No One Else on Earth," "Love Can Build a Bridge," and "I'm Gonna Be Free." Moreover, she tenderly dedicated a song to her late sister, Naomi Judd, adding a touch of poignant emotion to her electrifying performance.

Following Wynonna, the legendary Doobie Brothers ascended to the stage, marking their monumental 50th-anniversary tour. Notably absent from this leg of the tour was founding singer and rhythm guitarist Tom Johnston, renowned for hits like "Listen to the Music" and "China Grove." Sidelined on doctor’s orders for back surgery recovery, he conveyed, "I hope for a speedy recovery and can't wait to get back on the road and continue doing what I love," through a prepared statement. Undeterred, the band pressed forward in his absence.

The Doobie Brothers delivered a set saturated with hits that spanned their celebrated career, treating fans to timeless classics such as "Takin' It To The Streets," "Listen To The Music," and "Long Train Runnin'," along with the beloved "China Grove." Intermingling within these well-known tracks were newer offerings, including the melodic "Don't Ya Dare Eve" and reflective "The World Is What You Make It," showcasing their ability to weave historical and contemporary sounds into a rich, harmonious tapestry of performance.

Outlaw country sensation Cody Jinks enveloped the night's finale, orchestrating a set that maintained the crowd in a fervent state of song and dance until the concluding note. His performance expertly melded his personal repertoire with classic country covers, creating a magnetic atmosphere that lingered throughout the evening.

Cody Jinks: The star artfully sealed the evening, sustaining an ambiance of unity as the crowd harmonized and danced unwaveringly through his final set. Jinks presented a harmonic blend of his original pieces and emblematic country covers, including melodic journeys like "Highways," "Musta Been Out of My Mind," and a tribute to the venerable "Merle Haggard," providing a resonant close to a vibrant night of music and revelry.

In reflection, Day 2 of BeachLife Ranch 2023 seamlessly melded a harmonious symphony of talent, enthusiasm, and eclectic musical tapestry, establishing itself as an unequivocal triumph. The lineup, meticulously curated, presented a wealth of skilled artists, each contributing a unique voice to the day’s melodious narrative. The crowd, not merely observers but active participants, pulsated with an electrifying enthusiasm, reciprocating every note with an engaged and vibrant energy.

The festival crafted a musical mosaic, an inclusive tableau that generously offered strands of country, whispers of Americana, and the defiant roars of rock and roll, ensuring every attendee discovered a melody that resonated with their own rhythmic spirit. More than just an assembly of performances, it was an orchestration of collective memories crafted beneath the open sky and along the soothing shores of the beach. Here, music and merriment weren’t simply observed but were lived, breathed, and felt from the sandy floors below to the expansive skies above, encapsulating a day where every melody, lyric, and dance step wove into the creation of an unforgettably harmonious escape at the heart of BeachLife Ranch 2023.

On September 24, 2023, Redondo Beach, California, resonated with a musical vibrancy that sealed a perfect weekend at the BeachLife Ranch Music Festival. The sunny backdrop, an electrified crowd, and an impeccable playlist promised an unforgettable day.

The festival gates swung open at noon and were promptly filled with eager attendees. Miles Miller opened the show with a robust 45-minute performance on the Highlands stage. As he strummed, the equally talented Amanda Shires graced the Lowlands stage, soon succeeded by the British songbird, Yola.

Amanda Shires, with her poignant vocals and evocative fiddle, soaked up the early afternoon sun with a riveting performance. Supported by a seasoned band of country rockers, she offered a mesmerizing medley from her seven solo studio albums. Once a collaborator to ex-husband Jason Isbell and a member of the famed supergroup, the Highwomen, Shires' solo magic has been carving out its own space, and her set that day was a testament to her artistry.

Meanwhile, Yola's performance was nothing short of a revelation. Hailing from Bristol, England, her soulful Americana tunes from her albums, including "Stand For Myself," mesmerized the crowd. Her vocal prowess, which ranges from gentle whispers to powerful roars, was brilliantly complemented by her stellar backing band, adding zesty flavors to each song.

The legendary Marshall Tucker Band later erupted onto the stage with their classic Southern rock anthems, magnetizing an even larger wave of fans.

As the sun painted the sky with hues of orange, the iconic Chris Isaak graced the festival with his hauntingly beautiful voice. His charisma, combined with classics like "Wicked Game" and "Baby Did a Bad Bad Thing," kept the audience spellbound. The cherry on top? Isaak dazzling in his signature mirror ball suit, shimmering under the Californian sun.

Parmalee added a dollop of romance in the late afternoon. Their sentimental favorites made hearts flutter while their renditions of “Mr. Brightside” and “Drops of Jupiter” were crowd-pleasers. Their touching backstory involving a supportive mother and their triumphant tune “Carolina” added depth to their set.

As twilight approached, Midland cast a spell with authentic country tunes, drawing from their rich discography, ensuring the audience swayed to every beat.

Finally, headliner Brad Paisley, the titan of country music, took the reins. A cascade of hits ensued, and the crowd's jubilation peaked when Paisley brought out Chris Isaak and the Marshall Tucker Band for some spirited duets. The night culminated with "Alcohol," leaving the crowd intoxicated with euphoria.

But BeachLife Ranch wasn't just about the music. It was a sensory carnival with art installations, scrumptious bites, drinks, games, and more. Thanks to a fantastic crew, the festival was a smooth sail, making it a can't-miss affair for country and Americana aficionados.

In essence, the BeachLife Ranch Festival 2023 was more than a musical event; it was an experience, a memory, and an anthem of joy, echoing long after the final note had died down.

Concertgoers at the Chumash Casino Resort on September 29 were treated to an electrifying performance by the legendary band Foreigner despite the absence of any original members. Yet, the absence of the original lineup was scarcely noticed as the band's current iteration proved their mettle with a stellar show that would rival any with the founding members. Frontman Kelly Hansen, exuding kinetic energy reminiscent of classic rock frontmen, breathed new life into Foreigner's iconic repertoire, delivering hit after hit with an enthusiasm that belied any hint of irony.

The concert opened with an energetic rendition of classics like "Double Vision," "Head Games," "Cold as Ice," and "Waiting for a Girl Like You," all performed with impeccable precision and a genuine dedication to staying true to the original sound. In the passionate lead singer role, Hansen effectively captured the essence of Foreigner's early days while infusing the performance with his vibrant personality, winning over the audience with his charismatic stage presence.

Adding to the ensemble's rock credibility was bassist Jeff Pilson, a founding member of the '80s metal icons Dokken. Pilson, despite performing while seated due to a recent injury involving a ladder and a chicken coop, underscored the caliber of talent on stage with his contributions. Despite the notable absence of original members, the band members demonstrated their rock prowess, leaving little doubt about their status as seasoned musicians.

The live rendition of the songs allowed for a deeper appreciation of the band's musical finesse, revealing subtle nods to Queen-esque melodrama in tracks like "Blue Morning, Blue Day" and a nuanced exploration of contrasting moods in "Feels like the First Time." Notably, the iconic saxophone solos were substituted by a synth, delivering a unique twist to the beloved classics.

As the concert reached its climax, the band's heartfelt rendition of the power ballad "I Want to Know What Love Is" was made even more poignant by including a small choir, stirring deep emotions within the audience. Ending exuberantly, "Hot Blooded" brought the night to a feverish close, leaving the crowd exhilarated and thoroughly entertained. Despite the absence of original members, Foreigner's timeless music and the band's stellar performance proved that their legacy continues to resonate with audiences, transcending time and lineup changes.

Check out more photos from the show.

Set amidst the sun-baked plains of Indio, California from October 6-8, 2023, the Power Trip music festival was a colossal three-day event that showcased the indomitable spirit and sound of rock and metal. Indio, which has been the coveted ground for celebrated festivals like Coachella and Stagecoach, saw yet another spectacular congregation of music enthusiasts with a lineup that boasted of legendary names such as AC/DC, Judas Priest, Metallica, Tool, Iron Maiden, and Guns N' Roses.

Every day, about 80,000 attendees from various parts of the world faced the sweltering heat, inevitable traffic jams, and lengthy queues, often under a shroud of dust kicked up by the countless footsteps. The scorching days carried the threat of the infamous "Coachella flu", attributed to the dust and intense conditions, but as the sun dipped below the horizon, the festival ground transformed into a breezy oasis illuminated by stunning sunsets and twinkling stars.

Each evening was marked by two major acts, taking over the sprawling stage space equipped with mammoth multimedia screens and a state-of-the-art sound system that ensured even those at the farthest end felt every beat and note.

Iron Maiden, known for their theatrical performances, were the first to take the stage. They began with a slight hiccup, apologizing for a delay, but what followed was a stellar two-hour set. They seamlessly blended tracks from their latest album "Senjutsu" with gems from their 1986 classic "Somewhere in Time". While a section of the audience might have missed some of the band’s iconic hits, Maiden’s performance was a testament to their continued relevance in the world of metal.

Guns N’ Roses followed suit, albeit maintaining their notorious reputation for not being the most punctual. Their 25-minute delay was soon forgotten as they launched into a nearly three-hour musical marathon. Making their way back to Indio for the first time since their memorable 2016 Coachella act, the setlist was an amalgamation of their timeless hits sprinkled with tracks from "Chinese Democracy". Although impeccably professional, the performance somewhat missed a defining moment or a unique touch to make it stand apart.

The second day was crackling with palpable anticipation, especially given AC/DC's impending performance after a gap of almost eight years. Before their act, Judas Priest – who stepped in for Ozzy Osbourne – unleashed a powerful and impeccable set. Their performance was a clarion call announcing their return, coupled with news of a brand-new album on the horizon. However, one noticeable miss was the absence of a tribute to the ailing Ozzy Osbourne, especially from a band of Judas Priest's stature.

When AC/DC took over, they were nothing short of electrifying. Their seven-year absence seemed to have no rust or wear on their performance. Classics from their extensive repertoire blended harmoniously with newer tracks from their 2020 release "Power Up", reminding everyone why they're hailed as rock legends.

Day 3 saw a surge in visitors at the AC/DC pop-up bar, a cleverly designed space where fans could quench their thirst. This day had its own highlight when Angus Young made an unexpected appearance, endorsing the band's foray into the world of whiskey with their own brand.

Tool, being the relatively youngest group performing at this festival, added a refreshing yet intense flavor to the mix. Their set, characterized by haunting melodies, moody progressions, and a distinctive anti-rockstar vibe, set them apart. Their intricate visuals and the sheer intensity of their performance proved why they can stand shoulder to shoulder with the rock behemoths.

The festival's final notes were belted out by none other than Metallica. Their set was a roller-coaster ride traversing their massive discography, touching upon their initial days and cruising through to their latest tour promoting "72 Seasons". Hits like "For Whom the Bell Tolls", "Orion", and "Fuel" left the audience gasping for more.

As the final riffs of "Master Of Puppets" faded, Metallica's unforgettable performance brought the curtain down on Power Trip 2023, ensuring that it would be etched in the memories of all those who were a part of this musical journey.

On the crisp evening of October 16th, the Vina Robles Amphitheatre in Paso Robles became a melting pot for two generations of EMO music aficionados. The air was thick with nostalgia, reminiscent of the iconic Warped Tour days. The electric atmosphere intensified as legendary bands The Used and Sleeping with Sirens graced the stage, promising an unforgettable double bill.

Opening the show, Dead Americans flawlessly set the stage. Their dynamic performance ignited the audience's enthusiasm, and it was clear that vocalist Cove Reber, along with the rest of the band, made a significant impact on the younger millennials in attendance, channeling that quintessential Warped Tour ambiance.

Sleeping with Sirens, renowned for their consistent relevance in today's music landscape, delivered a performance that beautifully captured their musical evolution. Their fusion of pop-rock and post-hardcore elements was both polished and spirited, captivating everyone present. Kellin Quinn's distinct vocals, accompanied by the band's impeccable instrumentation, touched the crowd deeply, especially during their chart-toppers "Kick Me" and "If You Can't Hang.” The enthusiastic roars and cheers from the younger fans punctuated the performance.

On the other hand, The Used offered a raw, unfiltered glimpse into their storied career. Notably, an older, yet equally passionate section of the audience gathered at the forefront. As an impressive backdrop unveiled the band, they burst into action. Bert McCracken, their frontman, shared moving tales of battling sobriety, depression, and anxiety. These powerful narratives added depth to the concert experience. Although there were minor vocal hitches, McCracken's undeniable charisma and fervor took center stage, further amplified by a breathtaking stage setup dotted with a myriad of flowers.

As the evening unfurled, it became a grand celebration of the genre, tracing its journey and transformation. The seamless blend of The Used's timeless tracks like "Box of Sharp Objects" and "Taste of Ink" with the poignant rendition of "Under Pressure" underlined their indelible mark on EMO music. This union of 2000s stalwarts and the 2010s dynamo was a poignant nod to the genre's storied legacy.

In essence, this concert was a tribute to EMO music's tenacity and timeless charm. Even as attendees craved more moments with both bands, the evening wrapped up on an uplifting note. Fans departed with hearts full, feeling both a sense of contentment and a wistful longing for the genre's heyday.

The Wallflowers delivered an extraordinary and intimate concert at the Lobero Theatre in Santa Barbara on October 17th, marking a highlight in this year’s 150th-anniversary celebration. Led by frontman Jakob Dylan, the band took to the stage on a Tuesday night before a sold-out crowd. Known for their rootsy rock sound and catchy melodies, The Wallflowers performed a setlist spanning their entire career—from early hits like "One Headlight" and "6th Avenue Heartache" to recent material.

With about 30 years of musical exploration under their belt and a rotating tribe of talented musicians backing lead singer-songwriter Jakob Dylan, The Wallflowers exuded a familiar yet multifaceted resonance, reminiscent of their 1990s alt-rock origins. Their performance at the Lobero, characterized by a fusion of folk, roots, and contemporary sounds, echoed the narrative complexity of cherished tracks like "Three Marlenas" from 1996, captivating the audience.

The energetic ensemble featured new members Stanton Edward on guitar, Aaron Embry on keyboards, Mark Stepro on drums, and Whynot Jansveld on bass. They harmoniously complemented Dylan's evocative vocals, along with original member Ben Peeler on slide guitar and other instruments. The set intertwined timeless favorites such as "Move the River" and "Sleepwalker" with introspective pieces from their latest album, "Exit Wounds," including "I Hear The Ocean (When I Wanna Hear Trains)" and "Roots and Wings." The band garnered an enthusiastic response from the Santa Barbara crowd, their infectious energy prompting the audience to their feet, swaying throughout the performance. Even Jakob Dylan seemed pleasantly surprised, humorously remarking, "I've been here before; I thought you'd be sitting down all night."

From the melancholy strains of "One Headlight" to the pulsating rhythms of "When You're on Top," the evening unfolded as a testament to the band's enduring musical prowess. Dylan's humble appreciation for the audience's enthusiasm was evident as he engaged with fans, shaking hands and exchanging fist bumps, while acknowledging, "I'm not a big talker, but you guys are fantastic."

The night reached a crescendo with a spirited encore of Tom Petty covers, including renditions of "American Girl" and "The Waiting," and concluded with another '90s hit, "The Difference." The performance left the audience eagerly anticipating the next chapter in the musical journey of Jakob Dylan and The Wallflowers.

On October 23, 2023, the Vina Robles Amphitheatre in Paso Robles, California, came alive as the renowned shock rocker Alice Cooper took the stage during a break from his Freaks on Parade tour with Rob Zombie. The 75-year-old Cooper's performance was a testament to his enduring prowess as an entertainer, featuring a newly designed stage with tastefully integrated video screens that enhanced the overall experience without overwhelming it. He was accompanied by a stellar band, each member of which demonstrated their brilliance, adding captivating energy to the concert.

The band's musical director, Tommy Henriksen, showcased his multifaceted talents, seamlessly alternating between guitar solos and vocals. Ryan Roxie, with his distinct 70s-style guitar playing, complemented Henriksen's performance, while Chuck Garric's impressive bass skills—honed through collaborations with various esteemed artists—contributed to the band's exceptional chemistry. Nita Strauss, recognized for her instrumental prowess, seamlessly blended her guitar skills into the ensemble, adding an extra layer to the band's signature sound.

As the crowd erupted in applause, Alice Cooper, embodying his signature vaudevillian and shock rock persona, belted out a high-energy set comprising his greatest hits. The diverse setlist included classics like "Eighteen," "Under My Wheels," "Poison," and "School's Out," as well as tracks like "Only Women Bleed," "Elected," "Snake Bite," "Lost in America," and "Cold Ethyl," injecting fresh excitement into the concert and delighting his dedicated fan base.

Cooper brought his bag of tricks along, including his infamous guillotine, straight jacket, and his latest pet snake, which Strauss bravely kissed as it wrapped tightly around Cooper.

Behind the scenes, esteemed drummer Glen Sobel's virtuosity laid the rhythmic foundation for the concert, solidifying his reputation as a musician's musician. His subtle yet impactful nuances added a unique flair to the band's timeless classics.

Additionally, Alice's wife, Sheryl Cooper, played an indispensable role in the show's narrative. She graced the stage in elaborate costumes, captivating the audience with her expressive dance moves and stage presence.

In essence, the concert at Vina Robles Amphitheatre was more than just a performance; it was a collaborative showcase of exceptional talent and artistry. Each ensemble member, not least the unmissable Sheryl Cooper, played a vital role in creating an immersive and unforgettable experience for the audience.

Devo, the trailblazing new wave ensemble, marked an electrifying culmination to their five-decade journey at the YouTube Theater in Los Angeles, enchanting the audience with their final bow on November 16, 2023. The concert was not just a performance but a vibrant homage to their illustrious career, replete with seminal tracks such as "Whip It," "Girl U Want," and "Freedom of Choice." As they neared the end of their U.S. tour, with only the Darker Waves music festival in Huntington Beach remaining, the band exuded an air of celebration rather than goodbye, hinting at possible future escapades as suggested by lead vocalist Mark Mothersbaugh's recent musings.

The evening resonated with Devo's quintessential verve. Mothersbaugh's vocal prowess was met with the band's seamless synergy, conjuring an auditory experience that was both nostalgic and fresh. The concert's aesthetics were a feast for the senses, a kaleidoscope of Devo's idiosyncratic energy and wry humor. Their emblematic yellow jumpsuits and red energy dome hats were more than a mere spectacle; they were a nod to the band's origin story, deeply rooted in the societal aftershocks of the Kent State shootings—a narrative as provocative as it is poignant.

The setlist was a curated anthology of Devo's musical saga, opening with the resonant "Don't Shoot (I'm a Man)" and culminating with the poetic "Beautiful World." The audience was treated to a treasure trove of classics like "Peek-A-Boo!" and "That's Good," as well as their unique renditions of "(I Can't Get No) Satisfaction" by The Rolling Stones and "Secret Agent Man" by P.F. Sloan.

This farewell tour served as a testament to Devo's enduring influence and their contribution to shaping the landscapes of new wave and punk rock. Their music, always laced with keen intellect, satirical wit, and incisive social critique, remains a cornerstone in the history of modern music history. For both die-hard aficionados and those new to the fold, this tour is an unmissable opportunity to witness a band that has become synonymous with the innovation and spirit of an era. The energy of the night lingered in the air, a mixture of nostalgia and the thrill of having been part of something truly historic. Devo's parting was a testament to their legacy – a legacy that will inspire, challenge, and entertain for many years to come.

On a brisk Friday evening, November 17th, 2023, the Lobero Theatre in Santa Barbara, California, was enlivened with the spirit of progressive rock. Steve Hackett, the iconic former lead guitarist of Genesis (1971-1977), graced the stage, culminating his six-week U.S. tour with a performance that underscored his timeless musical genius and the lasting impact of his rich, complex compositions.

Since 2017, Hackett's current touring ensemble has fine-tuned their musical rapport to an exceptional level of precision. Drummer Craig Blundell, a recent addition, infused the performance with dynamic, propulsive rhythms, while bassist Jonas Reingold's expert playing provided a robust foundation for the group's sonic journey.

Roger King, a long-time collaborator and keyboard maestro, expertly maneuvered through a diverse range of sounds, from the nostalgic warmth of vintage analogs to grandiose symphonic expanses. His flawless integration, especially in complex segments, showcased his profound grasp of Hackett's musical vision.

Rob Townsend, a virtuoso on woodwinds, fluidly switched among instruments like the flute, soprano and tenor saxophones, and penny whistle. His performances, ranging from subtle to explosive, added rich textures and emotional depth to the ensemble's sound.

Nad Sylvan, the band's vocalist, commanded the stage with his magnetic presence and robust voice, evoking the spirits of Peter Gabriel and Phil Collins. His versatile and vibrant renditions brought depth and resonance to the lyrics, energizing the classics with new life.

The concert unfolded in two sets: the first spotlighting Hackett's solo work and the second celebrating his time with Genesis. Opening with "Ace of Wands" from his 1975 debut, "Voyage of the Acolyte," the show kicked off with a display of intricate guitar skills and an infectious melody. The first set resonated with a jazz-rock vibe, reminiscent of Weather Report's experimental brilliance.

Standouts included "The Steppes," a soaring instrumental, and "Every Day," an anthemic number that deeply connected with the audience. The set concluded with "Shadow of the Hierophant," a dark, tension-filled piece highlighting the band's mastery of mood and crescendo.

Post-intermission, the band returned with Genesis's "Watcher of the Skies," leading into a second set that revived treasured memories for many in the audience. This portion featured an exquisite rendition of "Foxtrot," with memorable moments like the playful "Get 'Em Out by Friday," the haunting "Can-Utility and the Coastliners," and the stunning solo in "Horizons."

The climax was "Supper's Ready," a 20-minute saga that showcased Hackett's soaring guitar, Sylvan's emotive vocals, and the band's cohesive dynamism, creating an immersive musical journey.

The encore brought the crowd to its feet with "Firth of Fifth" and a powerful drum solo leading into "Los Endos." As the final notes resonated, the audience's thunderous applause reflected the unforgettable impact of the night. Steve Hackett and his extraordinary band not only revisited a golden era of music but also left a lasting impression on the Santa Barbara crowd.

The historic Lobero Theatre in Santa Barbara celebrated its 150th anniversary with an exceptional performance on November 18th. Master songwriter Bruce Cockburn captivated the audience with a wide array of his hit songs, marking yet another remarkable event at this venue. The concert began with an exquisite opening act by Steve Postell, who showcased his multifaceted talents in singing, guitar playing, and songwriting. As a seasoned session musician familiar with the Lobero stage, Postell has performed there recently as part of the core band in a tribute concert to David Crosby, and with his long-standing band of fellow veteran session musicians, The Immediate Family. They are set to return to the Lobero after the New Year on February 14th. In his intimate solo set, Postell presented his songs with heartfelt introductions, offering a deeply personal touch to each piece. This set the stage perfectly for songwriting icon Bruce Cockburn. Postell, describing his relationship with Cockburn as both a friend and principal mentor, paved the way for the master to captivate the audience next.

As Bruce Cockburn's encore faded in the Lobero Theater, a profound sense of awe and respect permeated the air. The 78-year-old Canadian folk icon had just concluded a mesmerizing performance, defying both age and physical constraints, and demonstrating that true artistry transcends both time and circumstance.

Cockburn, taking center stage, presented a figure of quiet resilience; his lean frame bent over his guitar, with a leg thoughtfully propped on a suitcase for support. His experienced hands moved with precision across the guitar strings, eliciting both delicate and powerful melodies. Despite any physical challenges, Cockburn's spirit shone brilliantly. His voice, rich and full-bodied, carried the wisdom and depth that comes with years of life and musical experience.

His setlist was a masterful blend of beloved classics and fresh compositions, showcasing a career that spans over five decades. He opened with several tracks from his latest album, "O Sun O Moon," each song standing as a testament to his undiminished songwriting skill. These compositions, rich in poetic imagery and captivating melodies, highlighted Cockburn's enduring talent as a musician and storyteller.

As the evening unfolded, Bruce Cockburn journeyed through his extensive back catalog, breathing new life into some of his most cherished songs. Classics like "Wondering Where the Lions Are," "Going to the Country," and "Stolen Land" resonated through the theater. The audience, visibly moved, sang along with gusto, their voices blending with Cockburn's in a harmonious tapestry of shared nostalgia and emotion.

Cockburn's interactions with the audience were as enriching as his musical performances. His stage banter revealed the depth of his intellect and commitment to social causes. He spoke with eloquence about his activism, skillfully weaving the themes of his music with his dedication to social justice. Additionally, Cockburn's personal stories added a layer of intimacy to the evening, offering the audience a window into his life experiences and the creative forces driving his artistry.

In a moment of profound poignancy, Bruce Cockburn performed "Lovers in a Dangerous Time," a song that has deeply resonated with audiences for decades. His movements, slow and deliberate, especially while playing the hammer dulcimer, reflected his physical constraints. Despite this, Cockburn's voice soared magnificently, imbued with the enduring passion and conviction that have always been hallmarks of his performances. The contrast between his careful instrumentals and the powerful surge of his vocals created a deeply moving experience, illustrating the timeless impact of his music.

For the encore, Bruce Cockburn welcomed Steve Postell, his opening act, back to the stage. Together, they performed a selection of songs, their voices merging in a harmonious and inviting blend. This collaboration created a warm, engaging atmosphere, captivating the audience. The response was overwhelming, as the crowd erupted into thunderous applause, deeply moved by the performance.

As the final notes dissipated, a wave of gratitude swept through the audience. They had just experienced the artistry of a true musical legend – a man whose spirit and talent have remained untouched by the passage of time. Bruce Cockburn's concert served as a poignant reminder that true artistry is eternal, able to overcome physical barriers and resonate deeply with the human spirit.

On December 1, 2023, the Ventura Theater played host to a musical extravaganza. Brit Floyd, hailed as the world's premier Pink Floyd tribute band, unveiled their '50 Years of Dark Side Tour' to a rapturous, sold-out crowd. This tour, a sweeping journey across North America encompassing 100 shows, had its grand finale in Ventura, graced by a prestigious audience that included Alan Parsons, the iconic sound engineer of 'Dark Side of the Moon.'

Brit Floyd's performance was a tour de force of musical mastery. With a profound commitment to replicating the quintessential spirit and vigor of Pink Floyd's oeuvre, every note and stage design element resonated with authenticity. Leading the ensemble was Damian Darlington, the group's virtuoso guitarist, vocalist, and musical director, whose flawless artistry and fervent expression were paramount. He was ably supported by an ensemble of exceptional musicians, including Ian Cattell, Edo Scordo, Matt Riddle, Arran Ahmun, Ryan Saranich, Randy Cooke, Eva Avila, Genevieve Little, and Chess Galea, each contributing to a symphonic tapestry of sound.

The tour's refreshed setlist was a standout feature, weaving together a tapestry of Pink Floyd's timeless classics and underappreciated treasures. The unexpected inclusion of tracks like 'Not Now John,' 'See Emily Play,' and 'Yet Another Movie' offered a novel and exhilarating experience for even the most ardent Pink Floyd aficionados.

Enhanced by a spellbinding new laser light display, enthralling graphics, and a hypnotic disco ball, Brit Floyd succeeded in crafting a fully immersive experience. This spectacle harkened back to the zenith of progressive rock. Their impeccable renditions of seminal tracks like 'Brain Damage,' 'Eclipse,' and 'Us and Them' demonstrated the undiminished relevance and appeal of 'Dark Side of the Moon's' music, even after five decades.

The atmosphere inside Ventura Theater was electrifying, charged with energy as Brit Floyd orchestrated crowd singalongs to beloved anthems such as 'High Hopes,' 'Comfortably Numb,' and 'Run Like Hell.' The audience's fervent participation was a testament to the band's profound ability to forge deep emotional connections.

The night was further elevated by the presence of special guests, adding layers of authenticity and richness to an already stellar performance. The audience was treated to appearances by Pink Floyd veteran vocalist Durga McBroom, the remarkable saxophonist Scott Page, Roger Waters' son Harry Waters on piano and Hammond organ, and PJ Olsson, lead vocalist of the Alan Parsons Live Project.

Damian Darlington shared his exhilaration about the Ventura concert, emphasizing the extraordinary significance of having Alan Parsons, the original sound engineer behind 'Dark Side of the Moon,' in the audience. This rare occurrence added an extra layer of historical and emotional depth to the evening.

Since their formation in 2011, Brit Floyd has consistently set the bar high with their stellar performances, mesmerizing fans across the globe. Their unwavering commitment to detail and reverence for Pink Floyd's legacy is palpable in every facet of their production. The Ventura show, a magnificent conclusion to their 2023 tour, left an indelible mark on the fans, celebrating the timeless legacy of Pink Floyd's music in a manner both grandiose and intimate.

Nestled in the heart of Santa Barbara, California, the historic Lobero Theatre stands as a testament to over 150 years of captivating audiences. Renowned for its rich history and commitment to showcasing exceptional talent, the Lobero Theatre has become a cultural landmark in the region. An unforgettable performance graced its stage on December 11, 2023, when legendary Puerto Rican singer-songwriter and musician José Feliciano illuminated the venue with his extraordinary talent, further solidifying his status as a musical icon.

Feliciano, a versatile maestro, brought the Lobero Theatre alive that Sunday evening. Though he's widely celebrated for his holiday classic "Feliz Navidad" and the iconic Doors cover "Light My Fire," Feliciano's artistry extends far beyond these renowned tunes. Throughout the night, he masterfully blended Latin rhythms, jazzy improvisations, soulful crooning, and rock and roll energy, creating a rich tapestry of sound steeped in history and passion.

Humility and humor were his constant companions on stage. Between songs, he shared anecdotes from his six-decade career, each a testament to his enduring love for music. His infectious laughter filled the air, drawing the audience deeper into a world rich in music and memories. Feliciano was joined by an exceptional five-piece backing band, which included two of his sons on bass and drums.

Feliciano's mastery of the acoustic guitar was a highlight of the night. Each note leapt from the strings, alive with his distinctive timbre and the richness of a lifetime's experience. From the gentle sway of boleros to the driving pulse of blues, his guitar became an extension of himself, painting vivid sonic portraits with every touch. Demonstrating his versatility, Feliciano also ventured into rock rhythms on an electric guitar, delivering a blues-drenched rendition of BB King’s “The Thrill is Gone” and a wailing lead on Santana’s “Oye cómo va.”

The concert was a masterclass in musical storytelling. Feliciano's music transcended language, reaching hearts with the universal language of emotion. His voice, weathered yet brimming with life, wove tales of love and loss, joy and sorrow, leaving the audience spellbound.

Born in 1945, José Feliciano has become an internationally recognized artist, adept in various musical styles. His breakthrough came in 1968 with the album "Feliciano!", catapulting him to stardom. Over five decades, he has captivated audiences with his soulful voice and unparalleled guitar skills, earning numerous accolades, including multiple Grammy Awards.

The Lobero Theatre, on East Canon Perdido Street, holds a special place in the hearts of both Santa Barbara residents and visitors. It is the oldest continuously operating theatre in California and the fourth oldest in the United States. Stepping into the Lobero is like traveling back in time; the theater exudes a charm and elegance that hark back to its 19th-century origins. Its intimate setting and superb acoustics make it a favorite among performers and audiences.

On that magical evening of December 11, 2023, the Lobero Theatre buzzed with anticipation. The holiday spirit was palpable as the audience eagerly awaited José Feliciano's performance. As the lights dimmed and the curtains rose, Feliciano and his band took the stage, ready to deliver a night of musical brilliance.

Feliciano's setlist was a carefully curated selection from his extensive discography, spanning genres and highlighting his versatility. The audience enjoyed classics like "Feliz Navidad" and "Light My Fire," as well as lesser-known gems that showcased his songwriting prowess. Each song was infused with his signature blend of Latin, jazz, and pop elements, creating a captivating sound.

One of the defining features of José Feliciano's artistry is his soul-stirring voice. From the first note, the audience was transported into a world of emotion and beauty. His voice carries a depth and warmth that resonates across generations, infusing each lyric with heartfelt emotion and impeccable phrasing. It was a testament to the enduring power and connection of his voice.

The concert by José Feliciano at the Lobero Theatre on December 11, 2023, was an unforgettable night of pure musical brilliance. His soul-stirring voice, virtuosic guitar playing, and undeniable stage presence left an indelible mark on the audience. The Lobero Theatre, with its historic charm and impeccable acoustics, provided the perfect backdrop for this extraordinary performance, a night that celebrated the unifying power of music and solidified José Feliciano's status as a true musical icon.

On Thursday, January 11th, the Shrine Expo Hall in Los Angeles was transformed into a treasure trove of rock and roll, pop culture, and American history. The occasion was a special one-day exhibition of the collection of Jim Irsay, owner of the N.F.L.'s Indianapolis Colts and a passionate collector of music memorabilia, American pop culture, and historical artifacts.

The exhibition featured a mind-boggling array of items, from the 1969 Fender Mustang guitar that Kurt Cobain played in Nirvana's "Smells Like Teen Spirit" video to the original manuscript of Jack Kerouac's "On The Road." However, the exhibition's most unique aspect was how Irsay used his collection to bring music history to life.

The aging venue, steeped in its own fascinating history, was an exciting choice for the event. Once the crown jewel of Los Angeles entertainment, the world-renowned Shrine Auditorium reigned as the largest indoor auditorium in the world when it opened in 1906 (rising again from the ashes of a 1920 fire). Architects John C. Austin and Abram M. Edelman infused the building with the Moorish heritage of the Masons, while noted theater architect G. Albert Lansburgh crafted the stunning interiors. Boasting nearly 6,500 seats and the continent's largest proscenium stage, the Shrine was the glamorous backdrop for Hollywood's grandest nights, hosting long reigns of the Oscars and Emmys. In 1947, the first Academy Awards dazzled its stage, while the Emmys followed suit, calling the Shrine home for a decade (1997-2007).

However, the new millennium saw the spotlight shift. Newer venues emerged, and the Shrine found itself outshone. Yet, its legacy endures. Today, it remains a cornerstone of Los Angeles events, welcoming diverse performances and exhibitions. It also fulfills its original purpose as the North American headquarters for the Al Malaikah Temple, a mystical branch of Freemasonry. It was the perfect backdrop for presenting Irsay’s collection, a mini traveling Smithsonian Museum of Americana. But the night of spectacular entertainment featured more than just the exhibition.

One of the highlights of the evening was a performance by Irsay's all-star band, featuring musicians who have played with some of the biggest names in rock and roll. After a few hours of fans browsing the exhibition, the band took the stage, and they did not disappoint.

The event was free, but guests were asked to donate to Kicking The Stigma, an initiative to raise awareness about mental health, when they registered. The charity concert was off to a roaring start despite some last-minute hiccups. Jim Irsay, the band's usual guitarist, had to bow out due to illness, along with guest star Stephen Stills. But the show must go on, and Kenny Wayne Shepherd led the all-star band, which included bassist Mike Mills of R.E.M., blazing guitarist Tom Bukovic, session legend Kenny Aronoff on drums, and some of John Mellencamp's crack band members, among others. The original 28-song setlist was pared down to 23, probably due to the absence of Irsay and Stills, but still stretched over several hours of nonstop music.

Shepherd kicked things off with a solo set, his gravelly vocals and heartfelt lyrics filling the air. Then, a surprise guest materialized: blues icon Buddy Guy. Looking sharp in his signature dapper overalls and a polka-dotted white shirt with French cuffs, Buddy swaggered onto the stage, guitar in hand. The crowd erupted in cheers as he launched into three soulful blues numbers, including the instantly recognizable "Damn Right, I've Got the Blues." Buddy's electrifying performance was just the beginning of a star-studded evening.

After Buddy Guy triumphantly left the stage, Shepherd resumed lead vocal duties with his tune, "Blue on Black." Then Mike Mills took over vocal duties with a R.E.M. cover of "(Don't Go Back to) Rockville," followed by a cover of R.E.M.'s hit “Superman,” which was originally a B-side hit for The Clique, a late-1960s American sunshine pop band from Austin, Texas.

The next tune saw several surprises, including a lead vocal spot by actor Danny Nucci. Jim Irsay's guitar collection isn't just a museum of musical relics; it's a vibrant testament to the power of music to inspire and connect. Within the Shrine Auditorium, amidst glittering display cases housing rock royalty's instruments, one absence spoke volumes about Irsay's unique vision.

Gone was David Gilmour's famed Black Strat, the 1970 Fender that captivated audiences on Pink Floyd's greatest albums. Purchased by Irsay for a record-breaking $4 million in 2019, it was more than just a collector's item; it was a living piece of musical history.

But just because it wasn't on display didn't mean it was silenced. The Black Strat roared to life on the Shrine's stage, wielded by Kenny Wayne Shepherd, leading Irsay's all-star touring band. The energy crackled as fans witnessed iconic instruments not just admired but played, their music filling the air with the spirit of legends past and present.

"With these instruments," declared Shepherd, the band's conductor for the night, "you can buy something like the Mona Lisa, and all you can do is hang it on the wall and look at it. But these? You can take them down and still make art with them."

And art they proceeded to make. Pink Floyd's "Have A Cigar" pulsated with life, actor-musician Danny Nucci channeling Roger Waters' growl. "Comfortably Numb" soared, its haunting melody shared by R.E.M.'s Mike Mills and Tom Bukovic, their voices intertwining like Gilmour and David Wright. But the true star was the Black Strat, its ebony body resonating with Shepherd's masterful touch, each note a shimmering echo of countless stadium anthems and midnight jams.

In Irsay's hands, his collection becomes more than a museum; it's a musical bridge, connecting generations of artists and fans through the shared language of rock. The missing piece wasn't a gap but a promise – a reminder that the music's soul lives not just in its history but in the hands of those who dare to keep it alive.

Throughout the night, a who's who of music royalty took the stage, including guest spots by Heart's Ann Wilson, J. Geils Band frontman Peter Wolf, and Z.Z. Top’s Billy Gibbons.

One of the night's most memorable moments came when Ann Wilson of Heart took the stage to deliver powerful renditions of The Who's "Love Reign o'er Me" and her band's "Barracuda." Wilson's soaring vocals perfectly matched the band's driving sound, and the crowd erupted in cheers.

Then, the night became energized as two master frontmen took over lead vocals and cheerleading duties. The room thrummed with an electricity that only classic rock legends can conjure. Kevin Cronin, whose voice gave life to a generation's anthems, took the stage. Dressed in a sharp blue jacket that defied the passing years, he strummed the opening chords of "Take It On the Run," and the entire venue erupted. Hands pumped, heads nodded, and a collective grin spread across the crowd like wildfire. It was a time warp, every wrinkle and furrow smoothed away by the power of a song that still pulsed with youthful abandon. As vibrant as ever, Cronin soared through the lyrics, reminding everyone that chasing dreams never loses its charm.

The energy barely paused before Cronin launched into "Can't Fight This Feeling," that irresistible ballad that defined countless slow dances and stolen kisses. Lighter flames flickered in the air, swaying in counterpoint to the swaying bodies. Some couples held each other close, eyes closed, lost in the melody, while others sang along, voices rough with shared nostalgia. It was a testament to the song's enduring power, how it could melt away the years and unite generations under a single emotional banner.

Then, with a flourish and a grin, Peter Wolf, the charismatic frontman of the J. Geils Band, strolled onto the stage. He was a whirlwind of leather, beads, and infectious energy, and the second he launched into "Centerfield," the crowd roared. It was a party now, an ode to summer nights and youthful swagger. Fists pumped in the air, mimicking the song's iconic guitar riff, and Wolf, a tireless rock and roll evangelist, encouraged the audience to sing along. It was a joyous cacophony, proof that some songs transcend age and circumstance, becoming touchstones of pure, unadulterated fun.

Finally, Wolf unleashed the ultimate party anthem, "Love Stinks." The beat slammed into the room, and the crowd, now thoroughly warmed up, went wild. It was a mosh pit of singalongs, air guitar solos, and uninhibited dancing. Wolf egged them on with a mischievous gleam in his eye, relishing the shared revelry. The room pulsed with sweat, laughter, and the raw, unfiltered joy of music's unifying power.

The night ended fittingly with a guitar-drenched set by Z.Z. Top's Billy Gibbons, who ripped through three of the band's signature blues-rock tunes. Gibbons led a guitar battle with his greasy slide guitar licks, bringing the packed auditorium to a frenzy, and the crowd left the show with a feeling of satisfaction that only comes from experiencing live music at its best.

Los Angeles' Nu-Disco band Poolside launched their winter tour with a bang, captivating a sold-out audience at the cozy Soho nightclub in Santa Barbara on a rainy Friday night, January 19th. This event marked their third performance at this iconic venue, energizing a youthful audience that filled the venue, ready to immerse themselves in the band's vibrant sound.

For over a quarter-century, Soho has been a cornerstone of Santa Barbara's music scene, hosting a wide array of musical talents, from local heroes like Big Bad Voodoo Daddy and Area 51 to renowned touring acts. However, this evening was charged with a particular excitement for Poolside's laid-back, infectious disco tunes.

As the band took the stage, the atmosphere buzzed with anticipation. The saxophonist's contemplative notes floated through the air, melding with the ethereal synths to heighten the sense of anticipation. The crowd pressed forward as the beat prepared to drop, and when it did, the room erupted into a dynamic dance floor.

Poolside has evolved significantly from their early days of spinning cover tracks on turntables. This transformation was on full display, showcasing why their music warranted a live band and a loyal following in Santa Barbara. Frontman Jeffrey Paradise highlighted this connection, revealing that Spotify data showed Poolside as the city's most-streamed artist.

Kicking off their month-long tour at SOhO, the band radiated energy throughout their performance. Their set ranged from the mellow reggae vibes of "I Wanna Kiss You Forever" to the R&B-tinted encore "Feel Your Weight," all delivered with a cool, composed style.

Their set, encompassing 17 tracks in just over an hour, was a showcase of tight disco beats and a rich blend of guitars, bass, keyboards, synths, and saxophone, enriched by occasional harmonies. Poolside's effortless transitions and steady mid-tempo rhythm made for a captivating performance.

The setlist was a perfect mix of hits and thoughtful covers, including the irresistibly upbeat "Can't Stop Your Lovin'" and renditions of the Grateful Dead's "Shakedown Street" and Neil Young's "Harvest Moon." As the crowd sang along to "Harvest Moon," it was clear that Santa Barbara's affection for Poolside was as enduring as the melodies they played.

The Santa Barbara-based Doublewide Kings brought their brand of roots-rock magic to the historic Alcazar Theatre in Carpinteria for a two-night fundraising event, thrilling sold-out crowds with classic covers and their own brand of Americana goodness. The events were organized to raise funds for much-needed upgrades to the theatre, and they proved to be more than just concerts; they celebrated community, music, and the enduring power of the Alcazar itself.

From the moment the doors opened, a palpable buzz filled the air. Adorned with its rich history, the Alcazar provided the perfect setting for an evening of musical exploration. Known for their "sommelier-like precision" in curating their setlist, the Doublewide Kings did not disappoint. Their blend of familiar favorites and original tunes had the audience swaying, singing along, and tapping their feet from the start.

Highlights included their soulful rendition of Neil Young's "Down By The River," a foot-stomping take on The Rolling Stones' "Honky Tonk Women," and a bluesy exploration of Crosby, Stills, Nash & Young's music. Each song was infused with the band's infectious energy and instrumental prowess, with guitarist Dan Cervantes and pedal steel player Greg Lobe delivering solos that left the audience awestruck.

Guitar virtuoso Jackson Gillies, who joined the band for both nights, added a local touch. Known nationally for his American Idol audition, Gillies brought his impressive skills and youthful enthusiasm to the stage, seamlessly blending with the Kings' seasoned sound. Together, they delivered a powerful performance that showcased the best of both worlds.

But the true stars of the show were the Alcazar itself and the community that rallied behind it. The energy in the room was electric, fueled by a shared love of music and a desire to preserve this historic landmark. The fundraising effort was successful, bringing the community closer to its goal of revitalizing the Alcazar and ensuring its place as a cultural hub for years to come.

Overall, the Doublewide Kings' fundraising shows at the Alcazar were a resounding success. They were a testament to the power of music to unite communities, celebrate history, and create positive change. As the final notes faded and the crowd erupted in cheers, it was clear: the Alcazar, with the help of the Doublewide Kings and the Carpinteria community, is in good hands, ready to rock on for generations to come.

The first day of Cali Vibes 2024 painted Marina Green Park in Long Beach, California, with a vibrant blend of music and sunshine, leaving an indelible mark on the hearts of festival-goers. The festival opened under a magical bubble of pleasant weather, while just a few hours north, torrential rains were causing flash flooding across Central California. For the third year running, Long Beach, California, hosted one of the world's largest Reggae music festivals, Cali Vibes. Despite potential weather concerns, the "vibes" proved more decisive as sunshine bathed the event in its warm glow throughout the weekend. The festival boasts a beautiful location in an oceanfront park with a backdrop of downtown Long Beach on one side and a view of the Queen Mary and the marina on the other. The musical marathon spread across three stages for nearly 10 hours of non-stop tunes.

However, Cali Vibes was about more than just the music. The festival offered a complete sensory experience, transforming the park into a vibrant hub of sights, sounds, and flavors. Diverse food vendors from various backgrounds lined the pathways, tempting taste buds with culinary delights ranging from jerk chicken to vegan tacos. Art installations and interactive areas sprinkled throughout the park allowed attendees to connect, explore, and capture unique memories. The festival was also a celebration of legalized marijuana in California, with a major sponsor of the festival being a weed company. Imbibing in all things cannabis-based, consumption was legal and encouraged, making the festival all the more unique. The atmosphere was inclusive and positive, with the California sunshine serving as the perfect backdrop for a day of shared experiences and musical discovery.

By early afternoon, the festival was in full swing. Cali Vibes veteran Eli-Mac brought island sunshine with powerful vocals and electrifying dance moves to the largest of the three stages, the Vibes stage. Hailing from Maui, Hawaii, Eli-Mac brought her unique blend of R&B, reggae, and hip-hop to the festival, offering a refreshing departure from the more traditional reggae acts. The set wasn't just about music; it celebrated island life. Eli-Mac's warm stage presence and genuine connection with the audience added an undeniable human touch. She quickly captivated the crowd by sharing stories about her home and radiating positive vibes.

Meanwhile, Pacific Dub, hailing from nearby Huntington Beach, California, performed on the second largest stage, The Green. The band is well known for its unique blend of reggae and rock music, often described as "surf rock reggae" or "alternative rock reggae." Their live performance was energetic and engaging, with the band members showcasing their musical talents and creating a positive and uplifting atmosphere, exciting the early afternoon crowd.

While not the headliner for the day, Cisco Adler's performance on February 16th at the Cali Vibes Festival 2024 left a lasting impression on the audience. Taking the main stage in the early afternoon, Adler, alongside his talented band, delivered a set filled with infectious energy, smooth grooves, and a touch of nostalgia, solidifying his position as a West Coast hip-hop scene veteran. Adler's setlist offered a well-balanced mix of his solo work and collaborations with the iconic Shwayze group. Tracks like "Party Started" and "California" from his solo albums had the crowd dancing and singing along, while classics like "Corona and Lime" and "Good Feeling" from his Shwayze collaborations transported audiences back to the early days of West Coast hip-hop. This careful curation catered to longtime fans and those discovering Adler's music for the first time.

The reggae veterans of Inner Circle brought their signature blend of funk, dancehall, and good vibes to the Cali Vibes Green stage. Their performance was a highlight of the day, reminding the audience why they remained a prominent force in the reggae scene for over five decades. Inner Circle wasted no time setting the mood, diving straight into their iconic hit "Sweat (A La La La La Long)." The familiar melody and pulsating beat instantly transported the crowd back to the days of MTV and beach parties. Throughout the set, they flawlessly transitioned between other fan favorites, including "Bad Boys" and "Rock with You," keeping the energy high and the audience engaged. Overall, Inner Circle's performance at Cali Vibes 2024 indeed celebrated reggae music. They delivered a powerful and engaging set that combined nostalgia with fresh energy, captivating the audience with iconic hits, skilled musicianship, and infectious stage presence. Their performance solidified their status as a legendary reggae band and a beloved staple of the California music scene.

Collie Buddz's performance at the Cali Vibes Festival 2024 was a vibrant and interactive experience that left the audience smiling, singing along, and yearning for more. Taking the Vibes stage, Buddz delivered a set filled with his signature reggae-hip-hop fusion, captivating energy, and a surprise guest appearance that sent the crowd into a frenzy. Buddz's stage presence was infectious. Throughout the set, he interacted with the audience, encouraging singalongs, sharing stories about his musical journey, and even inviting a fan to participate in a rap battle during his song "Blind to You." The fans, chosen randomly from the crowd, surprised everyone with their impressive rap skills, creating a moment of shared excitement and showcasing Buddz's genuine connection with his audience.

As the sun headed towards the Californian horizon, casting long shadows across the joyful crowd in Marina Green Park, a legend took the stage at Cali Vibes 2024. Dancehall icon Barrington Levy, the "Voice of a Generation," delivered a performance that transcended generations, leaving a lasting impression on the hearts of festival-goers. Levy, a true pioneer of dancehall with a career spanning over four decades, wasn't just performing songs; he was weaving a tapestry of history. The opening chords of "Here I Come" unleashed a wave of nostalgia, transporting the audience back to the golden age of dancehall. Levy's smooth vocals, seasoned by time yet retaining their youthful spirit, resonated through the park, captivating longtime fans and those discovering his music for the first time. The setlist was a carefully curated journey through Levy's illustrious career. He seamlessly transitioned between iconic tracks like "Murderer" and "Under Mi Sensi," showcasing the evolution of his sound while staying true to its roots. Each song pulsated with energy, drawing the crowd into a collective dance floor, swaying and singing in unison. Barrington Levy's performance at Cali Vibes 2024 wasn't just a concert but an experience. He proved that true legends never lose their voice, and the music they create continues to resonate across generations, reminding us of the power of music to create lasting memories and connect hearts.

Iration rang in the California sundown in Long Beach with a dynamic performance at Cali Vibes 2024. Playing The Vibes stage on February 16th, the band delivered a high-energy set filled with their signature island-infused reggae-rock sound, surprising covers, and a vibrant stage presence that left the crowd wanting more. Iration's setlist perfectly blended their well-known hits and deeper cuts, catering to longtime fans and those discovering their music for the first time. Tracks like "Falling" and "Time Bomb" had the crowd singing along and swaying to the infectious rhythms, while newer songs like "Uptown" showcased their evolving sound. Iration not only played their hits but also surprised the crowd with covers of Nirvana's "Smells Like Teen Spirit" and The White Stripes' "Seven Nation Army," adding an unexpected twist to their set.

The night's highlight came when Damian Marley, son of the legendary Bob Marley, joined Iration on stage for a collaborative performance of "Time Bomb." This unexpected collaboration resonated with the audience, creating a decisive moment that celebrated the legacy of reggae music and the uniting power of music across generations. Iration closed out the night with their signature anthem, "Turn Around," leaving the crowd energized and satisfied. Their performance at Cali Vibes 2024 was a testament to their talent, creativity, and ability to connect with audiences. It was a fitting conclusion to a day filled with music, sunshine, and California vibes.

As one of the final acts of day one at Cali Vibes 2024, Damian and Stephen Marley, sons of the legendary Bob Marley, took the stage with a powerful performance that resonated deeply with the audience. Their set wasn't just a concert; it was a celebration of family, musical heritage, and the enduring spirit of reggae. From the opening notes of "Is This Love," the spirit of Bob Marley filled the night air. Throughout the set, Damian and Stephen delivered diverse versions of their father's songs, showcasing their interpretations while staying true to the original spirit. Their heartfelt vocals, backed by a skilled band, created a powerful connection with the audience, many of whom sang along, their voices blending seamlessly in a collective tribute. While honoring their father's legacy was a central theme, the performance also highlighted the individual talents of Damian and Stephen Marley. Damian's powerful raps on songs like "Welcome to Jamrock" showcased his unique style, while Stephen's soulful vocals on "Mind Control" captivated the audience with their emotional depth. They also included a couple of their own songs, demonstrating their artistic identities beyond their family name.

Complementing the music were large screens displaying iconic Bob Marley imagery and video footage of the late legend performing the songs being played. This visual element added a poignant layer to the experience, allowing the audience to connect with not only the music but also the legacy and spirit of Bob Marley himself. Beyond the music, Damian and Stephen Marley used their platform to deliver a message of peace, love, and unity. They encouraged the audience to embrace diversity and celebrate their individuality, echoing the same messages their father championed throughout his career. As the final notes of "Redemption Song" faded, the crowd erupted in thunderous applause. Damian and Stephen Marley's performance at Cali Vibes 2024 was more than just a concert; it was a powerful and emotional experience that honored a legacy, showcased individual talents, and resonated with the spirit of unity and shared love for music.

Shaggy, the undisputed king of Mr. Boombastic, closed out The Green stage at Cali Vibes 2024 with an electrifying performance that left the crowd wanting more. On February 16th, he delivered a set brimming with his signature blend of reggae, dancehall, and pop, proving why he remains a timeless icon in the music industry. Shaggy's setlist celebrated his extensive career, featuring a mix of his well-known hits and fan favorites. Early on, he launched into "It Wasn't Me," setting the tone for a night filled with singalongs and infectious energy. Classics like "Angel" and "Boombastic" had the entire crowd dancing and swaying, while more recent hits like "I Need Your Love" proved he continues to evolve and create music that resonates with audiences of all ages. Shaggy's stage presence was undeniable. He interacted with the audience throughout the set, cracking jokes, telling stories, and inviting a few lucky individuals to dance alongside him onstage. His infectious energy was contagious, keeping the vibe lively and ensuring everyone felt included in the party. Shaggy closed the night with his iconic anthem, "Mr. Boombastic," which energized and satisfied the crowd. His performance was a fitting conclusion to day one of Cali Vibes 2024, reminding everyone why he remains a beloved artist and a symbol of good vibes and positive energy.

The night culminated with Stick Figure, who filled The Vibes stage viewing area to capacity with their energetic set. As they closed with "Set the World on Fire," the sentiment resonated throughout the entire festival, leaving a lasting impression on the hearts of attendees and solidifying Cali Vibes' reputation as a premier destination for music lovers seeking a taste of California's vibrant spirit and infectious good vibes.

Saturday saw the biggest turnout for the Cali Vibes festival in Long Beach as thousands of fans migrated from downtown parking structures to Marina Green Park along Shoreline Drive. The stormy winter weather continued to stay just to the north, with pleasant conditions prevailing at the festival. By the time early acts took the stages during the second day of the annual three-day Cali Vibes Festival, situated upon the grass and stretching onto the blacktop adjacent to the historic Long Beach Arena, the sun poked through the clouds.

Though the day was capped by an exceptional performance by Anaheim’s own Gwen Stefani, Ocean Beach’s Slightly Stoopid, Jamaican rapper Sean Paul, and one of the final shows ever by Sublime with Rome, there was so much great music coming from the trio of stages throughout the day it was overwhelming at times.

The California sun beat down on the Long Beach crowd on the second day of Cali Vibes 2024, but the energy exploded higher when the Mad Caddies took the stage. The ska punk veterans, known for their infectious rhythms and playful stage presence, delivered a performance that had everyone skanking, singing, and grinning from ear to ear.

From the opening notes of "Drinking for 11," the band wasted no time setting the tone. Lead singer Chuck Raney, sporting his mischievous grin, led the charge with his powerful vocals and charismatic stage presence. The band, tight and well-rehearsed, delivered a setlist packed with fan favorites like "Laurel Canyon" and "San Francisco Bay," each song greeted by a roar of approval from the audience.

The Mad Caddies weren't afraid to throw in surprises, treating the crowd to their brand-new song, "Baby," a smooth and soulful number showcasing their versatility. They even surprised everyone with a cover of Green Day's "She," infusing the classic punk rock anthem with their signature ska swagger.

But it was the band's infectious energy and playful interaction with the crowd that truly stole the show. Raney bantered with the audience between songs, keeping the mood light and the laughter flowing. At one point, he even invited a group of fans on stage to join an impromptu dance party, further solidifying the band's connection with their loyal following.

By the time they closed out their set with the iconic "The Monty Python Theme," the crowd was singing along, leaving the stage with smiles and a renewed appreciation for the power of good music and good vibes. The Mad Caddies' set at Cali Vibes was a masterclass in ska fun, proving once again that these veterans still know how to throw a party.

Another well-received early afternoon performance over on the Vibes stage came next. The Cali Vibes Festival 2024 witnessed a remarkable convergence of reggae universes as KBong from Hawaii and Johnny Cosmic from California took the stage in a collaboration that left the audience in awe.

In the ever-evolving world of reggae, KBong and Johnny Cosmic stand out as two rising stars, each bringing unique flavors to the genre. KBong, known for his association with Stick Figure, has carved his own path with a solo career that embodies the laid-back island vibe of Hawaii. His introspective lyrics and melodies, showcased in tracks like "Easy To Love You," "Hopes and Dreams," and "Living In A Dream," transport listeners on a soulful journey through the essence of reggae.

On the other hand, Johnny Cosmic, a renowned producer from California, infuses his music with a distinctive blend of traditional reggae sounds and modern production techniques. Tracks such as "Infinite Summer," "Lazer Beaming," and "Hey Sunshine, Shine Down On Me" reflect his Californian roots while staying true to reggae's timeless allure.

When KBong and Johnny Cosmic join forces, magic happens on stage. Their collaboration represents the fusion of Hawaiian vibes and Californian flair, creating a musical experience that transcends boundaries. Their live performances are not just concerts but immersive journeys where diverse influences and styles coalesce into something extraordinary.

At Cali Vibes Festival 2024, KBong and Johnny Cosmic captivated the audience with their talent and ability to connect profoundly. The energy was palpable from the moment they stepped on stage, and the atmosphere was electric. As they delved into their repertoire, the crowd swayed to the rhythm, enchanted by the synergy between KBong's serene melodies and Johnny Cosmic's infectious beats.

Aside from the music, Cali Vibes was bustling with fans interacting with a myriad of on-site activations and enjoying a wide variety of culinary options, the latter being something for which this particular festival has become famous. The Saturday lineup boasted several female solo artists and female-fronted acts. Gwen Stefani wasn’t the only local female ska hero on the bill. Fans packed the Greens stage for Save Ferris earlier in the afternoon, fronted as always by Monique Powell. There was a time when No Doubt was the opening act on a national Save Ferris tour, but that quickly changed when “Just A Girl” blew up the charts, and by the end of the tour, promoters had to switch the order of the bands' performances. But Powell continues to be a consummate performer. Playing to a backdrop of various Save Ferris band logos and phrases like “Ska isn’t dead!” Powell led her band through energetic anthems that comprised the group’s lone two studio albums from 1997 and ’99. Powell is the focus here as the only permanent member of the band, which changes personnel every few years. Still, the ensemble turned into a cohesive, crowd-pleasing set; nonetheless, many in the audience were more than willing to lose themselves in the moment.

On the Vibes stage, a young Californian band played an intense set of guitar-driven music with multiple vocal overlays, creating a unique sound. DENM's performance at the Cali Vibes Festival 2024 was electrifying, igniting the stage with a vibrant energy that captivated the audience from start to finish.

As the afternoon sun lit up the band, the festival grounds came alive with anticipation, and DENM took to the stage, commanding attention with his infectious charisma and undeniable talent. Known for his genre-bending music that seamlessly blends electronic, pop, and reggae elements, DENM brought a fresh and invigorating sound to the Cali Vibes stage.

The crowd was swept up in a whirlwind of pulsating beats and infectious melodies when they launched into their set. Tracks like "Lit," "Green," and "Fallin" showcased DENM's versatility as an artist, with each song delivering an irresistible blend of catchy hooks and infectious rhythms.

But it wasn't just DENM's music that left a lasting impression—their magnetic stage presence and genuine connection with the audience set their performance apart. With every lyric sung and every beat dropped, DENM invited the crowd to join on a musical journey where worries melted away, and the only thing that mattered was the moment.

In the end, DENM's performance at the Cali Vibes Festival 2024 was nothing short of unforgettable. Their infectious energy and genre-defying sound left an indelible mark on the hearts and minds of all who were lucky enough to be there.

Up next on the Greens stage was The Pharcyde, the legendary Los Angeles hip-hop ensemble. The group had everyone dancing and vibing, puffs of smoke emanating so frequently that there was a consistent haze above the crowd as they powered through classics like “Passin’ Me By” and “Ya Mama.” Including hip-hop acts like The Pharcyde and Sunday acts Ice Cube and Too $hort added some profound California authenticity to a festival titled “Cali Vibes,” emphasizing the effort put into the makeup of these lineups. It’s a solid complement to the abundant reggae and reggae-adjacent bands, acts on the rest of the bill, and showcases the crossover appeal these genres often have.

This also applies to Wiz Khalifa, who took the stage with a full band later in the afternoon. However, the bulk of Saturday’s programming was big on ska/dancehall — and between Save Ferris and Gwen Stefani, another female-fronted So*Cal ska outfit entertained the masses when The Interrupters emerged onto the Vibes stage. Frontwoman Amy Interrupter let her bandmates do the talking, and they did a great job of pumping up the crowd in the mid-afternoon sun.

The Interrupters have enjoyed an eventful few years, from opening the Hella Mega! Tour with Green Day, Weezer, and Fall Out Boy to headlining their tours, releasing hit singles like “She’s Kerosene” and ramping up to accompany Sum 41 on the band’s farewell tour in late 2024. The Interrupters were well represented throughout the day in terms of T-shirts worn by fans in the crowd, similar to how Stefani’s fans showed up in visible support, and it all helped make the whole day feel like a celebration of female ska-punk.

Wiz Khalifa's performance at the Cali Vibes festival was a testament to his enduring influence in the world of hip-hop and beyond. From his breakout hit "Black and Yellow" to his collaborative success with "See You Again," Wiz has consistently delivered catchy lyrics and impressive production, earning him ten Grammy nominations along the way.

Taking the stage on Saturday in a cloud of sweet-scented smoke, Wiz wasted no time in setting the tone for The Vibes stage. Opening with the high-energy anthem "Black and Yellow," he kept the momentum going with a string of hits that had the crowd moving and grooving as the sun set over Cali Vibes.

Songs like "Work Hard, Play Hard," "The Thrill," "We Dem Boyz," and the nostalgic "Young, Wild & Free" resonated with fans old and new, creating an atmosphere of carefree enjoyment that permeated Marina Green Park. Wiz's easygoing demeanor on stage only added to the relaxed vibe, making for an experience that felt intimate despite the vastness of the venue.

Throughout the performance, Wiz seamlessly incorporated verses from his collaborations with other artists, turning what could have been a distraction into moments of shared excitement and connection with the audience. His infectious energy and interactions with fans ensured that everyone, from the front row to the back of the crowd, felt like an integral part of the experience.

Sublime with Rome performed all of 1992’s 40 Oz. to Freedom in a marquee main-stage timeslot. The performance came at a bit of an awkward time, as frontman Rome Ramirez is stepping down from the group after the year — with original Sublime members Bud Gaugh and Eric Wilson set to perform alongside Jakob Nowell, son of late singer/vocalist Bradley Nowell, billed simply as “Sublime.” That context gave this Sublime with Rome set a slightly melancholy feel, which was only boosted when Ramirez exclaimed, “Thank y’all so much for the greatest 15 years of my fuckin’ life, man.” It’s also worth noting that Brian Allen was on bass duty instead of Wilson, meaning that this “Sublime with Rome” band performing at Cali Vibes featured no original Long Beach ska/punk outfit members.

Despite these circumstances, the set was great. Ramirez gave his all to the performance of the beloved pre-fame Sublime record.

San Diego’s Slightly Stoopid performed a guest-laden set featuring pals B-Real of Cypress Hill, Angelo Moore of Fishbone, Chali 2na and Common Kings, and Sean Paul. From the moment they stepped onto the stage, Slightly Stoopid commanded the audience's attention with their infectious energy and captivating stage presence. With a career spanning over two decades, the band has honed its signature sound—a fusion of reggae, rock, punk, and blues—that appeals to fans across generations. Their set at Cali Vibes was a masterclass in musical versatility, showcasing their ability to transition seamlessly between laid-back reggae jams and high-energy rock anthems. Hits like "Closer to the Sun," "Collie Man," and "2 am" had the crowd singing and dancing along, their spirits lifted by the band's infectious rhythms and soulful melodies. Throughout the set, the band members' chemistry on stage was palpable, their musical interplay a testament to years of collaboration and camaraderie. Guitar solos soared, bass lines grooved, and the percussion reverberated through the air, creating a sonic tapestry that enveloped the audience in warmth and euphoria.

Sean Paul amassed a massive crowd for his Jamaican-tinged dancehall set, a venerable Greatest Hits set of the past two decades. Sets like Paul’s are the type that make Cali Vibes a unique experience. Closing out the Greens stage right before Stefani took the main stage to put a bow on the day’s proceedings, Paul’s crew included two dancers, a DJ, a few live musicians, and a few other folks, all of whom were in motion the entire time.

Paul’s catalog boasts some of the biggest crossover dance/reggae hits of the past 20 years, among them “Gimme the Light,” “Get Busy,” “Temperature,” “Cheap Thrills” (with Sia), and more. Each of these hits appeared in the set, easily one of the day’s most entertaining performances, and inspired the most dancing throughout the crowd.

The 47-year-old Paul then turned up at Stefani’s set an hour later. Gwen Stefani closed out the Vibes stage, which fittingly was sponsored by American Weed Co. and who maintained a robust presence throughout the festival). with a mix of her solo material, including “Sweet Escape,” “True Babe,” “Used to Love You” and classic No Doubt songs like “Hey Baby,” “Sunday Morning” and “Just a Girl.”

The No Doubt singer-turned-pop-superstar-and-The-Voice-judge had this show scheduled before the announcement of No Doubt’s reunion appearance at Coachella in April. Still, that surprise booking did not keep Stefani from honoring her roots. Many fans were hoping for a mini No Doubt reunion of sorts ahead of the Orange County ska band’s mighty return to the stage at the 2024 Coachella Valley Music and Arts Festival in Indio over two weekends in April. Stefani’s incredible touring band may arguably be more musically skilled. Anyone in attendance who was perhaps wary that Stefani would lean especially heavily on her solo catalog was relieved when the singer and flank of dancers and bandmates powered through a set that included nine No Doubt classics. Stefani, 54, danced around the stage with the energy of a teenage pop star, skanking and pogoing with boundless energy for Tragic Kingdom classics such as “Sunday Morning,” taking time on numerous occasions to speak directly to the crowd.

It was a hometown show for Stefani, which she mentioned numerous times as she rattled off various Southern California locations and landmarks that she frequented. She added that No Doubt’s first-ever gig took less than half a mile up the street at Fender’s Ballroom in Long Beach in the late ’80s. However, she never mentioned the forthcoming No Doubt reunion.

She posted on her social media pages that there’d be big surprises ahead of the event, which turned out to be Sean Paul, who had just finished his headlining turn on The Greens stage, and her husband, country singer Blake Shelton. Stefani and Paul sang their song “Light My Fire,” which made sense at this particular festival. At the same time, Shelton and Stefani joined forces for their new country single “Purple Irises,” which they had debuted live on the Jimmy Kimmel show days before.

Amidst the sun-kissed palm trees and the gentle ocean breeze, the Cali Vibes Festival reached its zenith on Day 3, leaving attendees with an unforgettable musical journey. The festival grounds buzzed with anticipation and excitement as the final day unfolded, setting the stage for an epic conclusion.

The day started with a diverse lineup catering to a spectrum of musical tastes. From reggae to hip-hop and everything in between, the stages pulsated with energy and rhythm. Day 3 of Cali Vibes started early with a healthy dose of sunshine and infectious grooves, thanks to Boostive. This crew, hailing from Ocean Beach, brought a musical gumbo that had the crowd swaying and grooving from the first note.

Boostive isn't your average band. Fluctuating between 7 and 10 members, they threw a musical net that scooped up everything from world and dub to soul, hip-hop, and even a sprinkle of psych rock. While their 2019 debut album, "Cream Supreme," showcased their studio prowess, the live experience is where Boostive truly shines.

Their secret weapon is their horn section. Crisp and tight, it weaved melodies around the heavy bass and drum pocket that's the foundation of Boostive's sound. Think classic dub reggae with a healthy dose of instrumental hip-hop swagger, all punctuated by soulful flourishes and the occasional world music detour.

Next, Tropidelic took the Vibes stage, ready to infuse the festival's final day with their infectious blend of reggae rock, hip-hop, and high-energy funk. Hailing from Cleveland, Ohio, the band is familiar with the festival scene, and their experience shone through as they effortlessly captivated the crowd.

From the opening notes, the energy was palpable. The reggae-tinged rhythms of "Escape" had the audience swaying and grooving, while the hip-hop-infused verses added a layer of unexpected coolness. Tropidelic's sound is truly a melting pot of genres, seamlessly blending elements of each to create a unique and undeniably danceable sound.

Lead singer Johnny Tropidelic kept the crowd engaged throughout the set. His smooth vocals effortlessly glided over the funky basslines and driving drum beats while the rest of the band provided tight and energetic accompaniment. Tracks like "Higher" and "Island Life" showcased the band's ability to weave catchy melodies with thought-provoking lyrics, encouraging the audience to embrace life's simple joys and positive vibes.

By the time Tropidelic closed out their performance with the anthemic "Free," the crowd was left buzzing with positive energy. The band's infectious blend of genres and energetic stage presence proved to be the perfect way to spend an incredible day at Cali Vibes.

Day three of Cali Vibes wasn't just about chill vibes but also about bringing the energy. Bumpin Uglies, the Annapolis, Maryland-based punk reggae band, took the stage and transformed the atmosphere into a full-fledged mosh pit skank fest.

The band, known for their "melody-driven, free-spirited blend of ska, reggae, and punk," didn't waste any time getting the crowd moving. Their infectious energy was evident from the first power chord of their opening song, and the audience responded in kind, forming a sea of bodies swaying and skanking to the music.

Bumpin Uglies' music perfectly blends genres, drawing influences from ska-punk pioneers like Sublime, Bad Religion, Reel Big Fish, and Goldfinger. This unique combination creates a catchy and energetic sound, perfect for getting a festival crowd pumped up.

Lead singer Brandon Hardesty kept the energy high throughout the set, his raspy vocals perfectly complementing the band's driving rhythms. Tracks like "No Pressure" and "Afterparty" had the crowd singing along and moshing enthusiastically, while "It's Alright" provided a brief moment of melodic respite before diving back into the energetic frenzy.

The band's tight musicianship was on full display throughout the set. The guitarists effortlessly weaved between ska-infused skanking and reggae-inspired chugs, while the bassist laid a solid foundation to keep the crowd moving. The drummer T.J. Haslett, meanwhile, provided a relentless pulse that drove the music forward.

As the Cali Vibes sun dipped lower on day three, casting a warm glow over the stage, Passafire, the Savannah, GA-bred reggae outfit, took the stage, ready to ignite the crowd with their signature brand of soulful reggae. Formed in 2003 by Ted Bowne and Nick Kubley, Passafire has built a formidable reputation within the U.S. reggae scene through relentless touring and infectious grooves.

From the opening chords, the band's seasoned experience shone through. Their tight musicianship and undeniable chemistry were evident as they effortlessly weaved through a setlist packed with fan favorites and new tracks. Lead singer Ted Bowne's smooth vocals effortlessly soared over the driving rhythms laid down by the rhythm section, creating a soundscape that was both soothing and invigorating.

Tracks like "Roots Rock Revolution" and "Better Day" showcased Passafire's ability to blend traditional reggae elements with a contemporary edge. The influence of bands like John Brown's Body, who inspired them early on, was evident in the gritty undercurrent that pulsed through their music. This unique blend resonated with the crowd, creating a sense of singalong camaraderie that filled the air.

Passafire also showcased their versatility throughout the set. Slower, more introspective songs like "Love Like Fire" provided a welcome respite, allowing the crowd to sway gently to the music and soak in the positive vibes. Yet, the band always retained their ability to get the party started. Energetic tracks like "Lion's Share" and "This Feeling" had the crowd skanking and grooving, arms raised in joyful abandon.

One of the festival's highlights was the "Boom Yard" stage, curated by Leslie Cooney. This stage featured a vibrant mix of Afrobeat music, DJs, and dancers, creating a unique and energetic atmosphere. The festival also offered a platform for up-and-coming artists, showcasing the diverse musical landscape of California. Day three of Cali Vibes wasn't just about established bands but also a platform for rising stars. Among them was Kailash, a 12-year-old multi-talent already making waves in music. Touted as a musical prodigy, Kailash took the stage, captivating the audience with his raw talent and infectious enthusiasm.

Despite his young age, Kailash's stage presence was undeniable. He exuded a confidence and charisma that belied his years, captivating the audience from the moment he stepped onto the stage. Armed with his guitar and a powerful voice, Kailash launched into a set that showcased his diverse musical influences and undeniable songwriting skills.

His music, a blend of soulful melodies, introspective lyrics, and catchy hooks, resonated with the crowd on a deeper level. Tracks like "Chasing Dreams" and "Find Your Light" spoke to the universal themes of hope, perseverance, and chasing one's dreams, which resonated deeply with the festivalgoers, young and old alike.

As the California sun dipped lower on day three of Cali Vibes, casting a warm glow over the stage, The Green, a reggae band hailing from Oahu, Hawaii, took center stage. Formed in 2009, the band brought a unique blend of dub-heavy roots reggae, smooth lovers' rock, and contemporary pop and rock influences, all infused with their island heritage.

The Green's sound instantly transported the audience to a tropical paradise. The bass and drums' driving rhythms laid a solid foundation, while the dub effects added a hypnotic layer of depth. Frontman Kawika "K.B." Kahiwa's smooth vocals, combined with the soulful harmonies of the backing vocalists, created a soundscape that was both soothing and invigorating.

From the opening song, the band's infectious energy was evident. Tracks like "Open Your Eyes" and "Island Time" had the crowd swaying and singing along, while the lovers' rock-tinged "Love and Harmony" provided a touch of romantic sweetness. The Green's music wasn't just about creating a party atmosphere; it also incorporated elements of their Hawaiian heritage. Songs like "Wai'anae" and "Na Wai 'Eha" featured lyrics in the Hawaiian language, offering the audience a glimpse into the band's cultural roots and connection to the land.

Throughout the set, The Green displayed their impressive musicianship. The guitarists seamlessly weaved between reggae skanks and intricate solos, while the keyboardist added flourishes of color and texture. The tight rhythm section kept the groove locked in, ensuring the audience remained on their feet throughout the performance.

Day three of Cali Vibes wasn't just about reggae and rock; it was also a celebration of West Coast hip-hop legends. Taking the stage was the iconic Too Short, a pioneer of the genre who has been dropping rhymes for over three decades. The energy shifted as the crowd, ready for a dose of old-school hip-hop, erupted in cheers.

Too Short, whose real name is Todd Anthony Shaw, proved that age is just a number. Backed by a live DJ, he commanded the stage with his signature raspy voice and undeniable charisma. Launching into a set packed with his classic hits, he instantly transported the audience back to the golden age of West Coast hip-hop.

Tracks like "Blow the Whistle" and "Freakin' It" had the crowd jumping and singing along, while "Life Is Short" served as a reminder to live life to the fullest. Too Short's lyrics, though often explicit, tackled themes of reality and social commentary, resonating with fans who have grown up with his music.

The energy remained electric throughout the set. Too Short's stage presence was captivating, and his interaction with the crowd kept the atmosphere lively. He even invited a few lucky fans to rap alongside him, creating a shared experience and community.

J Boog, the American-Samoan reggae singer-songwriter, took the Vibes stage next. Known for his soulful vocals and infectious grooves, J Boog delivered a performance that brought the festival to a genuinely heartwarming mood.

From the opening notes, the audience was captivated by J Boog's undeniable stage presence. His infectious smile and genuine passion for music radiated through his performance, instantly connecting with the crowd. Launching into a setlist that spanned his career, J Boog showcased his ability to blend classic reggae roots with contemporary R&B influences.

Tracks like "Let Go" and "So Caught Up" had the audience swaying and singing along, their voices blending harmoniously with J Boog's soulful vocals. The heartfelt ballad "Island Girl" served as a love letter to his Samoan heritage, while the upbeat tempo of "It's Alright" brought a wave of positive energy to the closing hours of the festival.

J Boog showcased his impressive vocal range throughout the set, effortlessly switching between smooth crooning and passionate belting. His backing band, the Incomparable Band, provided a solid foundation with their tight rhythms and infectious grooves. Together, they created a soothing and refreshing soundscape, perfectly capturing the essence of Cali Vibes.

Kolohe Kai, the island reggae artist from Oahu, took the Vibes stage at sunset. For over a decade, Kolohe Kai, the project of singer-songwriter Roman De Peralta, has been a staple in Pacific Island reggae, and his infectious energy and island vibes were the perfect way to end the festival on a high note.

The audience was swept away from the opening chords to the tropical paradise that Kolohe Kai's music evokes. His smooth vocals, reminiscent of the gentle ocean breeze, blended seamlessly with his band's driving rhythms, creating a relaxing and refreshing soundscape. Tracks like "Aloha 'Oe" and "Island Life" had the crowd swaying and singing along, their voices adding to the joyful atmosphere.

Kolohe Kai's performance wasn't just about creating a feel-good vibe but also about celebrating his island heritage. Songs like "Hilo Town" and "Lei Pikake" paid homage to his Hawaiian roots, showcasing his cultural pride and connection to the land. The heartfelt lyrics resonated with the audience, creating a shared experience and appreciation for island culture.

Kolohe Kai's talent extended beyond his singing and songwriting. Throughout the set, he displayed his impressive musicality, effortlessly switching between acoustic guitar and ukulele, adding layers of texture and depth to his music. His band, a tight-knit group of seasoned musicians, provided a solid foundation with their dynamic grooves, ensuring the audience remained captivated throughout the performance.

A special highlight of the set was a surprise guest appearance by local hula dancers. As Kolohe Kai performed a traditional Hawaiian song, the dancers graced the stage with their graceful movements, adding another layer of cultural authenticity to the experience.

As the California sun dipped below on day three of Cali Vibes, SOJA, the Grammy-winning reggae band from Virginia, took center stage. Bringing over two decades of experience and infectious grooves, SOJA transformed the atmosphere into a full-fledged skanking extravaganza.

The band's seasoned musicianship and undeniable chemistry were evident from the opening notes. Their tight rhythm section laid a solid foundation, while the horns and keys added vibrant layers of melody and harmony. Lead singer Jacob Hemphill's passionate vocals soared over the music, captivating the audience and inciting a sea of swaying bodies.

SOJA's music is a potent blend of roots reggae, soulful influences, and contemporary rock, creating a familiar yet innovative sound. Tracks like "True Love" and "I Don't Wanna Wait" had the crowd singing along and skanking with unbridled enthusiasm, while "Can't Run Away" offered a more reflective and thought-provoking message.

The band's stage presence was electric. Hemphill's charismatic energy was contagious, and the entire band moved with a synchronized fluidity that exuded joy and passion for their music. They interacted with the audience throughout the set, encouraging singalongs and creating a shared community.

The legendary Philadelphia-based hip-hop band The Roots took the Vibes stage in the early evening. For over three decades, The Roots have redefined hip-hop with their virtuosic musicianship and socially conscious lyrics, and their Cali Vibes performance served as a powerful and fitting conclusion to the festival.

From the opening notes, the energy was palpable. The stage transformed into a mini-orchestra, with rappers Black Thought and Dice Raw churning out rhymes with precision and flow, backed by a live band that defied categorization. Keyboardist James Poyser laid down soulful grooves while the rest of the band, including a drummer, guitarist, bassist, and horn section, seamlessly blended hip-hop beats with jazz, funk, and soul elements.

The Roots' music transcended the boundaries of genre. Tracks like "You Got Me" and "The Next Movement" had the crowd jumping and singing along, captivated by the band's infectious energy and undeniable talent. "Proceed" showcased their socially conscious message, prompting the audience to reflect on societal issues with a critical lens.

Beyond their musical prowess, The Roots delivered a captivating performance. Black Thought's stage presence was magnetic, his rapid-fire delivery and sharp wit keeping the crowd engaged throughout the set. Dice Raw served as a perfect complement, adding his unique style and lyrical flair to the mix. The band's camaraderie and genuine love for music were evident as they interacted with each other and the audience, creating a shared experience and community.

The night ended with competing headline acts just as a light rain began to reach the festival grounds: Santa Barbara’s own Rebelution and veteran rapper Ice Cube. Rebelution has become the de facto rulers of California Reggae over the years and performed a crowd-pleasing set as always. Ice Cube's performance was equally impressive, showcasing his rapping prowess and cultural influence.

As the final notes faded into the night, echoes of laughter and applause lingered in the air, serving as a reminder of the unforgettable memories created during three days of pure musical magic. As attendees dispersed into the night, they carried with them the spirit of Cali Vibes, knowing they had been part of something extraordinary. Overall, Cali Vibes 2024 was a resounding success. The festival provided a perfect blend of music, community, and good vibes, leaving attendees with lasting memories and a renewed appreciation for the California music scene.

Known for her unconventional performances, Cat Power took a surprisingly structured approach in her recent Lobero Theatre show in Santa Barbara. She wasn't just performing as Cat Power; she was meticulously recreating Bob Dylan's iconic 1966 Royal Albert Hall concert.

The unique concept drew a diverse crowd: a mix of Cat Power's dedicated fans and new arrivals, including Dylan enthusiasts and curious baby boomers. The response was overwhelmingly positive, with long-time followers and newcomers lauding the performance.

What truly elevated the experience was Cat Power's exceptional voice, a strength like no other. Her low, husky register, infused with bluesy twists and phrasing nuances, offered a captivating tribute to Dylan's distinctive style. She avoided cheap imitation, instead delivering a powerful and personal interpretation of the legendary singer-songwriter's work.

The show's first half unfolded in an intimate acoustic setting featuring minimal lighting. Cat Power was accompanied by guitarist Arsun Sorrenti and occasional harmonica licks from Aaron Embrey. The carefully chosen setlist included timeless classics like "It's All Over Now, Baby Blue," "Desolation Row," and a haunting rendition of "Mr. Tambourine Man."

A poignant moment arose during "Just Like a Woman," a song rumored to be inspired by Santa Barbara's own Edie Sedgwick. The city's connection to the music added a layer of local significance to the performance.

The show's momentum dramatically shifted as Cat Power and her full band took the stage, marking an electrifying transition from acoustic to electric. This mirrored Dylan's controversial mid-concert shift in 1966. Power, no stranger to rock energy herself, delivered powerful renditions of "Tell Me, Momma," "Baby, Let Me Follow You Down," and "Just Like Tom Thumb's Blues." The band's tight performance revitalized Dylan's legacy, showcasing his influence as a proto-punk pioneer.

Following a mesmerizing performance of "Ballad of a Thin Man," Power addressed the audience, encouraging them to "keep your head up" and fight for positive change.

The show concluded with a powerful rendition of "Like a Rolling Stone," mirroring the historic ending of Dylan's original concert. The energy was palpable as both Power and Dylan embodied the spirit of the rebellious rocker through her performance.

Cat Power's decision to tackle Dylan's vast repertoire might have seemed risky, but her artistic spirit and talent shone through. She masterfully navigated the line between staying true to the source material and injecting her unique interpretations. The concert offered a fresh perspective on familiar songs. Hearing "Just Like a Woman" sung by a powerful female voice resonated deeply, while Power's vulnerability, evident throughout the performance, added another layer of emotional connection.

Cat Power's commitment to artistic integrity and her ability to channel the essence of Dylan's music resulted in a truly memorable performance. The show not only reignited the audience's love for Dylan's songwriting but also served as a powerful reminder of music's enduring role in social movements and personal expression.

Pulling up to the Lobero Theatre on a tranquil Monday evening, March 25, the scene was set for a night far from ordinary. Lyle Lovett's scheduled acoustic performance was underscored by the presence of two large tour buses and a colossal semi-truck, hinting at the grandeur that awaited inside the modest 600-seat venue. The "acoustic" label scarcely did justice to the evening's arrangement, with a host of entertainers enhancing the festivities. Lovett's show was a showcase of his versatility and artistry, blending a compelling mix of rock 'n' roll, folk, blues, and a touch of spoken word poetry—all delivered in his distinctively quirky style. The performance, lasting nearly three hours, spanned multiple music genres and included several surprises within the 24-song setlist.

Flanked by his exceptional band, Lovett illuminated his talent and his deep appreciation for his fellow musicians. Noteworthy members such as Jim Cox on keys, Stuart Duncan on fiddle, Jeff White on guitar, and veteran bassist Leland Sklar, were instrumental in crafting the evening's enchanting atmosphere.

The performance began with the hauntingly beautiful "She's Already Made Up Her Mind," followed by a masterful rendition of Townes van Zandt's "Flyin' Shoes" and the classic "She's No Lady." The inclusion of backup vocalists Willie Green Jr., Arnold McCuller, and Amy Keys, who have collaborated with icons like Diana Ross and Phil Collins, elevated the experience further.

Lovett's setlist balanced beloved classics with newer hits, showcasing his lasting appeal. Yet, the night took an exhilarating turn with Chubby Checker's unexpected stage appearance, igniting the audience with his energetic renditions of "The Twist" and "Twist and Shout." This spontaneous dance party underscored the communal joy of music, a sentiment Lovett echoed warmly.

The concert concluded with an encore that left everyone in attendance captivated by the evening's magic. Lyle Lovett, his extraordinary band, and the surprise guest, Chubby Checker, left an indelible mark on the Lobero Theatre, adding to its history of unique musical moments across various genres. The announcement of Dave Mason's upcoming performance in September promises more unforgettable experiences at this venue.

For more details on upcoming shows, visit the Lobero Theatre's website: https://www.lobero.org/.

On a sleepy Santa Barbara night Wednesday, April 3rd, two of the most animated American jam band performers, Kyle Gass and Andy Frasco, brought their respective rambunctious rock ensembles for a vigorous night of frolicking fun. The Soho restaurant and music club is a small downtown venue offering live music from local performers to some legendary names in pop music for decades.
Santa Barbara's Soho nightclub pulsed with the infectious energy of the Kyle Gass Band, who opened the show just after 8 pm. The legendary guitarist, known for his comedic partnership in Tenacious D, shed his Jack Black persona for a night of pure, unadulterated rock and roll revelry.

From the opening chords, the audience was captivated by Gass's undeniable stage presence. Tall and charismatic, he commanded the stage with a playful swagger. His virtuosic guitar skills were on full display, weaving intricate solos and driving rhythms that sent shivers down the spines of guitar enthusiasts. He also wowed the crowd with his wind instrument skills, playing a tiny plastic flute.
The band, a tight-knit group of seasoned musicians, provided a solid foundation for Gass's musical explorations. The bass thumped with a steady pulse, the drums pounded infectious grooves, and the keyboards added shimmering textures filling the sonic canvas. Together, they created a sound that blended classic rock influences with a touch of modern swagger, perfect for the Soho's intimate setting.

The setlist was a delightful mix of originals and unexpected covers. The band ripped through their own tracks like "Manchild" and "The Burden," showcasing Gass's knack for crafting catchy melodies and witty lyrics. They surprised the audience with a scorching rendition of "Jailbreak" by Thin Lizzy, complete with a tongue-in-cheek vocal impersonation of Phil Lynott by Gass.

However, the true highlight of the performance came when Andy Frasco joined the party, adding backing vocals and frivolity to the band. The Kyle Gass Band's performance wasn't just about technical prowess; it was a celebration of the pure joy of music. Gass's infectious enthusiasm and genuine love for performing were contagious, radiating throughout the venue. By the end of the sett, the crowd was a sweaty, smiling mass, united by their love of good music and a healthy dose of silliness.

In the intimate and buzzing atmosphere of Soho Nightclub, Santa Barbara, Andy Frasco and the UN delivered a performance that was nothing short of electrifying and hit the stage just before 10 pm. From the moment they stepped on stage, it was evident that this wasn't just another concert; it was going to be an experience.
With his trademark energy and charm, Andy Frasco immediately connected with the audience, turning the venue into a pulsating hub of excitement. As the band launched into their set, it was impossible not to be swept away by their infectious blend of rock, funk, and soul.

Frasco's dynamic stage presence was matched by the incredible talent of his band, The UN. From the soulful melodies of the keyboard to the blistering guitar solos, each member brought their A-game, creating a vibrant sonic landscape.
One of the most remarkable aspects of the performance was the interaction between the band and the audience. Frasco has a knack for making everyone feel like they're part of the show, whether encouraging sing-alongs, inviting fans on stage, or simply sharing anecdotes between songs. This sense of camaraderie elevated the concert from a mere performance to a communal celebration of music and life. At one point, he jumped into the crowd and led them in a giant whirling Hora-like dance.

Highlights of the night included energetic renditions of fan favorites like "Get Down Moses" and "Keep On Keepin' On," as well as a few surprise covers, including a Led Zeppelin classic with the crowd singing and dancing along.

The most memorable moment came towards the end of the set when Kyle Gass joined the group, playing his little flute. Frasco and the band, including Gas, launched into an extended jam session that seemed to transcend time and space. As they fed off each other's energy, the music reached new heights of intensity, engulfing the audience in a euphoric frenzy.

As the final notes faded away and the crowd erupted into cheers and applause, it was clear that Andy Frasco and the UN had delivered a performance that would be remembered long after the lights dimmed at the Soho in Santa Barbara.

Check out more PHOTOS from the show
 

On April 10, 2024, the YouTube Theater witnessed a captivating departure from Godsmack's usual high-octane shows. This concert, part of their Vibez Tour, traded the mosh pits for a more intimate and introspective atmosphere, offering a unique experience for their fans. No one really knew what to expect from a show billed as an intimate night with the band. The "Vibez Tour" featured lead singer Sully Erna and his bandmates playing a series of intimate evenings featuring acoustic and electric performances and storytelling in venues across North America. The tour's second leg kicked off April 9 in Valley Center, California, before making its way to Los Angeles.

Opening the night was Bastian da Cruz, a singer-songwriter hailing from Denmark. Despite the miles separating him from home, Bastian was excited to be on tour with Godsmack. While not the conventional choice to kick off a hard rock show, Bastian could hold his own, garnering polite applause from an otherwise heavy metal fanbase.

His songwriting was marked by its simplicity yet carried a profound personal depth that resonates powerfully. He matched his writing prowess with a strong voice. Bastian's vocals occasionally soared above the sound system, showcasing his versatility across genres. With a seasoned tenor that prioritized the weight of his lyrics over sheer volume, Bastian effortlessly navigated through his setlist, infusing each song with unwavering intensity.

After a short break, the Bastian da Cruz backdrop fell away, revealing an eerie stage set for Godsmack. It was apparent from the multiple instruments onstage that this would be more than an acoustic concert and feature additional musicians joining the core band. The set was dimly lit with electric candles, and two large Gargoyles flanked the corners of the stage. The devilish statues would later light up in different configurations, and their eyes would glow an eerie red. Before the Godsmack set began, there was a video trailer for the new documentary “I Stand Alone: The Sully Erna Story.”

Then Godmsack exploded onstage with a cover of Pink Floyd's "Time," setting the tone for a thoughtful and musically explorative night. A giant multimedia screen played carefully synched visuals throughout the evening. Sully devilishly quipped at one point midway through the show, “I bet you fuckers wish you were doing mushrooms about now," as the psychedelic images continued on the screens behind the band. By the show's third song, the band set the mood with their signature song, “Voodoo.” The moody song came across as a take on the New Orleans legendary singer Dr John with his breakthrough “Walk On Guilded Splinters” album but with a hard rock twist.

Gone were the pyrotechnics and the crowd-surfing masses of a typical Godsmack concert. The focus turned wholly on the music for the Vibez Tour, and combined with the state-of-the-art sound system at the YouTube theater, the performance proved to be nothing short of astounding. There was no need for a grand stage presence; all six musicians, including guest guitarist Tim Theriault, were free to focus on delivering a masterclass in musicianship. Every note resonated, every riff hit hard, and the band was undeniably tight – a fact that often gets lost in the larger arena shows. YouTube theater's superb acoustics, expertly utilized by sound engineers, created an unparalleled sonic experience that no stadium concert could ever replicate.

The setlist was a journey through Godsmack's history, with old favorites seamlessly blended with newer tracks and a few surprising covers. From the reflective solo piano ballads to the electrifying hard rock anthems, Godsmack ran the gamut, showcasing their versatility and raw power. A highlight was their take on Led Zeppelin's "No Quarter," featuring an extended guitar jam between Theriault and Tony Rombola that brought the house down. Led Zeppelin themselves would have been hard pressed to match the musicianship on this cover version of the song.

Shannon Larkin's infectious energy on drums and constant grin was contagious, while Robbie Merrill held down the low end with his signature groove. Keyboardist Chris Decato, another guest for the tour, perfectly complemented Sully Erna on tracks like "Serenity" and "One Rainy Day," allowing them to breathe new life into classic rock covers like "Long Train Runnin'" by the Doobie Brothers, which was the finale of the 16 song setlist. Throughout the performance, Sully's leadership was evident, and his smiles and thumbs-ups were a testament to the seamless integration of Tim and Chris into the band's dynamic. The band even dared to perform a thundering version of “Nothing Else Matters” by Metallica.

Godsmack interspersed their own songs with personal stories and reflections on the power of music. These candid moments delved into the emotional connection music fosters, prompting the audience to consider its profound impact on our lives. A particularly poignant moment arrived with Sully Erna's heartfelt piano rendition of "Under Your Scars."  This performance was accompanied by a message of gratitude for the band's 25-year career. It was a tribute to inspirational artists like Chris Cornell and Amy Winehouse, showcasing Godsmack's reverence for their legacies.

The band's commitment to social advocacy, particularly towards mental health awareness, was woven into the fabric of the concert. Sully Erna and the entire band actively support The Scars Foundation, an organization they established to provide resources and raise awareness for those struggling with mental health. This dedication added depth to their music, showcasing their desire to make a positive impact beyond the stage.
 

The first week of the New Orleans Jazz Festival wrapped up on Sunday, and it was a spectacular day! Initially, there were concerns about rain, but the weather turned out perfect with clear skies and a refreshing breeze. The crowds were smaller than Saturday's, making it easier to navigate the festival grounds and access food quickly.

The day's musical journey began in the Blues Tent with the Marc Stone Band taking the stage. Marc Stone is a force to be reckoned with in the music scene. With over 15 years of professional experience, he's not just a guitarist and singer but also a radio DJ, music journalist, and a seasoned performer who has graced stages around the world. His musical versatility ranges from scorching Delta Blues on his steel guitar to electrifying electric and lap steel guitar performances with his four-piece band. Stone's commitment to his craft has garnered him a loyal following, glowing reviews in multiple languages, and a nomination for Best Emerging Blues Artist at the prestigious 2005 Best of The Beat Awards in New Orleans.

Typically, an opening set at a music festival is a challenging slot as most concertgoers are still dealing with parking, entry, and finding their way around. However, Stone managed to draw a nearly full house right from the start. He and his veteran band, featuring Keiko Komaki on keyboards and vocals, Michael “Fou” Fouquier on drums and vocals, and Garland Paul on percussion and vocals, delivered a fiery set that included tracks from Stone’s new album, “Shining Like A Diamond," reminiscent of Dr. John’s early recordings.

The album "Shining Like A Diamond" features a roster of New Orleans music royalty. Guitarist Leo Nocentelli appears on “Digitize,” choosing a bluesy electric slide over his typical Meters funk—a first in a song addressing internet disinformation. Jazz vocalist Meschiya Lake joins Stone on a Stax-style R&B duet, “When We Were Cheating,” which playfully reminisces about their infidelity with a longing to relive those moments. George Porter Jr. and his trio add to “Love is Everything,” echoing a classic Allman Brothers ballad, while “The Truth” sees contributions from the New Soul Finders, including legendary singer Marilyn Barbarin, bringing a contemporary twist to a funky gospel track.

Following Stone, Jontavious Willis, a young bluesman who consistently exceeds expectations, took the stage. He showcased his mastery of traditional Chicago and Delta blues and surprised the audience with ventures into blues rock and a dreamy folk-tinged tune. Adjacent in the Gospel Tent, Bishop Joseph Carter and The Boyz from Slidell, Louisiana, energized attendees with an uplifting guitar-driven gospel set.

With 14 stages hosting performances from a diverse array of musical genres simultaneously, festival-goers faced tough decisions about where to spend their time. However, with ample exotic food and drink options everywhere, indulgence was never a problem. The Shreveport soul-rock band Seratones kicked off the main Festival Stage with an energetic set that set a high bar for the day.

Dusky Waters sent waves of joy through the crowd at the Rhythmpourium Stage as they performed their album's title track, "Pass It On." Frontwoman Jenn Jeffer's expertly crafted songs and the tight-knit band's seamless shifts between banjo and guitar underscored her powerful vocals. Their cover of a song by their musical godmother, Sister Rosetta Tharpe, was a highlight, demonstrating both their respect for tradition and their innovative spirit.

The festival's international appeal was highlighted by Colombian artists Joaquín Pérez y su Herencia Ancestral on the Jazz and Heritage stage, celebrating Colombia's rich musical heritage. At the same time, the Fi Yi Yi and Mandingo Warriors brought a slice of Mardi Gras Indian culture to the audience. Sunday’s line-up also featured impressive horn sections, with the Dirty Dozen Jazz Band and the Louis Armstrong 30th anniversary band playing to enthusiastic crowds.

At the massive Congo Square stage, New Orleans Mayor LaToya Cantrell was among the fans enjoying an outstanding performance by singer Tonya Boyd-Cannon. Her set took the audience on a journey from the church pews to the streets of New Orleans, through the pop charts and beyond. She even introduced her nine-month-old grandbaby Harmony to the stage, marking a special Jazz Fest debut.

Back in the Blues Tent, Eric Lindell delivered a mix of bayou blues and roots rock. His soulful rasp and catchy originals have made him a standout in the roots-rock scene, blending West Coast rock with Gulf Coast R&B and adding elements of honky-tonk twang and Memphis soul.

Béla Fleck, the renowned banjo virtuoso, returned to Jazz Fest with his My Bluegrass Heart band. They treated the audience to a masterclass in bluegrass picking, including a remarkable bluegrass reimagining of George Gershwin's "Rhapsody in Blue," which showcased Fleck's skill as a musician, composer, and bandleader. The Bluegrass super jam featured veteran performers like Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz, and Bryan Sutton.

The Gentilly stage rocked in the early afternoon with LVVRS, a young band from South Louisiana. Lead singer River Gibson channeled Mick Jagger, adding a dynamic presence to the band's 1970s rock 'n' roll fused with disco pop.

The day concluded triumphantly on the Gentilly Stage with Heart, the legendary rock sisters Ann and Nancy Wilson, captivating the largest crowd of the day. Despite over fifty years in the music industry, they showed no signs of slowing down, delivering hits like "Magic Man" and surprising the audience with covers of Led Zeppelin classics. Nancy Wilson shared a touching anecdote about her interaction with Eddie Van Halen, highlighting a memorable day filled with music and shared experiences.

This year's Cruel World Festival in Pasadena, California, offered a vibrant mix of new wave, goth, and post-punk acts with a lighter and more upbeat vibe than in previous years.

Duran Duran Headlines the Show

Duran Duran, the stylish new wave veterans, headlined Saturday night with a 90-minute set packed with hits. They opened with "The Chauffeur" before launching into crowd-pleasers like "Wild Boys," "Hungry Like the Wolf," and "A View to a Kill." Simon Le Bon, Nick Rhodes, John Taylor, and Roger Taylor, all in their early to mid-60s, showed they can still deliver a powerful and entertaining live performance. The band even threw in a mashup of their own "Girls on Film" with Talking Heads' "Psycho Killer" for good measure.

A Day of Reunions and Discoveries

Cruel World 2024 wasn't just about established acts. Fans of Bauhaus got a rare treat with a reunion of Tones on Tail, a side project featuring Bauhaus's Daniel Ash and Kevin Haskins. They played their lone album, "Pop," in its entirety for the first time since 1984. It was the third Cruel World appearance for the pair, first with Bauhaus and then again last year appearing as Love and Rockets.

The festival also showcased newer bands influenced by the classic post-punk sound. At the Cruel World festival, the spotlight shone brightly on Dreamcar, a dynamic ensemble featuring the rhythm section of No Doubt—bassist Tony Kanal, guitarist Tom Dumont, and drummer Adrian Young—with the charismatic vocals of Davey Havok from AFI leading the charge. Their performance on the main stage during the late afternoon stirred the crowd with a modern new wave sound, eliciting enthusiastic responses to tracks like "We Rats," "Kill For Candy," and a mesmerizing rendition of David Bowie's "Moonage Daydream."

Gary Numan

Early synth rock music pioneer Gary Numan returned for his second year at the festival. It was his third performance since he was invited back last year to open for the second day of the festival, which was a makeup day for the weather-delayed headline set by Siouxsie and the Banshees. This time, the iconic musician played his early synth album "Pleasure Principles" in its entirety. It was a departure from his work with his current band, which is much more industrial in nature, akin to NIN. For most of the set, his typically frenetic bandmates took a much more subdued role. But for the final performance of the anthemic “Cars,” revamped for the present day, the bandmates returned to their more visceral presentation, much to the crowd's delight.

British Invasion

Simple Minds drew a large audience with their anthemic rock, with "Don't You (Forget About Me)" a particular highlight. The two original members of the Scottish rockers, lead singer Jim Kerr and guitarist Charlie Burchill, led the band in a powerful sunset performance. The Cruel World festival was ignited by the electrifying debut of Lol Tolhurst, Budgie, and Jackknife Lee's new trio, a fusion of legendary talent from The Cure's original drummer Tolhurst, Siouxsie and the Banshees' Budgie, and the masterful Irish producer Lee. Their album "Los Angeles," unveiled in late 2023, set the stage with its innovative blend of dual-drumkit and guitar arrangements, enhanced by the captivating vocals of guest artists.

Isaac Brock, renowned for his work with Modest Mouse, graced the album with his vocals. Along with fellow collaborators Arrow De Wilde of L.A.'s Starcrawler and the versatile rapper-trumpeter Pan Amsterdam, Brock brought the album to life on the festival stage. Brock's presence lingered as he mesmerized the audience with a stirring rendition of The Cure's classic "A Forest," adding another luminary moment to an already stellar day of performances.

Ministry Goes Back to Its Roots

Early synth pioneer Ministry may have turned in the most fascinating set of the festival. In a lineup packed with iconic new wave acts like Duran Duran and Blondie, Ministry, led by the charismatic Al Jourgensen, opted for a departure from their usual industrial metal intensity at the Cruel World festival. Drawing mainly from their seminal albums "With Sympathy" (1983) and "Twitch" (1986), the band dusted off some gems from their early repertoire. Notably, tracks like "Work for Love," "I’m Falling," and "Effigy (I’m Not An)" made their live comeback after a hiatus dating back to 1984. Adding to the nostalgia, classics such as "All Day," "Over the Shoulder," and "Just Like You," last heard live in 1987, found their revival on stage.

For this exceptional performance, Ministry transformed into a formidable 13-piece ensemble. The ensemble included backing vocals courtesy of the "Ministrettes" and orchestral depth provided by the "Ministrings." Notable among the additional musicians was the former Nine Inch Nails keyboardist Charlie Clouser, who enriched the sonic landscape with his expertise. The climax of the set arrived with the crowd-pleasing sing-along anthem "(Everyday Is) Halloween)," a gothic gem that Ministry revived in 2018 and 2019 after a hiatus spanning over three decades. With this triumphant performance, Ministry revisited its roots and showcased its enduring influence, leaving an indelible mark on the Cruel World festival.

Looking Back and Moving Forward

Cruel World 2024 celebrated the enduring legacy of new wave, goth, and post-punk music while offering a glimpse into the genre's future with exciting new bands. From established acts like Duran Duran to reunions like Tones on Tail and captivating sets by younger bands, the festival had something for every fan of this unique musical movement.

The one-day Just Like Heaven festival returned to Pasadena on Saturday, May 18th, for its fifth year. With so many acts overlapping, choosing which bands to watch was a challenge. The day began with DJs spinning tunes from the 00s on both stages. The timeline of the music seemed to be the one fact tying the diverse lineup together. Prioritizing becomes particularly challenging at a festival like Los Angeles’ Just Like Heaven, which features indie bands whose most acclaimed albums emerged in the early 2000s. Fans of one of these acts would most likely want to catch the others, too.

Just Like Heaven 2024 presented bands like The Postal Service and Death Cab for Cutie, concluding their tours dedicated to "Give Up" and "Transatlanticism," respectively. Alvvays, Broken Social Scene, Metric, and Warpaint complemented these acts. On the other hand, Phoenix, headliners of the inaugural edition, led a synth-inflected indie path. Fans of Phoenix likely found themselves drawn to Two Door Cinema Club, Passion Pit, Miike Snow, Phantogram, and Washed Out. The overlap between these two groups is significant, and this year’s lineup boasted one of the most diverse selections, musically and geographically, since the festival's inception. The bands themselves were celebrating the occasion on Saturday, acknowledging that they were grateful to still be performing with groups they had come up alongside. “In France, we don’t have high school reunions,” Phoenix frontman Thomas Mars remarked during their set. “So this is kind of like ours.”

The festival featured diverse performances from bands like the reunited CSS from Brazil and Gossip from Arkansas. These days, big, multi-genre festivals often overlook established indie acts, relegating them to genre-specific nostalgia events like Just Like Heaven. This reflects indie rock’s diminished cultural dominance, particularly among Gen Z and festival-going teens. The crowd was surprisingly older, with many pushing baby carriages across the vast festival grounds. The focus on nostalgia sometimes created a strange tension. Death Cab for Cutie, for instance, opted to perform "Transatlanticism" in full rather than a career-spanning setlist. They were booked as a package deal with Ben Gibbard’s other band, The Postal Service. Celebrating an album as remarkable as "Transatlanticism" 21 years later is understandable. Still, given Ben Gibbard's fantastic sound, it would have been nice to hear newer songs. Nonetheless, their performance of “Transatlanticism” was spellbinding, each refrain of “I need you so much closer” resonating deeply.

Phoenix, by contrast, chose a career-spanning set instead of focusing on their breakthrough album, Wolfgang Amadeus Phoenix. “LA, I would love to talk to you… but we have seven albums and 50 minutes,” Thomas Mars told the crowd. They raced through a medley of their greatest hits, including tracks from their terrific 2022 album, Alpha Zulu. Ezra Koenig of Vampire Weekend, a band sorely missed at this festival, joined Phoenix to perform Alpha Zulu's “Tonight” and later played guitar on “1901.” Phoenix’s music remains fresh and relevant, making their set a standout.

Many bands at Just Like Heaven delivered solid performances, including Passion Pit, led by Michael Angelakos with remarkable vocals. The crowd responded with the most enthusiasm seen during the entire festival. As The Postal Service neared the end of their set, Ben Gibbard paused to thank fans for supporting "Give Up," their only studio album. “When we made this record, we thought it would be a tiny little thing our friends would like and then go away,” Gibbard said. “We never imagined we’d be here 21 years later playing it for you.” Their performance, including a moving rendition of “Brand New Colony,” capped off a day filled with indie rock favorites. For much of the crowd, however, the excitement seemed to peak after the set by Death Cab. A steady stream of festival-goers could be seen heading to the exits nine hours into the festival. But quite a few stopped at the far stage to hear an exquisite set by Swedish rockers Miike Snow.

Other highlights included strong sets from female-fronted bands and duos. Beth Ditto of Gossip, Molly Rankin of Alvvays, and Emily Haines of Metric delivered memorable performances. Tegan and Sara shone exceptionally bright, captivating the crowd with hits like “The Con” and “Closer.” One notable difference from other festivals was the presence of many young children. Just Like Heaven fans, now in their prime parenting years, brought their families along, creating a unique, family-friendly atmosphere.

In essence, Just Like Heaven 2024 was a festival rooted in nostalgia but capable of delivering powerful, contemporary performances. It reminded us that while the past was fun, the present holds its own unique charm.

No Values, the biggest punk/hardcore festival in American concert history, took place in Pomona, California, on June 8. Organized by Goldenvoice, now a subsidiary of A.E.G. Worldwide and famously known for promoting the megafest Coachella, the festival celebrated Goldenvoice's punk rock roots. In 1981, Goldenvoice was a D.I.Y. company that booked punk gigs at Southern California venues such as Fender's Ballroom, the Olympic Auditorium, and Perkins Palace.

The festival brought together old-school acts like Bad Religion, Black Flag, and the original Misfits with newer bands carrying the torch. Highlights included Jello Biafra joining Agent Orange and the Dillinger Escape Plan (reunited after seven years!) and Sublime (fronted by the late Bradley Nowell's son) covering punk classics and performing rare Sublime tracks.

Lineup and Performances

The lineup featured a mix of old-school and newer bands, including the Adicts, the Adolescents, Agent Orange, Bad Religion, Black Flag, Cro-Mags, the Dead Milkmen, the Dickies, the Exploited, Fear, Fishbone, the Jesus Lizard, Social Distortion, Suicidal Tendencies, the Vandals, the original Misfits, Ceremony, Fidlar, the Garden, Joyce Manor, and Viagra Boys. It was a full-circle moment for all involved, including Goldenvoice co-founder Gary Tovar, who named the company after a type of weed. Tovar even appeared at the festival to introduce T.S.O.L., the band that headlined the first-ever Goldenvoice show in 1981.

Festival Attractions

The festival offered various attractions, such as the Goldenvoice Lounge with old punk flyers, a "Jello-a-Go-Go" dive bar with Jello Biafra, former leader of Dead Kennedys, spinning old records, a Vans-sponsored skating showcase with surprise guest Tony Hawk, and a ska-centric stage with bands like Hepcat, the Selecter, the Skeletones, and the Untouchables. Limited-edition ska T-shirts designed by Eric Stefani, a former member of No Doubt, were also available.

Logistics and Issues

Most performances ran flawlessly, on time, and with impeccable sound quality. Numerous food and drink booths and air-conditioned cooling zones provided respite for exhausted mosh pit fans. The festival's only significant downside was the marathon traffic jam at both entrances to the parking lots. Fans who didn't arrive early were forced to wait hours for entry. Some even complained on social media about waiting hours to park, and some who had paid for preferred parking were turned away due to the oversold V.I.P. lot. The exiting process was similarly problematic after the final notes of music.

General Advice and Observations

A great rule of thumb for any music festival is to arrive as early as possible and leave before the headline set ends. Despite the parking issues, the festival featured quick-moving concession lines, various food options (including vegan), a well-organized schedule, and easy access to different stages. The only difficulty was deciding which stages to prioritize, given the sheer number of bands.

Surprise Performances and Memorable Moments

The festival had several surprise performances, such as Jello Biafra joining Agent Orange and the Dillinger Escape Plan. Mike Muir from Suicidal Tendencies also made a surprise appearance with the Dillinger Escape Plan. Jello hosted an unusual event: a karaoke sing-along featuring premiere punk rock singers and classic punk rock songs played by a D.J.

Suicidal Tendencies delivered the most authentic hardcore punk set of the day, with the largest mosh pit and crowd surfing. Sublime, featuring Bradley Nowell's son Jakob on vocals, performed songs by Bad Religion and the Descendents, along with some of their own songs for the first time since 1996.

Female Representation and Notable Acts

The festival had a predominantly male lineup, resulting in long lines for the men's restrooms. However, one of the highlights was L.A.'s all-female punk/grunge band, L7, who delivered an energetic and refreshing performance. Other female performers included Pauline Black from The Selecter and Kat Moss from Scowl. There were also two female members of punk elder statesman Iggy Pop's supergroup, including Nick Zinner from the Yeah Yeah Yeahs, Matt Sweeney from Skunk/Chavez/Zwan, and session drummer Urian Hackney. The multi-generational audience enjoyed Iggy's performance, which included bringing a fan on stage.

The Damned, another group of elder statesmen, gave a memorable performance with their classic lineup from the early '80s.

Conclusion

Overall, No Values had its challenges, but with better parking and more diversity in the lineup, it has the potential to continue being a successful and iconic punk festival.

The Bonnaroo Superjam boasts a remarkable history of legendary participants, dating back to the festival's inception. This year's Emo Superjam upheld the tradition, delivering a uniquely electrifying set that stood out as one of the highlights of the 2024 festival. While most music fans thronged the Main Stage for performances by Cage The Elephant (with frontman Matt Shultz having a history of Superjam appearances) and the Red Hot Chili Peppers, an enthusiastic crowd packed This Tent for an unforgettable experience.

Curated by Chris Carrabba, the lead singer of Dashboard Confessional, this year's Superjam featured a powerful lineup of emo hits. The set began with Dashboard Confessional's own "Stolen" from their 2007 album, Dusk and Summer. The energy soared as Andrew McMahon animatedly joined in for Something Corporate’s "I Woke Up In A Car," followed by Yvette Young of Covet, who brought "The Middle" by Jimmy Eat World to life.

Geoffrey Rickly, known for his work with Thursday, performed “Understanding In A Car Crash,” and was later joined by New Found Glory's bassist Ian Grushka for a cover of My Chemical Romance’s “I’m Not Okay (I Promise).” Carrabba returned to lead vocals with Dashboard Confessional’s "Screaming Infidelities" from their 2001 album, The Places You Have Come to Fear the Most. Derek Sanders of Mayday Parade then took the stage with Blink-182’s "I Miss You," inciting a mosh pit frenzy.

Anthony Green of Circa Survive heightened the intensity with My Chemical Romance's “Helena,” and his acrobatic crowd surfing added to the excitement. He then joined Geoff Rickly for a dynamic duet of Taking Back Sunday’s “Make Damn Sure.” The energy shift continued as The Beaches delivered a cover of Paramore’s “That’s What You Get,” paying homage to the nearby Franklin, Tennessee natives, with lead singer Hayley Williams having a history of Superjam participation.

Dashboard Confessional resumed with “Vindicated,” the lead single from the Spider-Man 2 soundtrack, featuring Grushka on bass and Young on guitar. Mike Kinsella and Young performed “Never Meant” by American Football, followed by John O’Callaghan of The Maine and Medium Build’s duet on Taking Back Sunday’s “Cute Without The E (Cut From the Team).” Anthony Green returned for a powerful duet with Cursive’s Tim Kasher on “One Armed Scissor” by At The Drive-In.

The female trio Trousdale took over with Paramore's “Misery Business,” and then shared the stage with Derek Saunders for a rousing rendition of “Teenage Dirtbag” by Wheatus, bringing the house down with a massive sing-along. The grand finale saw O’Callaghan, Kasher, and McMahon leading Weezer's “Say It Ain’t So,” with McMahon diving into the crowd.

The night concluded with Dashboard Confessional’s “Hands Down,” as all the evening's performers joined onstage, ending two hours of pure emo bliss. This Superjam was a testament to the enduring power of emo music and the vibrant spirit of Bonnaroo.

The Bonnaroo Music Festival celebrated its 20th year in 2024, held on an old farm in rural Manchester, Tennessee. The beloved music and arts festival began in 2002, the same year as Coachella, and has taken place annually since then, except for 2021 and 2022 due to the pandemic and hurricane flooding, respectively. The festival has garnered numerous accolades, including being ranked by Rolling Stone magazine in 2003 as one of the "50 Moments That Changed Rock & Roll," named "Festival of the Decade" by Consequence of Sound, and listed among the "10 Best Festivals" by GQ Magazine.

The ever-expanding musical extravaganza starts earlier each year. Most music fans camp out for the four-day lineup and can now arrive up to two days earlier on Tuesday. The campground, called Outeroo, contrasts with the main concert area, Centeroo. The vast campsites are divided into nine satellite communities, each with its own entertainment venues and a variety of food and beverage vendors. Entertainment begins as early as Tuesday, but on Wednesday night, the day before Centeroo opens, the live music really heats up. Live bands play on multiple stages, and there are live drag shows throughout the night, like Neon Nostalgia with Boyyyish and Ultraviolet, reflecting Bonnaroo's all-inclusive policies that embrace the LGBTQ community.

However, the real star of the campground entertainment is the Where In The Woods EDM stage. Well-known DJs like Aeon-Mode and Chase & Status kept the dance music going on a massive stage with giant lighting and multimedia effects until the early hours of Thursday morning. The venue is nestled in a forested grove where music fans set up hammocks and enjoy nearly nonstop music for five days, complete with food and beverage vendors and art installations. For some EDM fans, most of the week is spent in this magical venue.

Centeroo traditionally opened on Thursday afternoon, June 12. The first day mostly features new and up-and-coming artists, many of whom go on to play the main stages in later years. Young British-Canadian indie singer and keyboardist Matt Maltese kicked off the festivities with a mellow set. Michigander, an American rock band from Kalamazoo, Michigan, brought its indie rock sound to an enthusiastic audience. The group, centered around vocalist, songwriter, and multi-instrumentalist Jason Singer, was joined by touring musicians Jake LeMond on guitar, Aaron Senor on drums, and Connor Robertson on bass guitar. The smaller Who Stage featured Winyah, consisting of five guys from Pawleys Island and Georgetown, with Luke Gordon on lead guitar and vocals, Thomas Rowland on lead vocals and guitar, Stephen Russell on bass and vocals, Jim Carr on drums, and Rob Buffington on keyboards.

While Bonnaroo has evolved to attract a younger audience with top EDM, rap, and pop artists, the festival remains true to its roots by offering a wide array of jam bands. The Connecticut band Eggy maintains the jam band tradition with a fresh new sound, featuring Alex Bailey (drums, vocals), Jake Brownstein (guitar, vocals), Mike Goodman (bass, vocals), and Dani Battat (keys, vocals). They performed an energetic early set that delighted jam band fans of all ages.

Another stage offered a different vibe with a captivating performance by Durand Bernarr, an American singer-songwriter and producer who frequently provides background vocals for neo-soul artist Erykah Badu and features vocals for artists like Anderson .Paak, Kaytranada, and The Internet. Nation of Language, an American indie pop band formed in Brooklyn, New York, in 2016, brought an upbeat vibe to the sunset hour. The group consists of Ian Richard Devaney (lead vocals, guitar, synthesizer, percussion), Aidan Noell (synthesizer, backing vocals), and Alex MacKay (bass guitar). Several other indie rockers performed throughout the night, including North Carolina’s Sawyer Hill, Alaska’s indie singer Medium Build, Los Angeles rockers Militarie Gun, and The Foxies.

The Nashville-based band The Foxies returned to Bonnaroo this year, a far cry from their contest-winning debut. This time, they graced the prestigious Who Stage, exuding newfound confidence despite technical difficulties. While their Nashville roots might suggest a country twang, The Foxies defy easy categorization. Their genre-bending approach felt perfectly at home at Bonnaroo, a festival known for its diverse lineup. The Foxies aren't chasing trends but rather celebrating the music that shaped them. Though audio issues presented a challenge, The Foxies' spirit remained unbroken. They delivered a captivating performance that solidified their place as a band to watch, effortlessly blending genres and forging a unique sound that resonated with the Bonnaroo audience.

As usual, the Thursday Bonnaroo lineup was the most musically diverse day of the festival. BigXThaPlug brought the rap, while Irish singer Roisin Murphy delivered an electropop dance music set late into the night. GWAR offered an over-the-top theatrical heavy metal performance, and Pretty Lights performed a historic EDM set. For the first time, a band played the main stage on Thursday at Bonnaroo when Pretty Lights performed a four-hour marathon two-set EDM extravaganza. The talented EDM artist would go on to perform two more sets over the weekend, including a sunrise set.

One of the final performances on Thursday night was a standout set by Chicago’s Neal Francis and his incredible band. Neal Francis' performance at Bonnaroo was nothing short of spellbinding. As the soulful artist graced the stage, the crowd was left in awe, captivated by the sheer power and emotion of his music. From the opening notes, Francis commanded the attention of every person in attendance, seamlessly blending elements of funk, R&B, and rock to create a genuinely mesmerizing soundscape. His fingers danced across the keys of his piano, coaxing out rich, vibrant tones that reverberated through the air.

But it was Francis' voice that stole the show, soaring with raw, gritty passion that sent chills down the spine. Each lyric was delivered with palpable intensity, as if he were laying bare his soul for all to see. The audience hung on to his every word, transported to another time and place by the sheer authenticity of his performance. As the set drew to a close, the crowd erupted in thunderous applause, a testament to Neal Francis's profound impact. It was a performance that will be etched in the memories of all who bore witness, a true testament to the transformative power of live music.

Day two of Bonnaroo 2024 was hot, dry, and dusty, with music fans coping with extreme temperatures throughout the early afternoon. The Bonnaroo fountain and giant cooling tent, adorned with posters and large fans, were popular destinations. Tree-shaded areas became prime real estate. Staying hydrated was key to enduring the onslaught of musical performances throughout the day.

The lineup was diverse, featuring young pop stars like Dominic Fike, Gothic rock from Interpol, a massive EDM multimedia extravaganza from DJs like Sudden Death, and headlining Hip-Hop sets from Post Malone and T-Pain. Other standouts included indie rock from The Japanese House and The Driver Era. Maggie Rogers also pleased a large crowd with her country-tinged indie set. However, if there was one dominant genre on Saturday, it was jam bands.

The jams began in the early afternoon with a guitar-drenched set by the Lovell sisters.

Better known as Larkin Poe, sisters Rebecca Lovell and Megan Lovell brought the Bonnaroo Main Stage to life under a sweltering early afternoon summer sun. The duo rocked the stage with their aggressive guitar and slide licks, tight harmonies, and captivating stage charisma. Nashville-based Rebecca and Megan Lovell started their professional careers as teenagers in 2005 with their older sister, Jessica, playing as the Lovell Sisters. That formation disbanded in 2009, but Rebecca and Megan returned in 2010 as Larkin Poe, named in tribute to their fourth-great-grandfather, a cousin of Edgar Allan Poe, hence their signature raven logo.

Grammy-nominated Larkin Poe is a highly accomplished and incredibly talented duo. They have been quite prolific over the last 12 years, releasing six studio albums, a live album, several EPs, and numerous live and recorded collaborations with other artists, all while maintaining an exhausting touring schedule. Both Rebecca and Megan are multi-instrumentalists; Rebecca plays lead guitar and keyboards, while Megan plays lap steel and resonator guitar. Rebecca sings lead, with strong support on harmonies from Megan.

Gary Clark Jr. rocked the second-largest stage at Bonnaroo with his signature guitar riffs and soulful vocals, playing fan favorites like “When My Train Pulls In” and “Bright Lights,” along with tracks from his latest album. The crowd was on their feet and singing along. After his electrifying performance, Clark Jr. sat down for a one-on-one interview with Andy Langer and other members of the media. Reflecting on his past performances at Bonnaroo, he shared how his career has evolved since his first appearance over a decade ago. He talked about his nerves back then and how he has grown more confident in his abilities. Taking questions from the press, Clark Jr. discussed his passion for music and his interest in the perspectives of young people. He appreciated the opportunity to connect with fans and media alike, noting the importance of embracing change and staying true to his artistry. As he wrapped up the interview, Clark Jr. thanked everyone for their support and encouraged fans to keep the music alive. With his soulful sound and dynamic stage presence, Gary Clark Jr. left a lasting impression on Bonnaroo, again proving why he is a must-see performer.

In the evening, the Joe Russo band took the stage at Bonnaroo, a group synonymous with jam music and the festival itself. The band has been playing at this festival since it started 20 years ago, appearing almost every other year in different forms. The musicians making up the Joe Russo band have become Bonnaroo fixtures. Joe Russo and keyboardist Marco Benevento played as a duo. They also played with Phish‘s Mike Gordon, later with Phish’s Trey Anastasio and Mike Gordon, and the Grateful Dead‘s Phil Lesh. They also played with Bustle in Your Hedgerow, their Led Zeppelin cover band, in a historic jam that lasted until sunrise.

Later on the main stage, another jam band set a very different mystical mood. Khruangbin, an American musical trio from Houston, Texas, appeared in a magical multimedia presentation heavy on saturated color and smoky haze. The band consists of Laura Lee Ochoa, Mark Speer, and DJ Johnson. Known for blending global music influences such as classic soul, dub, rock, and psychedelia, Khruangbin's Bonnaroo set was spellbinding, gathering a massive audience.

The final jam in the early morning hours of Saturday featured Thundercat. Stephen Lee Bruner, better known by his stage name Thundercat, is an American musician, singer, record producer, and songwriter from Los Angeles. Bruner led his band with his oversized bass through a stunning 14-song setlist, seamlessly blending R&B/Soul, Dance/Electronic, and Jazz.

Saturday at Bonnaroo was another dusty, scorching day as the massive heat wave over the region continued unabated. Yet, the relentless heat couldn't deter a sold-out crowd from flooding the Centeroo in the early afternoon. Big-name rock acts like the Red Hot Chili Peppers and Cage The Elephant drew the largest audiences, while the Emo Superjam offered the day's most captivating set. Thousands packed into the This Tent stage, joining a nonstop sing-along frenzy of Emo hits.

Earlier in the day, some phenomenal jam-oriented performances motivated large, sweaty crowds into dance frenzies. The Teskey Brothers, an Australian blues rock band from Melbourne, took to the main stage early in the afternoon. Named after the two brothers who formed the group in 2008—Josh and Sam Teskey—the band delivered a magical set blending retro blues with modern rock.

Following their performance, Brittany Howard and her veteran group of musicians took the Which stage by storm. Brittany Howard, an American musician from Athens, Alabama, who rose to prominence in the early 2010s as the lead vocalist, rhythm guitarist, and primary songwriter of Alabama Shakes, captivated the crowd with her powerful vocals and exquisite guitar-picking skills.

Later on the main stage, Jon Batiste led his Louisiana band in a swamp-drenched, dance-infused frenzy of a set that incorporated jazz, rock, blues, R&B, and other Americana sounds, leaving the crowd in awe.

In the evening, Gregory Alan Isakov led his group in a folk-drenched set of classic Americana music. Isakov, a South African-born American singer and songwriter currently based in Boulder, Colorado, brought a unique and captivating performance, perhaps influenced by his African roots. The entire tent of music fans danced through most of the set, fully immersed in the experience.

After the big rock shows on the main stage and the Emo Superjam (covered in a separate review), pop music fans were treated to a late-night theatrical performance by pop star Melanie Martinez. The show featured dazzling special effects and a dance troupe that could rival most Broadway productions. The young New York crooner is fast becoming a pop superstar, slated to headline an upcoming festival in Mexico City alongside Paul McCartney and Green Day.

The day showcased the power of live music, with diverse performances that left the audience exhilarated despite the relentless heat.

Another hot and muggy day dawned on the final day of the 2024 Bonnaroo Music Festival as exhausted fans prepared for one last round of musical bliss. Female pop stars dominated most of the day's events, beginning with an early set by The Beaches, a Canadian rock band formed in Toronto in 2013 by Jordan Miller, Kylie Miller, Leandra Earl, and Eliza Enman-McDaniel. The all-girl quartet rocked an early afternoon crowd. Later, on the main stage, lead singer Jordan Miller joined Milky Chance, a German rock band from Kassel, comprising vocalist and guitarist Clemens Rehbein, bassist and percussionist Philipp Dausch, and their band members. Miller and the band performed “Living In A Haze,” a song produced by both The Beaches and Milky Chance.

The set was followed by a short delay due to thunderstorm warnings. But by the time the music resumed, nearly 70,000 fans flooded back toward the multiple stages. Chappell Roan was the biggest surprise of the day after being moved from her original tent set time to the main stage due to her skyrocketing popularity in the last several months. Crowds eagerly gathered around the Which Stage on Sunday afternoon in anticipation of Roan’s performance, showcasing their admiration for the “Red Wine Supernova” singer with dedicated attire and accessories. Some devoted fans even waited in line for up to 12 hours to secure a prime spot for her show.

As the 26-year-old pop sensation Chappell Roan graced the Bonnaroo stage, a massive crowd was captured on screens stretching halfway across the festival grounds. Roan kicked off her set with “Femininomenon,” belting out catchy lyrics and captivating the audience with her energetic performance alongside her talented bassist and guitarist. With her powerful vocals soaring over glitzy pop music, Roan enthralled the crowd from start to finish.

A standout moment of Roan’s set was when she engaged the audience in learning her “Hot To Go!” choreography, showcasing her charismatic stage presence and interactive approach to performance. Despite the sweltering heat, Roan’s set drew fans in with its infectious energy and dynamic musicality.

Carly Rae Jepsen brought her brand of pop excellence to the stage at Bonnaroo, much to the anticipation of fans awaiting her performance on the What Stage. Unfortunately, due to the looming threat of thunderstorms on Sunday afternoon, Jepsen’s set was cut short by the inclement weather. The 38-year-old pop superstar delighted the crowd with perfect pop hits such as “Now That I Found You,” “Anything to Be With You,” and “Run Away With Me” before the show abruptly ended. She was dressed in a flowy blue dress with crimped hair and exuded a mermaid-like charm that captivated the audience. Jepsen’s infectious energy and enthusiasm shone through during her performance, particularly highlighted during the saxophone solo in “Run Away With Me." Her genuine and sweet stage presence left a lasting impression on all who witnessed her set, leaving a desire for more time to enjoy her music in the future. Carly Rae Jepsen proved to be an artist who truly knows how to create a memorable and enjoyable experience for her fans.

Ashnikko took the stage at Bonnaroo, delayed by a rain delay, but was met with enthusiastic fans eagerly rushing to the barricade as they were allowed back into That Tent. The pop-punk sensation, known for hits like “Daisy,” emerged with her signature blue hair and captivating stage presence, surrounded by a creative backdrop of tentacle-like structures and an apocalyptic setting on the screen behind her. Launching into songs like “You Make Me Sick!” and “STUPID,” Ashnikko delivered intense dance routines with a distinct Tim Burton and Neil Gaiman inspiration, captivating the audience with her unique style. A fan even gifted her a Coraline doll during the performance, adding to the excitement of the set. In a bold move, Ashnikko introduced a song dedicated to Dolly Parton, showcasing her eclectic songwriting and quirky humor. Despite her edgy lyrics, she engaged the crowd with empowering messages, highlighting songs like “Working B****” and celebrating women’s empowerment. Teasing fans with news of a forthcoming album, Ashnikko left the audience excited for what’s to come from the fierce artist. As the rain cleared and the sky transformed into a stunning yellow and orange backdrop, Ashnikko’s electrifying performance at Bonnaroo left a lasting impression on all in attendance.

Megan Thee Stallion delivered a powerhouse performance at Bonnaroo, solidifying her position as one of the top talents in the rap scene. The Houston Hottie took the stage in a dazzling yellow two-piece outfit, showcasing her confidence and body positivity that resonate with audiences. With her empowering songs about sexual liberation and self-love, the 29-year-old rapper has become a symbol of empowerment for women of all ages. The crowd, a mix of fans, cheered on the 5’10" rapper, drawn to her masterful wordplay and magnetic stage presence. Megan Thee Stallion dove into her extensive catalog, including tracks from her early Tina Snow era, captivating the audience with her commanding performance. During the set, she engaged the crowd in a rap battle to “Sex Talk,” encouraging fans to showcase their knowledge of her lyrics. She interacted with audience members, acknowledging those who rapped along and making fans feel special by recognizing their signs. As she flawlessly moved to the beat on stage, Megan Thee Stallion’s performance was a sight to behold, leaving the audience mesmerized by her talent and charisma. Every moment of her set was a display of excellence, with no dull moments in sight. From hits like “Body” to “Freak Nasty” and the controversial yet beloved “WAP,” Megan Thee Stallion’s Bonnaroo set was a testament to her status as a rap superstar.

While women dominated the landscape Sunday at Bonnaroo, there were plenty of solid performances from the men as well. Country folk singer-songwriter Charles Wesley Godwin provided a refreshing break from the sun during his performance at Bonnaroo, which stood out among the weekend’s lineup. As clouds rolled in during his set at the Which Stage at 4:45, the welcomed relief from the sun was accompanied by the disappointment of having to cut his performance short due to rain. Despite the weather interruption, fans were treated to a dynamic show filled with touching ballads and energetic performances from Godwin and his talented band. Accompanied by various instruments, including an acoustic guitar, pedal steel guitar, banjo, keyboards, and tambourines, Godwin’s set showcased diverse musical elements. The shirtless keyboard player, Max Somerville, added a unique touch to the performance as he skillfully played the keys and engaged with the audience. Godwin’s heartfelt songs like “Country Roads,” “Jealous Kind,” and “Miner Imperfections” resonated with the crowd, especially as he dedicated a song to fathers in honor of Father’s Day. Despite the set being cut short, Godwin’s genuine and sincere performance left a lasting impact on fans. His blend of blazing instrumentation and authentic storytelling stood out on the Bonnaroo stage. Amidst the lineup changes, Godwin’s artistry and talent shone through, making his set a standout moment at the festival.

For something completely different, fans of Neo-Psychedelia music were treated to an energetic set by Yves Tumor and his band. Sean Lee Bowie, known professionally as Yves Tumor, is an American musician and producer renowned for his experimental music. With an impressive discography, Yves Tumor has released five studio albums, including “When Man Fails You” (2015), “Serpent Music” (2016), “Safe in the Hands of Love” (2018), “Heaven to a Tortured Mind” (2020), and “Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds)” (2023). Growing up in nearby Knoxville, Tennessee, Tumor discovered his passion for music at 16. The set was one of the most unique musical moments of Sunday.

A bittersweet feeling swept through the crowds as the sun began to set on the final day of the Bonnaroo Music Festival 2024. After three incredible days of music, laughter, and unforgettable moments, the realization that this magical weekend was coming to an end was palpable. The energy on the festival grounds was electric, with festival-goers soaking in the last few hours of this beloved annual event. The main stages were packed as music lovers gathered to witness the final performances, singing and dancing along to the familiar tunes that had become the soundtrack to their Bonnaroo experience. Jason Isbell, a seasoned veteran of Bonnaroo with his first performance dating back to 2004, closed out the main stage with his band, the 400 Unit, on a memorable Sunday night. As the sun set and the clouds painted the sky following a refreshing rain shower, Isbell enthralled the crowd with his musical prowess. Expressing his joy at being part of the festival, Isbell shared his appreciation for the performances he had witnessed throughout the weekend, including Chappell Roan and Brittany Howard. Reflecting on his early days at Bonnaroo, Isbell recounted the sleepless nights spent immersed in music. With his distinct guitar skills and powerful vocals, Isbell and his band, featuring two drummers, captivated the audience with a journey through his diverse discography. From soulful tracks like “Alabama Pines” and “Tired of Traveling Alone” to heartfelt melodies such as “Cover Me Up,” Isbell delivered a masterful performance that showcased his musical range and authenticity.

The closing act of the weekend at Bonnaroo was the British DJ known as Fred again... With a transformative musical style, Fred again..., also known as Frederick John Philip Gibson, has redefined the electronic dance music genre for many listeners. Initially recognized for his work as a co-writer and producer on popular tracks like George Ezra’s “Shotgun” and Rita Ora’s “Let You Love Me,” Fred again... showcased his true talents with his 2019 debut album, Actual Life. His music stands out in the EDM scene by infusing clear and expressive emotions into his compositions, often sampling music and spoken word to evoke feelings of grief, pain, love, and humanity.

The energy on the festival grounds was electric, with festival-goers soaking in the last few hours of this beloved annual event. The main stages were packed as music lovers gathered to witness the final performances, singing and dancing along to the familiar tunes that had become the soundtrack to their Bonnaroo experience. Beyond the main stages, the smaller tents and hidden gems of the festival offered a more intimate setting for fans to connect with emerging artists and discover new musical gems. The sense of community and shared appreciation for the art of live performance was truly inspiring, leaving an indelible mark on all fortunate enough to attend. As the final notes faded and the crowds reluctantly began to make their way home, there was a collective feeling of gratitude for the memories created and the connections forged over this remarkable weekend. The Bonnaroo spirit would live on, a testament to the power of music to bring people together and create lasting bonds.

Classic rock legend Justin Hayward of the Moody Blues brought his solo project to the historic Lobero Theatre in Santa Barbara. The intimate venue, with near-perfect acoustics, just celebrated its 150th anniversary as California's oldest continuous performance hall. It was a fitting place for Hayward to perform his enthralling set.

The show opened with a unique performance by Mike Dawes, a musical magician on acoustic guitar. Dawes, who would later join Hayward as part of his backing band, first captivated the audience with a dynamic performance. His five-song set, filled with humorous improvisations and a mix of covers and original songs, was a testament to his musical prowess. Kicking off the evening with his signature track, “Boogie Shred,” Dawes showcased his impressive fingerstyle technique, blending classical, folk, and Latin influences with a funky edge that resonated throughout the venue. Injecting humor into his act, Dawes engaged the crowd with quirky remarks like, “Everybody say sausages and put your hands together!” In a beautiful dedication, Mike also played his fingerstyle cover of Van Halen’s “Jump” (please remain seated), even jumping during his performance.

After a short intermission, Hayward took the stage before a mesmerizing backdrop of an ancient castle overlooking an open ocean. As the night progressed, various lighting effects transformed the backdrop, creating different moods, from a brilliant sunrise to a cold, stormy sea. It was a perfect setting for Hayward's aptly moody music, which blended classical genres with rock, folk, and electronic underpinnings.

In the ethereal ambiance of Justin Hayward’s performance at the Lobero, a sense of nostalgia and introspection filled the air as the Moody Blues frontman and solo artist reflected on the enduring impact of music from a collective youth. Hayward’s velvety vocals and poignant lyrics transported the audience back to an era of British pop, resonating with timeless charm and creating a deep connection with the listeners.

Accompanied by his agile guitarist Mike Dawes, Hayward’s setlist of 20 songs, including a medley of Moody Blues classics, captivated listeners with melodic richness and emotional depth. Hayward and his band exuded the essence of seasoned troubadours, delivering a musical journey through the decades.

While the absence of a drummer left a void in the sound, flutist Karmen Gould and keyboardist Julie Ragins seamlessly integrated subtle percussion elements into the band’s performance, adding a unique texture to the familiar tunes. Ragins’ use of a digital keyboard to recreate the iconic Mellotron sound from the past was a testament to the band’s innovative spirit, leaving the audience impressed with their musical adaptability.

The highlight of the evening came with the powerful rendition of “Question,” showcasing Hayward’s masterful acoustic guitar work and thought-provoking lyrics that still resonate today. The encore segment saw Hayward transitioning to electric guitar mode, infusing bluesy licks into songs like “Blue Guitar” and the classic Moody Blues hits “The Story in Your Eyes” and “I Know You’re Out There Somewhere.” Hayward’s unwavering stage presence and distinct voice left an indelible mark on the concert hall, ensuring that his music will continue to resonate with audiences for years to come.

The Totally Tubular Festival, a summer tour across the country, found its ideal home at the YouTube Theater in Inglewood on June 29th. This luxurious 6,000-seat venue, nestled in the SOFI Stadium complex, boasts the best live music sound system in the Los Angeles area, thanks to the state-of-the-art system integrated by the French company L-Acoustics. The festival, featuring eight hit-making acts from the '80s New Wave genre, made full use of the larger-than-life sound and extraordinary multimedia visuals available. The Totally Tubular Festival at the YouTube Theatre was a blast from the past, with a lineup of '80s acts that brought back memories of neon colors and big hair. The audience was treated to a night of pure nostalgia and fun, with standing ovations and sing-alongs. A carefully choreographed DJ set of '80s remixes kept the energy high during the multiple set changes.

Eddie Munoz, the original guitarist of the Plimsouls, opened the show with his solo band, playing a four-song set. The final hit tune, “A Million Miles Away," was the first to elicit a standing ovation and sing-along from the festive crowd. The song, featured in the teen angst film Valley Girl, was the first signal that the show was going to be a night of magical nostalgia.

Tommy Tutone and his band were up next and played a set of five songs, ending with one of the biggest radio hits of the '80s, “867-5309/Jenny,” which resulted in another massive audience sing-along.

Bow Wow Wow presented a whole new level of energy at the Totally Tubular Festival. The audience was treated to the most authentic of the two versions of this touring band. The version fronted by original singer Annabella Lwin proved to be the better option. Lwin’s energetic presence and the band’s performance of hits like “C30 C60 C90” and “I Want Candy” made them a standout act of the evening. Lwin showcased her prowess as the perfect frontwoman, captivating the audience with her infectious energy and enthusiasm, and her backing band was full of musical vitality. It’s worth noting that the Burmese singer was only thirteen years old in 1979 when Sex Pistols manager Malcolm McLaren recruited her for the band. Now 57 years old, the spry singer was the youngest of the original performers at the festival.

The Tubes, a quintessential band at the Totally Tubular Festival, showcased their enduring talent and stage presence. While their set of songs was limited, it was both disappointing and exhilarating at the same time. Hits like “TV is King,” “She’s a Beauty,” “Sushi Girl,” and “Talk to Ya Later” delighted the audience, but there was a sense of wanting more, perhaps a performance of “White Punks on Dope” or “Don’t Touch Me There.” The Tubes demonstrated why they are considered a top-notch band, leaving fans wanting more of their exceptional music.

The next five-song set by the French Canadian band Men Without Hats was one of the biggest surprises of the night. The New Wave synth-pop band, originally from Montreal, Quebec, had the crowd on their feet the entire time. Their music, characterized by the baritone voice of their lead singer Ivan Doroschuk, was a ball of energy dancing about like a teenager. The set ended with one of the biggest dance hits of the era, “The Safety Dance 12." This unexpected burst of energy from Men Without Hats added a thrilling twist to the festival.

Modern English played one of the most extended sets of the night, deservedly so. The English band, formed in 1979, was at the forefront of the New Wave movement, recording on the groundbreaking indie music label 4AD. Lead singer Robbie Grey still has a strong, steady voice and spry, youthful energy, leading his band, who continue to rock hard. The band performed in front of a massive crowd at last year’s Cruel World festival in Pasadena. The set ended with the band’s biggest hit, “I’ll Melt With You.”

Thompson Twins' Tom Bailey delivered a visually spectacular multimedia performance at the Totally Tubular Festival, who also had the longest set of the night. Bailey treated the audience to hit after hit, including “If You Were Here” from Sixteen Candles, “You Take Me Up,” a cover of Talking Heads’ “Psycho Killer,” and crowd favorites like “Doctor! Doctor!” and “Hold Me Now.” Bailey’s deadpan vocals and the exceptional performance by his all-female band did justice to the classic Thompson Twins songs, leaving a lasting impression on the audience from start to finish.

Thomas Dolby faced a challenging task as he took the stage solo at the Totally Tubular Festival. Rather than attempting to outshine the previous performances, he stayed true to his unique style, tinkering with his keys like the mad scientist persona he is known for. Dolby, Gary Numan, and others were at the forefront of bringing electronic music into pop culture. A tribute to the legendary David Bowie, with whom Dolby shared the stage at Live Aid, stood out as a highlight, along with the quirky hit “She Blinded Me With Science.” Despite the high energy of the evening, Dolby’s distinct performance left a lasting impression on the audience.

Check out more photos from the Totally Tubular Festival.

Thousands of loyal Primus fans gathered at Vina Robles Amphitheatre in Paso Robles on July 7th for a concert by the beloved trio. A warm, dry wind from the Central California desert blew across the venue. While temperatures topped 100 degrees midday, the climate was far more comfortable at showtime just around sunset. The breezy conditions offered crystal clear skies in the rural mountain setting. Not only was the venue itself stunning, with beautiful views of the surrounding vineyards, but it also provided the perfect setting for an outdoor concert experience.

Guerilla Toss opened the evening with an energetic and eclectic performance that immediately captured the audience's attention. The band’s unique fusion of punk, funk, and electronic elements created a contagious energy that had everyone dancing. The Boston band formed a cohesive unit, blending a unique brew of multiple musical genres, not unlike Primus. Frontwoman Kassie Carlson impressed the early crowd with her powerful vocals and confident stage presence, further adding to the band’s magnetic performance. She was backed by powerful musicianship from drummer Peter Negroponte, guitarist Arian Shafiee, keyboardist Jake Lichter, and bassist Zach Lewellyn.

Following Guerilla Toss, Primus took the stage under a glorious midsummer night, with twinkling stars above, far from city lights in the Paso Robles foothills. Primus delivered a spectacular performance that showcased their virtuosic musicianship. While the band evokes an innate punk rock-driven urge to mosh dance, their music is much more sophisticated than other bands of the punk genre, bordering on jazz-rock. Les Claypool’s bass playing, as usual, stood out as a highlight of the evening, captivating the crowd with its skillful precision.

The feisty musician with a mischievous sense of humor often engaged the crowd, offering up whimsical quips. A glance at the setlist revealed that the band had dropped their recent touring intro song, “Those Damn Blue Collar Tweakers.” Later, Claypool quipped, “We didn’t play Tweakers. Now my shit is all fucked up,” referring to his ensemble of electronic instruments syncing to his live performance. The witty master of the bass is frequently listed as one of the top five bass players of all time. Claypool once auditioned for the role of bassist in Metallica after the passing of Cliff Burton and modestly claimed that he just didn’t fit in with the metal band. But James Hetfield tells a different story. Hetfield once remarked that Claypool was not offered the job because "he was too good" and "should do his own thing.” Claypool went on to form Primus in 1984, and by 1989, the classic trio included guitarist Larry Lalonde and drummer Tim Alexander.

The band has been performing in various formats in recent years. Beginning in 2020, the group played numerous times, performing “A Tribute To The King," a set of Rush cover songs. Overlapping that tour, the trio started the Sessanta tour featuring Primus and Maynard James Kennan’s “A Perfect Circle” and “Puscifer.” More recently, Primus has been touring with Coheed and Cambria. But this night was all about Primus, and the setlist reflected a time capsule including the band's biggest hits. Songs like “Jerry Was a Race Car Driver” and “My Name is Mud” whipped the frenzied crowd on the floor into a giant mosh pit. Throughout the night, shouts of “Primus Sucks” permeated the crowd, a tradition dating back to the band’s early days in Sacramento and greatly encouraged by Claypool.

The sound at the amphitheatre, nestled in a rural setting far from complaining neighbors, was explosive and loud, adding to the fury and excitement of the set. An intricate multimedia presentation added another dimension to the impressive performance. Midway through the show, Claypool left the stage during an explosive drum solo by Alexander. Later, the impish bass player returned wearing his trademark pig mask and playing his upright electronic bass like a madman, opening with the Primus classic “Mr. Krinkle.” That was followed by a raucous version of “Jilly’s on Smack.”

For nearly two hours, the 16-song setlist of Primus classics inspired an audience full of adoring fans. Overall, the Primus and Guerilla Toss concert at Vina Robles Amphitheater was an unforgettable experience. The combination of two talented and distinct bands in such a picturesque setting made for a truly memorable evening.

On Saturday, July 13th, the Rolling Stones performed at Sofi Stadium in Inglewood, California. While the octogenarians rocked the stage, Slash brought his S.E.R.P.E.N.T. festival to the Greek Theatre across town in the heart of Hollywood. The show featured many talented young musicians paying homage to the roots of all hard rock: the Blues genre. Nearly every major rock star from the '60s, including the Stones, Beatles, and Cream, owe their existence to the African American Blues music that preceded them. Slash and his ensemble of musicians entertained and provided a lesson in the history of Blues rock.

Renowned as one of the greatest rock guitarists in history, Slash brought his passion for the blues to life with his recent album "Orgy of the Damned." This collection of classic blues covers features acclaimed guest vocalists like Chris Stapleton, Gary Clark Jr., Billy F. Gibbons, Paul Rodgers, Brian Johnson, and many more. To celebrate the release of this remarkable record, Grammy-winning Slash curated an all-star Blues lineup for his S.E.R.P.E.N.T. festival, touring North America. SERPENT, an acronym representing Solidarity, Engagement, Restore, Peace, Equality 'N Tolerance, provided a thrilling musical experience while dedicating a portion of the proceeds to various charities.

The Greek Theatre, nestled in the beautiful Hollywood Hills of Los Angeles, played host to a musical marathon that started early. The open-air venue provided a picturesque backdrop for this extraordinary event. The lineup boasted an impressive roster of talented blues, blues-rock, and rock musicians, including Slash himself, Eric Gales, Samantha Fish, Warren Haynes, and surprise guest Chris Robinson.

The evening began with sets by Eric Gales, Samantha Fish, and the Warren Haynes Band. Despite their undeniable talent and enthusiastic performances, the curfew imposed by the residential neighborhood surrounding the venue limited each opener to short sets. Nonetheless, Gales made the most of his time on stage, treating the audience to a high-intensity, uptempo performance. Expressing his gratitude for the opportunity to perform at the Greek Theatre alongside such esteemed artists, Gales flawlessly transitioned from his original track "Put That Back" to a captivating medley of iconic covers, including Jimi Hendrix's "Voodoo Child," Led Zeppelin's "Kashmir," and AC/DC's "Back in Black." It was a stellar performance that sadly went unnoticed by those oblivious to the early start time. Gales captivated the crowd with his dynamic and electrifying stage presence, displaying his virtuosic guitar skills, leaving the audience dazzled and thrilled. With his wife LaDonna on drums, Gales showcased his impressive range and captivating voice.

Samantha Fish is undeniably on a roll, following a Grammy nomination in 2024 and a slot in Eric Clapton's legendary Crossroads Festival the previous year. Known for her mastery of the blues, Fish effortlessly incorporates elements of rock and soul. Her short but captivating set at The Greek Theatre showcased her versatility across these genres.

Dressed head to toe in black leather and silver studs, Fish exuded confidence as she took the stage. With her signature blonde curls and a cigar box guitar in hand, she kicked off her performance with the hard-hitting rock anthem, "Bulletproof." Her impressive slide guitar skills and expressive vocals immediately captivated the audience. Fish's magnetic stage presence commanded attention, making it impossible to look away.

Amid her first song, Fish addressed the crowd in a breathy voice, inviting them to participate and urging, "Come on, Los Angeles, help me out, baby." The seductive appeal of her request ignited an eruption of applause and enthusiastic cheers from the audience. She continued mesmerizing with a powerful rendition of "Kick Out the Jams," showcasing her captivating vocals that seamlessly transitioned from sultry to smooth.

Demonstrating her range, Fish delved into the blues with a cover of Screamin' Jay Hawkins' "I Put a Spell on You." Her sultry and soulful vocals breathed new life into the classic track, again captivating the crowd. As her set drew to a close, Fish concluded with "Black Wind Howlin'," one of her earliest songs heavily influenced by the blues legends that inspired her. This final performance allowed Fish to again showcase her impressive guitar skills, engaging in impressively creative solos alongside organ master Mickey Finn and bassist Ron Johnson.

Next, Warren Haynes took the stage, renowned for his exceptional guitar skills and versatility. His storied career spans iconic bands like the Allman Brothers Band and Gov't Mule, as well as various other projects deeply rooted in the blues genre.

Haynes and his band treated the audience to a set filled with blues rock songs drawn from his repertoire with the Allman Brothers, Gov't Mule, and his solo projects, in addition to a captivating cover selection. Highlights of the night included stellar renditions of Gov't Mule tracks such as “Tear Me Down” and “Thorazine Shuffle,” where Haynes mesmerized the crowd with elaborate solos on his Gibson Les Paul, perfectly complemented by the pulsating basslines of Kevin Scott.

Launching into “Tear Me Down,” Haynes showcased his prowess on guitar and as a soulful vocalist, infusing each note with raw emotion. Tracks like “Fire In the Kitchen” highlighted his slide guitar finesse. Haynes, alongside bassist Kevin Scott, drummer Terence Higgens, keyboardist Matt Slocum, and saxophonist Greg Osby, seamlessly delved into a diverse setlist that showcased their musical excellence.

Of particular note was the inclusion of “Soulshine,” a timeless classic penned by Haynes during his time with The Allman Brothers. The addition of guest guitarist Slash added an extra layer of excitement to the set closer, culminating in a mesmerizing dual performance that left the audience spellbound by Haynes' screeching slide guitar riffs and the intricate improvisations by the band.

In a memorable moment, Haynes, Slash, and the rest of the band delivered a soul-stirring rendition of Little Milton’s “That’s What Love Will Make You Do,” each artist delivering exquisite solos that added a touch of magic to the evening. The show ended on a high note with a synchronized duet between Haynes and Slash, signaling the culmination of a remarkable set filled with exceptional musical performances and electrifying solos.

Under a clear summer night sky with stars twinkling above, Slash and his blues band kicked off their set just after 9 pm with a Bukka White tune “Parchman Farm Blues” from his album Orgy of the Damned. Older rock fans might remember the version of the song done by hard rock band Cactus in 1970. Accompanied by his Blues Ball bandmates, including Teddy “Zig Zag” Andreadis on vocals/keyboards, bassist Johnny Griparic, drummer Michael Jerome, and singer/guitarist Tash Neal, the stage was set for an unforgettable night. Next, Slash and the band launched into “Killing Floor,” setting the crowd into a frenzy. Dressed in his iconic top hat and dark glasses, Slash mesmerized the audience with his catchy guitar riffs and inventive solos. Tash Neal’s rendition of the Howlin’ Wolf tune was exceptional, commanding attention with every note.

The band delivered stellar performances throughout the night, with standout moments including “Oh Well” by Fleetwood Mac. Slash gave a shout-out to legendary English blues guitarist Peter Green for writing the classic tune. The next song, "Big Legged Woman” by Freddie King, was sung by Teddy “Zig Zag” Andreadis with a throaty voice that captured the essence of the blues, reminiscent of the late Dr. John.

Chris Robinson from the Black Crowes made a surprise guest appearance, lending his soulful vocals to songs like “The Pusher” and adding his signature flair to the set. Eric Gales joined Slash on stage for a captivating duet on “Stone Free,” showcasing their mutual love for music and shared talent.

The Slash Blues Band captivated the audience with their masterful musicianship and passionate performances. They covered tracks from the new album and kept the energy high throughout the nearly two-hour set. Slash’s guitar solos were a highlight of the evening, piercing through the air with precision and skill. The addition of harmonica wizard Les Stroud and the guest appearance of Chris Robinson only enhanced the musical experience, adding layers of depth to each song.

As the night came to a close, the band delivered a powerful rendition of Elmore James’ “Shake Your Moneymaker,” leaving the audience on their feet, clapping and cheering. Slash’s dedication to the blues and commitment to giving back through the S.E.R.P.E.N.T. festival shone through in every note played, creating a night for fans of all ages to remember. The blend of great music and a meaningful mission made for an unforgettable evening at the Greek Theatre, showcasing the transformative power of music to unite and inspire. Slash and his all-star lineup proved once again that the blues is alive and well, schooling a new generation of fans and embracing the genre's rich heritage.

Five-time Grammy winner Christopher Cross returned to his former hometown of Santa Barbara to perform at the Lobero Theatre on August 28th. The singer-songwriter brought with him an international band of talented musicians and backup vocalists for an extended set, made all the more special as it preceded a sold-out performance with the rock band Toto at the massive Hollywood Bowl on September 1st. Celebrity musicians, including Alan Parsons, attended the intimate concert at the historic Lobero Theatre. Cross expressed his gratitude on Facebook, writing: “It was such a thrill to be back in Santa Barbara. Our concert at the beautiful Lobero Theatre was filled with many old friends. Thank y’all for spending the evening with us.”

Cross is continuing his 40th anniversary tour, which had been delayed for years due to extended illnesses. At 73 years old and having endured a tough battle with COVID, followed by a diagnosis of Guillain-Barré Syndrome, his presence on tour feels like a near-miracle. Unlike many musicians his age, Cross performs all his songs in their original keys, with his voice and guitar skills as sharp as ever.

Supported by an extraordinary group of musicians and vocalists from Paris, Cross crafted a vivid tapestry of sound during the 90-minute set, filled with meaningful and nostalgic moments. Early in the evening, he paused to reminisce about his days as a young Catholic schoolboy, recalling a memorable moment when he questioned a nun about the length of her hair. “She replied by removing her headdress, revealing long locks,” Cross recalled, as the audience shared in his amazement at the story.

Later in the set, which featured several deep cuts, Cross performed a song deeply personal to long-time residents of Santa Barbara. He played "Diving Deep," a track he wrote for the soundtrack of a documentary about his late friend, Mike DeGruy. DeGruy, a well-known undersea filmmaker and teacher at the Brooks Institute of Photography, tragically passed away in a helicopter crash in Australia in 2012 while filming for director James Cameron. The theater, known for its near-perfect acoustics, fell into a hushed silence as Cross and the band delivered the poignant song, making for an unforgettable moment.

The mood shifted as Cross and the band transitioned to the more upbeat "Arthur’s Theme (Best That You Can Do)," dedicated to the late Burt Bacharach. Throughout the evening, Cross’s backing musicians and singers delivered standout performances. Finnish multi-instrumentalist Andy Suzuki dazzled on saxophone, wind instruments, and keyboards, while Jerry Léonide, a native of Mauritius, played jazz-infused riffs on the grand piano. The French bassist and drummer maintained a tight, funky groove all night, and the three backup singers added rich, intriguing harmonies, even performing one song’s chorus in Swahili.

Unsurprisingly, the night’s biggest standing ovations came for Cross’s two most iconic hits, “Sailing” and “Ride Like The Wind.” During the latter, Cross astounded the audience with an extended, rock-infused guitar solo, proving that his prowess as a guitarist remains as impressive as ever.

For anyone wondering whether time or illness had taken a toll on Cross’s vocal abilities, those doubts were put to rest with the final song of the evening. Accompanied only by the soft, subtle piano of Léonide, Cross performed the deep cut “Think of Laura” from his 1983 album Another Page. His vocals soared, evoking the purity and clarity of the young Catholic choir boy he once was, as the notes echoed through the Lobero, creating another historic and heartfelt moment.

The Beach Boys, the timeless masters of surf music, returned to the Vina Robles Amphitheatre in Paso Robles on August 29th as part of their annual summer concert tour of California. This time, they were joined by actor and guitar virtuoso John Stamos, who added an extra layer of excitement to the evening by sitting in with the band.

Smiling fans flocked to the amphitheater early, eager to soak up the summer day, sip on wine and other beverages, and indulge in a variety of fun food options. The anticipation built as the crowd lined up well before the doors opened, and they were rewarded with an exceptional two-set performance featuring a staggering 38 songs.

The first set kicked off in the late afternoon as the setting sun bathed the venue and the surrounding mountains in a warm, golden glow. Hot, dry winds swirled through the amphitheater as the band took the stage, with Stamos among the first to make his entrance, energetically dashing about and striking bold notes on his electric guitar.

At the heart of the band were 83-year-old original lead singer Mike Love and 81-year-old original keyboardist and vocalist Bruce Johnston, who led the group with the charm and charisma that have made The Beach Boys enduring icons. They were joined by a seasoned lineup of longtime members, including Love’s son Christian on rhythm guitar, Tim Bonhomme on keyboards, Randy Leago on saxophone, and bassist Keith Hubacher. Guitarist Brian Eichenberger, who also serves as the band’s music director, played a pivotal role in maintaining the group's signature sound. The latest tour also introduced two new members: lead guitarist Keith Hubacher and dynamic drummer and vocalist Jon Bolton, who brought fresh energy to the ensemble.

The first set opened with the iconic hit “Do It Again” and featured 22 songs spanning the band’s extensive catalog. Each song was accompanied by synchronized videos showcasing nostalgic beach and surf scenes, amplifying the celebratory atmosphere. This set paid homage to surf culture with classics like “Surfin' USA,” “Surfer Girl,” “Surfing Safari,” and “Catch a Wave.” A spirited cover of the Ramones’ “Rockaway Beach” fit seamlessly into the mix, alongside car-themed favorites from the '60s like “409,” “Little Honda,” and “Little Deuce Coupe.”

The second set, comprising 16 songs, took on a more introspective tone, highlighting some of the band’s most intricate and celebrated works from their later years. Love dedicated the opening song, “The Warmth of The Sun,” to his former bandmate Brian Wilson, adding a poignant touch to the evening. An upbeat rendition of the Ronettes’ "I Can Hear Music" followed, maintaining the crowd's energy. Stamos delivered a fiery guitar solo during the Beach Boys’ ballad “Forever,” captivating the audience. The group excelled in performing the sophisticated material from their critically acclaimed Pet Sounds album, weaving complex musical layers with rich vocal harmonies.

The second set also included notable covers that resonated with the band’s legacy, such as “California Dreamin’” by The Mamas and The Papas and Eddie Cochran’s “Summertime Blues.” Drummer Jon Bolton stepped into the spotlight for “California Dreamin’,” living up to his nickname “Lightning Bolt.” His energetic drumming, often performed while standing, gave the impression he was attacking the drum kit from above, with his snare drums positioned below the hi-hats and bass drum.

The show concluded on a high note, with the entire sold-out crowd on their feet for the final song, “Fun, Fun, Fun,” providing the perfect close to a summer evening at the Vina Robles Amphitheatre in Paso Robles, California.

The Mercurial Don Was, an American musician, record producer, music director, film composer, documentary filmmaker, and radio host, brought his new band of exceptional jazz talents from his hometown of Detroit to the historic Lobero Theatre on October 2.

The audience consisted mainly of local and well-known musicians living in Santa Barbara, a testament to the draw of a band composed of musicians who inspire other musicians. Simply stated, the 90-minute concert was next level. The Pan-Detroit Ensemble featured a cast of masterful musical talent, including Was's long-time collaborators like Blue Note Records artist Dave McMurray on sax and Eminem's Oscar-winning collaborator, keyboardist Luis Resto. Additional musicians included trombonist Vincent Chandler, trumpeter John Douglas, drummer Jeff Canady, percussionist Mahindi, guitarist Wayne Gerard, and singer Steffanie Christi'an.

He thanked the crowd early on for attending the show, saying, "Without knowing what the music sounded like, having not heard us play before." The show emerged as one of the most energetically soulful events of the season. A palpable buzz filled the beloved, century-old space on a warm Wednesday night as an enchanted audience became lost in a euphoric haze of old-school R&B, funk, jam-band influences, jazz, and pure good vibes.

A unique regional "medicine show" project was presented, reviving the essence of a Motor City groove machine. He took to the stage barefoot, donning his signature hat, dreadlocks, and shades. He positioned himself as the cool-headed bassist and centerpiece among a crack team of veteran musicians from his Detroit hometown. This ten-piece powerhouse boasted a thunderous rhythm section complemented by a trio of horns. They were further enhanced by the remarkable vocals of Steffanie Christi'an, who showcased her nuanced talent on several tracks, including a soulful interpretation of Hank Williams's "I Ain't Got Nothin' but Time" and a stirring finale featuring Curtis Mayfield's riff-driven anthem, "This Is My Country."

Was's illustrious career encompasses a distinguished résumé as a producer, including 13 years as head of Blue Note Records, as well as his early days as part of the inventive duo Was (Not Was). Recently, Was has been busy collaborating with Bob Weir and the Wolf Brothers, a late-life alignment with the Grateful Dead that he echoed in Pan-Detroit Ensemble's fresh arrangements of their songs, including a funk-infused rendition of "Shakedown Street" and Hunter/Garcia's "Loser." Attendees who had caught the band's more compact set at the Monterey Jazz Festival noted that the Lobero experience was more extended, stronger, and, quite literally and musically, warmer.

Musically, Was avoided easy greatest hits or predictable choices in this Detroit celebration, opting instead to emphasize the strengths and sensitivities of his talented musicians. Noteworthy performers included tenor saxophone powerhouse Dave McMurray, an established saxophonist for rock legends including sitting in with the Grateful Dead, along with the guitar wizard Wayne Gerard and the outstanding trombonist Vincent Chandler. Chandler's imaginative extended solo—an evocative journey from ethereal sounds to a complex, hyper-syncopated maze—was undoubtedly the night's highlight.

The concert featured an array of jazz-infused vamps and exploratory stretches, showcasing the sweet pulse of Yusef Lateef's "Caribbean Lady" and the heady, swampy tones of "I Can't Wait 'Til I Get Home" by the intellectually inclined Henry Threadgill. Reggae elements made gentle appearances during "Midnight Marauders," as songs were often lovingly kneaded and adapted into jammable chill zones. Throughout the performance, Was primarily fulfilled the role of foundation bassist, amidst a cadre of bold players who each enjoyed their moments in the spotlight. However, early in the set, to remind the audience of his experimental beginnings, Was took the microphone to recite the hipster-absurdist lyrics of the Was (Not Was) feel-good classic "I Feel Better than James Brown." Many in attendance undoubtedly resonated with that sentiment as they reveled in the magical atmosphere of this extraordinary night.

On September 27th, 2024, a hot, dry wind blew across the Vina Robles Amphitheatre, nestled in the Central California mountainside, setting the stage for The Cult's electrifying performance in Paso Robles. With its scenic backdrop and superb acoustics, the venue became a sanctuary for devoted fans eager to immerse themselves in decades of the band's powerful rock legacy.

The show opened with a performance as much theater as musical set by Los Angeles duo Patriarchy. The pair made a name for themselves performing for a huge crowd at last summer's massive Cruel World festival in Pasadena. The young duo carries on the tradition of Goth music established by groups like Bauhaus in the 1980s.

If their name doesn't give it away, Patriarchy's music provocatively explores structural gendered violence and the obstacles to pleasure in the world today. Lead singer Actually Huizenga channels her personal experiences into hedonistic critiques infused with edgy humor. Their live performances feature a unique blend of pantomimed wrestling that is choreographed, consensual, and far removed from the toxic spectacles that often mar live music events, instead transforming oppression into critique and revenge fantasy.

Drummer AJ English joined Huizenga for their Gothic foray. The duo delivered a tight, energetic set with minimal stage banter. They fluidly transitioned between tracks, often weaving in extended harsh noise improvisations as Huizenga and English made quick adjustments on their pedals and drum pads.

The duo focused primarily on their 2022 album, The Unself, while peppering the set with "Hell Was Full" and a reworked version of "He Took It Out" from 2019's Asking for It. The night's highlight was an explosive, choreographed performance of a new track circulating online under "Boy on a Leash."

"If you wanna put a boy on a leash, the strategy is catch and release," Huizenga intoned repeatedly, winding her mic cable into a fist as she approached English, playfully wrapping a lasso around his neck and tugging. At the same time, he responded with a steady beat on his tom drum. The duo performed the entire set standing, allowing English to engage with Huizenga's provocative advances, showcasing a playful subversion of gender dynamics. His imposing figure was both diminished and emphasized, capturing the complexities of power dynamics while still critiquing them.

Overall, Patriarchy's performance was a compelling mix of art, humor, and incisive commentary, leaving the audience entertained and provoked to think more deeply about the explored themes. While it may have initially seemed an odd choice to open for the hard rock set to come, Patriarchy's performance made sense by cementing The Cult's roots in early Goth music.

Under a star-filled sky in the crystal-clear mountain air, anticipation mounted for The Cult's appearance as smoke enveloped the stage and the lights dimmed once more. The roar of excitement escalated, and when the band took the stage, they made an immediate statement. They launched into "In the Clouds," which set a high-energy tone for the evening. Following up with the tracks "Rise" and "Wild Flower," the band instantly transported fans back to the '80s and '90s. Celebrating their 40th anniversary on this tour, The Cult proved they still possess the same electrifying sound that made them legendary, with many in the audience praising the impressive 17-song performance.

Mid-set, the band slowed with an acoustic rendition of "Edie" that showcased their lyrical depth and emotional resonance. As soon as the last chord faded, the energy surged back with fan favorites like "Lucifer" and "Fire Woman," leading into an explosive finale with "Love Removal Machine."

Though the band exited the stage, the fervent crowd demanded more. They returned for an encore, delighting fans with "Brother Wolf, Sister Moon," followed by their defining hit, "She Sells Sanctuary." This last song turned the amphitheatre into a sea of voices as the iconic riff echoed through the venue, closing the night on a powerful note.

Overall, The Cult delivered an unforgettable evening that blended nostalgia with fresh intensity. Astbury's enigmatic stage presence and Duffy's unparalleled guitar mastery kept the energy levels soaring throughout the performance. This concert was a vivid reminder of why The Cult remains a dominant force in rock music after all these years. With a setlist that flawlessly integrated classic tracks with newer material, they captivated the audience from start to finish. The intimate ambiance of the Vina Robles Amphitheatre provided the perfect backdrop for this stunning masterclass in live rock performance.

On September 30, 2024, the iconic folk/blues duo Hot Tuna graced the stage of the historic Lobero Theatre in Santa Barbara, delivering a night of timeless and exhilarating music. Known for their blend of Americana, blues, and rock, Jorma Kaukonen and Jack Casady once again proved their enduring talent and connection with the audience. The duo seemed to defy Father Time, performing nearly three hours of music in two sets despite being in the same age bracket as The Beatles and The Rolling Stones.

Hot Tuna has often performed at the Lobero Theatre, frequently collaborating with other musical legends like Charlie Musselwhite and David Bromberg. The pair retired from touring as an amplified act last year, but as their performance at the Lobero proved, they are still going strong as live musicians and don't seem to be slowing down anytime soon. A palpable energy filled the intimate venue from the moment the duo stepped onto the stage. The Lobero Theatre's charming architecture and excellent acoustics provided the perfect setting for their signature sound. Hot Tuna opened with “True Religion,” immediately setting a relaxed yet engaging atmosphere that resonated deeply with longtime fans and newcomers alike. The 23-song setlist was a living testament to the history of Americana music.

Jorma’s guitar playing was nothing short of mesmerizing. His fingerpicking style and spirited solos showcased his technical prowess and deep understanding of American roots music. Jack’s bass work complemented Jorma beautifully, providing a steady groove that propelled each song forward. The duo’s chemistry was undeniable as they communicated effortlessly through their music, alternating between lighthearted banter and soulful performances.

Highlights of the evening included renditions of classics like “Hesitation Blues” and “Let Us Get Together Right Down Here,” both of which prompted enthusiastic sing-alongs. The audience was treated to a mix of original songs and pieces harking back to their early days with Jefferson Airplane, including a captivating interpretation of “Trial by Fire,” which brought a fresh perspective to a familiar favorite.

The duo also honored their musical influences and shared stories from their decades-long journey, adding a personal touch to the concert. Jorma joked, "We got paid six dollars for our first gig together.” This storytelling element made the evening feel like an intimate gathering among friends, drawing everyone further into their world of music and history.

As the night progressed, the energy in the Lobero only heightened, culminating in a powerful encore of “Genesis” that left the audience craving more. The setlist flowed seamlessly from reflective ballads to high-energy jams, showcasing their versatility and skill as musicians.

Overall, Hot Tuna’s performance at the Lobero Theatre was a testament to their lasting legacy in music. Jorma commented on his website, “We’ve been playing the Lobero for a long time. It’s always a treat!” The sold-out audience seemed to feel the same.

The combination of their undeniable talent, the cozy venue, and the enthusiastic response from the audience made for an unforgettable night. Whether you’re a lifelong fan or just discovering their music, this concert was a reminder of why Hot Tuna has remained a vital force in the music scene for over half a century. If you get the chance to see them live, don’t miss it!

Setlist

First Set:

    True Religion
    Where Have My Good Friends Gone
    Great Divide Revisited
    Hesitation Blues
    Trouble In Mind
    I See The Light
    Barbeque King
    Sleep Song
    Trial By Fire
    Second Chances
    Whining Boy Blues

Second Set:

    Been So Long
    Day To Day Out The Window Blues
    Heart Temporary
    Let Us Get Together Right Down Here
    Death Don’t Have No Mercy
    Sea Child
    Good Shepherd
    Come Back Baby
    Hamar Promenade
    Candy Man
    Ice Age

Encore:

    Genesis

On the evening of October 4, 2024, the iconic band The Commodores took the stage at the Chumash Casino Resort in Santa Ynez, California, delivering an electrifying performance that transported fans through decades of funk and soul. With an illustrious and enduring history in music, The Commodores’ presence was a testament to their status as legends in the industry.

The Chumash Casino Resort is known for its intimate concert venue with state-of-the-art lighting and sound, providing an ideal environment for what promised to be a memorable night. The casino, nestled in the beautiful Santa Ynez Mountains, has recently added a new upstairs treat for concertgoers arriving early. Whether you’re a sports enthusiast or love the art of socializing, the new Sports Bar entertainment venue has something for everyone. With five diverse eateries, a full bar boasting craft beers and specialty cocktails, and walls lined with LED screens, the Sports Bar offers the VIP experience of a professional sports suite and is a great place to hang out before a concert.

Back in the Samala Showroom, the venue was filled with eager fans of all ages, showcasing The Commodores' vast reach across generations. The dimmed lights and the buzz of anticipation set the tone, and as the band members took the stage, the audience erupted in applause.

J.D. Nicholas, whose commanding presence and rich vocal quality have been integral to The Commodores' sound since he joined the group in the early 1980s, led the night. Alongside him was Walter "Clyde" Orange, a founding member whose smooth vocals and rhythmic prowess defined many of the band's earlier hits. William "WAK" King, another founding member, contributed with his dynamic trumpet and rhythm guitar performances. The ensemble also featured talented musicians on keyboards, guitar, bass guitar, and drums, forming a solid foundation that showcased their undeniable musicality.

The concert kicked off with a classic: "Easy." From the start, Nicholas captivated the audience with his soulful delivery and warm smile. The crowd swiftly engaged, singing along as nostalgia washed over them. The bassline was both groovy and comforting, reminding everyone of the timelessness of the music.

Later in the set came the classic ballad "Three Times a Lady," where Orange took the lead vocals, eliciting passionate responses from the audience. His emotive performance showcased the heartfelt lyrics, and the harmonies soared, creating an ethereal sound that filled the venue. That moment exemplified the blend of exceptional talent and emotional depth that The Commodores have always been known for.

As the night progressed, the energy levels soared with the band delivering an explosive performance of "Nightshift." This song, a heartfelt tribute to the late Marvin Gaye and Jackie Wilson, resonated deeply with the audience. The crowd swayed and sang along, fueled by the rhythm and nostalgia.

Next came the dance-inducing tune "Too Hot ta Trot." This track instantly ignited the crowd, who erupted into lively dance. The infectious rhythm and catchy hooks showcased the band’s funk roots, with the keyboard riffs adding an inviting texture to the mix. The lead guitar work was spot-on, perfectly accentuating the song’s driving beat.

Throughout the performance, Nicholas engaged the audience with heartfelt stories and humor, establishing a warm rapport that made everyone feel included in the experience. He shared anecdotes about their journey, from their early days in Motown to their current successes, which resonated deeply with fans.

As the concert approached its finale, the band concluded with a rousing encore of "Brick House," which lifted every soul in the room. The band invited everyone to dance, and the atmosphere transformed into a joyous celebration, where the line between performer and audience blurred as everyone participated in the moment. The crowd rushed to the front of the stage, and band members ended their performance, indulging the crowd with copious opportunities for selfies on their phones.

Final Thoughts

The Commodores' concert at the Chumash Casino Resort was filled with exceptional musicianship, unforgettable hits, and a contagious, uplifting spirit. The band demonstrated why they remain an indelible force in music. J.D. Nicholas, Walter Orange, and William King showcased their remarkable talent and the warmth and connection that comes with decades of friendship and shared success.

For fans and newcomers alike, the performance reminded them of The Commodores' powerful legacy, leaving everyone eager for their next opportunity to witness this legendary group live. The Chumash Casino Resort continues to deliver top entertainment in an ideal setting.

Legendary performer Tom Jones graced the Greek Theatre in Los Angeles on Monday night, October 7th, marking his long-awaited return to the city after a two-year hiatus and his first performance at this iconic venue since 2018. The 84-year-old music icon took the stage with his impressive band of blues-rock musicians, delivering a mesmerizing set filled with hits and heartfelt covers from artists who have shaped his illustrious career.

It's inconceivable that Jones has never even been nominated for the Rock and Roll Hall of Fame, despite countless collaborations with the biggest names in rock, from Elvis Presley to Prince and beyond. Graced with one of the best blues-rock voices ever—even at age 84—Jones was also, two years ago, the oldest person to have a number-one blues album in the U.K.

Kicking off the evening, Jones opened with Bobby Cole’s poignant “I’m Growing Old,” a bold choice that saw him seated, allowing the audience to appreciate the depth of his vocals. Despite his age, Jones showcased an astonishing vocal prowess that defied expectations, proving he remains formidable in the music scene. Over the past three years, he has been tirelessly touring globally, captivating audiences as live concerts returned triumphantly following the pandemic. On his last visit to California, Jones was nursing a recent hip replacement and had to perform the entire show seated. But at this Greek Theatre performance, it was apparent that he had recovered, standing for the second song of the set and for most of the remainder of the two-hour show, even throwing in a few dance moves from time to time.

The night featured an impressive 22-song setlist, showcasing timeless tracks from some of the greatest songwriters, including Bob Dylan, Leonard Cohen, Prince, Randy Newman, and Burt Bacharach. The concert also highlighted significant milestones of Jones’s storied career, from securing a U.K. number-one hit with “It’s Not Unusual” to crooning the themes for James Bond’s Thunderball and the beloved TV show What’s New Pussycat?. His extensive accolades—including 36 Top 40 hits in the U.K. and 19 in the U.S., over 100 million records sold globally, a Grammy for Best New Artist in 1966, and a knighthood from Queen Elizabeth II in 2006—are a testament to his enduring legacy and significant contributions to the music industry.

The audience was treated to iconic classics such as “Sex Bomb,” “Delilah,” and “If I Only Knew.” One of the standout moments was a rendition of Prince’s “Kiss,” a song Jones recorded in 1994 and has included in previous setlists. The encore brought even more joy, starting with “One Hell of a Life”—a fitting tribute to his remarkable 60-year career, as it has been nearly sixty years since he recorded “It’s Not Unusual,” with its release anniversary approaching. The night closed with high-energy rock classics, featuring Chuck Berry’s “Johnny B. Goode” and Jerry Lee Lewis’s “Great Balls of Fire,” leaving the audience euphoric.

Reflecting on his time on stage through his website, Sir Tom recently expressed heartfelt gratitude to his fans. In a message after the concert, he wrote:

“I just wanted to express my gratitude to you all who came to see the show this year. We understand what it takes to venture out to see a concert these days, and I want you to know how much your time and effort are appreciated.

"From the stage, it has been absolutely wonderful for me, the band, and the crew to visit your neighborhood and play for you each night. You all know how much I love to do what I do and to share that space with you; there is nothing better.

"We close this chapter after performing 74 shows in 24 countries this year! (Not bad for a pensioner). We'll see you again, so until the next time, keep healthy and happy, and keep the joy of music in your life!"

Tom Jones continues to be a vibrant force in music. His sold-out performance at the Greek Theatre was a reminder of the timeless power of his artistry and the unwavering connection he maintains with his audience.

On a balmy October evening, the Lobero Theatre served as the perfect venue for a musical odyssey led by the legendary Herb Alpert and his equally talented partner, Lani Hall. At an impressive 89 years of age, Herb Alpert remains a towering figure in the music world, celebrated not just for his illustrious career but also for his profound contributions to art and philanthropy. The concert was a heartwarming testament to his legacy, delivered with a blend of nostalgic charm and vibrant creativity.

Alpert has performed at this historic venue several times and shared his appreciation for its atmosphere throughout the night. The octogenarian displayed a sharp sense of humor, frequently bantering with the audience during the performance.

The show opened with an evocative video montage highlighting the planet's beauty, set to Louis Armstrong's iconic "What a Wonderful World." This set an optimistic tone, anchored in Alpert's commitment to the Louis Armstrong Educational Foundation. "It would be wonderful if we give it a chance," Alpert mused, instilling hope as the audience settled into their seats.

Backed by a stellar trio comprising pianist Bill Cantos, bassist Hussain Jeffrey, and drummer Tiki Pasillas, Alpert and Hall guided the audience through an evening rich in musical history and emotional depth. The performance was both lively and reflective, enriched by Alpert's artworks displayed on screens behind them. These visuals, along with archival footage of Alpert's journey with the Tijuana Brass, created a sense of intimacy and nostalgia within the theater's grand aesthetics.

Throughout the night, Alpert's trumpet gracefully wove together a medley of hits, both old and new. From stirring renditions of "What Now My Love" and "A Taste of Honey" to Lani Hall's soulful cover of Jobim's "One Note Samba," the musical repertoire showcased the couple's deep roots in bossa nova culture. Hall's voice resonated with warmth and passion as she led the audience on a captivating journey through classics like "The Look of Love" and "Mas Que Nada."

One of the evening's highlights was the dynamic improvisation of "Fly Me to the Moon," where each band member shone individually, showcasing their exceptional talents. Alpert's own hits like "Rise" and "Route 101" were met with palpable enthusiasm, reminding everyone of the trumpet maestro's prowess and his ability to conquer the charts.

Despite the absence of a formal program, the evening felt curated and well-structured, punctuated by stories that illuminated Alpert's life and his long-standing partnership with Hall. The couple shared light-hearted banter and candid moments, underscoring their 50-year love story that continues to flourish both on and off the stage. A touching tribute occurred during the performance of "I'm Yours," where a music video featuring couples expressing their love resonated with joy and collective emotion.

As the night drew to a close, Alpert and Hall left the audience wanting more. The concluding numbers—"On the Sunny Side of the Street" and Barry Manilow's "Copacabana," sung in English and Portuguese—evoked a festive spirit, sending the audience off with smiles and gratitude.

Herb Alpert and Lani Hall are not just musical icons; they are living legends who embody a legacy of artistic excellence and philanthropic commitment. Their concert at the Lobero Theatre was a beautiful reminder of the power of music to connect people across generations. For those fortunate enough to experience this remarkable evening, it was truly an event not to be missed. Alpert and Hall continue to inspire and uplift, and their passion for music still brings light into the world, making it clear that their journey is far from over.

The boys are back with a vengeance! ZZ Top stormed into the Bank of America Performing Arts Center on October 29, 2024, bringing with them a fiery dose of red-hot blues-rock that left the audience electrified. Drawing from a rich musical legacy influenced by legends like John Lee Hooker and Muddy Waters, the Rock & Roll Hall of Famers infused their timeless blues riffs with a spirited, often humorous take on life’s pleasures—think catchy anthems celebrating fast cars, sharp clothes, and unforgettable good times.

The Bank of America Performing Arts Center came alive early with an opening set by Mike “The Drifter” Flanigin, a shining light in the Texas blues scene. Flanigin dazzled the audience with his signature style on the Hammond B3 organ, seamlessly blending classic blues with modern sensibilities.

Originally hailing from Denton, Texas, Flanigin has earned his place in the Austin blues community since 1991, when he joined the esteemed Antone’s House Band. Over the years, he has collaborated with Texas guitar legends like Jimmie Vaughan, Billy Gibbons, and Steve Miller. His impressive experience spans an array of venues, from intimate Texas dancehalls and beer joints to iconic stages such as Madison Square Garden, the Royal Albert Hall, and the Montreux Jazz Festival.

From the moment Flanigin stepped on stage, the energy in the room shifted. With his trademark Fender Rhodes and Hammond B3 organ, he created a rich sonic landscape that immediately captivated blues enthusiasts and casual listeners alike. Opening with a pulsating groove, Flanigin ignited the crowd, showcasing his skill with infectious enthusiasm and undeniable stage presence.

Throughout his set, Flanigin proved to be a masterful storyteller, using his music to take the audience on a journey through the heart and soul of Texas blues. Tracks like “Texas Shuffle” and “Harmony Blues” highlighted his exceptional talent, with his fingers dancing across the keys and weaving intricate melodies that resonated deeply. The organ took center stage, providing a lush, soulful backdrop that perfectly complemented his band.

As Billy Gibbons stepped on stage, it was clear that the spirit of ZZ Top was alive and well. Gibbons, the charismatic lead vocalist and guitarist, struck the perfect balance between charm and self-deprecation, keeping the audience entertained between songs with his witty banter. His stage presence was infectious, a compelling contrast to the high-energy, fast-paced licks that have become synonymous with the band.

Joining Gibbons was longtime drummer Frank Beard, who laid down a rhythmic foundation with precision and flair. Guitar tech Elwood Francis stepped into the role of bassist, filling the shoes of the late Dusty Hill with seamless ease. Together, this powerhouse trio delivered a performance that felt both classic and refreshingly vibrant.

The night was enhanced by an impressive lighting design that illuminated the stage and cast an engaging atmosphere, capturing the essence of ZZ Top’s bluesy roots while complementing their eclectic visual style. Each song was a celebration, and as the audience sang along to hits like “Legs” and “Sharp Dressed Man,” it became clear that ZZ Top knows how to create an experience that transcends generations.

Their setlist took the audience on a captivating journey through their illustrious catalog, mixing fan favorites with deeper cuts that showcased their musical versatility. The band’s sense of humor and unabashed joy for performing permeated every aspect of the show. Gibbons often quipped about the hedonistic themes in their music, effortlessly guiding the crowd through a night of energetic, cathartic blues-rock revelry.