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Savage Master, NITE, & Chariots Overdrive Cast a Heavy Spell Over Atlanta on Friday the 13th!

On a rain-slicked Friday the 13th in Atlanta, the stars aligned for a metal triple-threat at Boggs Social & Supply, a venue I was visiting for the first time — and now, certainly not the last. With a stacked lineup featuring Chariots Overdrive, NITE, and Savage Master, the night offered everything a metalhead could want: headbanging, moshing, killer riffs, cult-like devotion, and yes — even seasoned fries with jalapeño hot sauce.

Chariots Overdrive – Heavy Metal Alchemy

Kicking off the night was Chariots Overdrive, an all-Chinese metal band hailing from Atlanta. I’d never heard them before, but they crushed their set with a thunderous, hard-hitting sound that instantly turned me into a fan. Tracks like “Marching Maniacs”, “Parasite”, and their epic cover of “Heavy Metal Angels” had the crowd banging heads and throwing horns. After their set, the band came back out, took photos with fans (including me), and stayed to watch the other bands — a great touch of humility and camaraderie you don’t always see.

NITE – Cult of the Serpent Sun Rises

Next up was San Francisco’s NITE, delivering a masterclass in blackened heavy metal. The twin-guitar assault from frontman Van Labrakis and Scott Hoffman of which they are very proud of, cuts through the night like a blade. Their setlist pulled heavily from their latest album Cult of the Serpent Sun, including standout tracks like “Crow (Fear the Night)”, “Skull”, and the blistering “Heliopolis”. Bassist Avinash Mittur was a force unto himself, flinging his hair and prowling the stage with such intensity I feared his Rickenbacker might launch into orbit. After the show, I caught up with Van Labrakis and drummer Patrick Crawford out back — both incredibly humble and generous with their time. I was sure to let them know if they were to venture out into the city, to be aware of their surroundings and the dos and don'ts in areas.

Savage Master – Ritual of Rock

Then came the main event. Draped in leather and occult energy, Savage Master hit the stage like a hammer from Hades. Stacey Savage commanded the room with a charismatic presence that had the crowd in a near-transcendent state. With multiple wardrobe changes — none requiring her to leave the stage — Stacey seemed less like a frontwoman and more like a dark priestess presiding over a ritual. Fans were practically reaching out in worship. Their set was massive, featuring tracks like “Hunt at Night”, “Crystal Gazer”, “Ripper in Black”, and the anthemic closer “Ready to Sin”. It was one of the most engaged audiences I’ve ever seen, hands down.

Beyond the Music: Atmosphere, Food, and Firsts

The vibe at Boggs was electric all night — friendly, fired-up, and packed. I got the last spot in the free parking lot, and folks were moshing and headbanging from the first riff to the final encore. The venue had a full menu (I played it safe with some excellent seasoned fries dipped in ranch and jalapeño hot sauce), and a smart nod to the date — Friday the 13th — was projected onto a screen for horror fans in between sets.

Despite off-and-on rain, the outdoor patio and smoking area were covered, keeping the vibe alive even during breaks. Bands mingled with fans outside, chatted, posed for pictures, and shared stories. I even got to speak with Stacey Savage and Adam from Savage Master, who told me about their roots in Louisville, Kentucky, and hopes of one day headlining Wacken Open Air. Honestly? I could see it.

A Photographer’s Dream, A Fan’s Reward

This show marked a personal milestone for me — my first official assignment for Concerthopper. As a photographer from Augusta, Georgia, I’ve been shooting shows for a while, but writing about them and connecting with these musicians made this night unforgettable. The two-hour drive to Atlanta was smoother than usual, and I couldn’t have asked for a better welcome from the bands or the Boggs Social & Supply crowd.

With tour dates still ahead, all three of these bands — Chariots Overdrive, NITE, and Savage Master — are worth catching live. Support them on Bandcamp, grab some merch, and show up ready to bang your head and lose your voice.

Until the next pit!

[concerthopperblog]

Review: Willie Nile- 'The Great Yellow Light'

Willie Nile has been serving up energetic garage rock since 1980, and the 77-year-old troubadour doesn't seem to have any intention of slowing down. On his 21st LP, The Great Yellow Light, he delivers a set of ten songs that range widely from raucous punk rock anthems to folksy ballads.

The title of Nile's album came from a letter Vincent Van Gogh wrote to his brother about the light that inspired him in Arles, France, where he lived. For the album, Nile co-produced with longtime collaborator and Grammy winner Stewart Lerman (Elvis Costello, Patti Smith, Sharon Van Etten). Nile was also joined in the studio by his core band, Jimi Bones on guitar, Johnny Pisano on bass, and Jon Weber on drums. Working with such familiar faces in the studio gives The Great Yellow Light a tightness that might not be present otherwise. From one to ten, every song is expertly assembled.

The album's highlight track is also its most topical: “Wake Up America.” Nile calls it “a call to our better angels. Even though the history of America is riddled with pain and injustice, and the divisions between us are greater than ever, I refuse to give in.” Joining Nile on “Wake Up America” is a man who knows a thing or two about social messaging: roots music troubadour Steve Earle. Earle's time-worn voice cuts through lines like “where you going to be on judgment day?” like butter.

On the other side of the social commentary spectrum is Nile's cover of The Hooters' “Washington's Day.” Nile co-wrote the track with The Hooters' Rob Hyman and Eric Bazilian, and the band included it on their 1987 album One Way Home. Hyman and Bazilian join Nile on this rendition of it, bringing a song that is more topical than even it was in 1987, full circle.

But it's not all serious political and social commentary on The Great Yellow Light. Nile has fun on several tracks. “Tryin' to Make a Livin' in the USA” is a humorous look at the record industry and Nile's dreams of “the boys on Music Row making me a star!” “Electrify Me” is a punk-tinged slab of guitar garage rock that could make even the most stoic of listeners strum their air guitars. “We Are, We Are” is another rocker with a sing-along chorus that makes it one of the album's more fun tracks to belt out in the car.

On “An Irish Goodbye,” Nile turns it down a notch and gets some help from Irish music icon Paul Brady. More of a gentle roll than a rebel yell, you can almost see Nile, Brady, and their friends holding up a pint and swaying along as they sing along to “Here's fire in your whiskey / here's mud in your eye.”

By now, there's no surprise in a great Willie Nile release. He's been on a run of great albums in recent years, and they only seem to be getting better. If you like old school garage rock and roll in the middle ground between “Dylan goes electric” and the blue collar anthems of Bruce Springsteen (himself an avowed Nile fan), then The Great Yellow Light is an album you're going to want to own.

[concerthopperblog]

The Inaugural Newnan Porch Fest 2025 Makes History in Newnan, Georgia!

I’ve always been a believer in The Beatles’ lyric, “Oh, I get by with a little help from my friends.” A few years back, a friend told me that he had organized an annual live music event in 2019 at his house (i.e., his front porch) in Griffin, Georgia, and asked me to come one year to do photography. Saying yes to my friend Steve Quick was one of the best decisions I have made in my career as a photographer. I was fortunate to photograph Steve’s Annual South Street Porch Fest in 2021, 2022, and 2023, while meeting so many good-hearted people, and not to mention, listening to some talented bands and artists from all over the state of Georgia. In 2024, Steve and his family took the year off and did not organize an event at their home. However, this did not mean that the dream of a DIY musical event was over. Now entering the chat, Melody Kiser (HeyDreamer) reached out to Steve with an idea to create something bigger in Melody’s hometown of Newnan, Georgia, after HeyDreamer performed at the Virginia Highland Summerfest in Atlanta, Georgia, in June 2024. Here is a fun little fact: Melody Kiser, plus fellow Newnan Porch Fest 2025 performers Elliot Phillips and Hunter Callahan, have performed at every one of Steve’s South Street Porch Fest events.

Melody knew they could organize an intimate music event like the Virginia Highland Summerfest in downtown Newnan and add some improvements with their personal touch to this event. Steve Quick (DJ Steve Quick), Melody Kiser (HeyDreamer), and Kris Youmans (The Kris Youmans Band) would team up in 2024 to organize the inaugural Newnan Porch Fest in the town of Newnan, Georgia. After a year of city council meetings, reviewing 100 band submissions, and coordinating with volunteers, vendors, homeowners, and local businesses, what transpired this Saturday in May of 2025 will be remembered in Newnan's history.    

The inaugural Newnan Porch Fest 2025 lineup includes a staggering 50 artists: HeyDreamer, Rattled Bones, Miquel Olascuaga, Hunter Callahan, The Kris Youmans Band, Elliot Phillips, Female Fiction, DozeGuys, Rhythm Major, Unk N'Nem, Love, Laura Lee, Kraken’s Release, Candler Hobbs, Emma Holloman, Melodie Fort, Rogan Rogers, IDna Glitch, SAE Jam Band, Russ Gordon, Tavis Lance Mapp, The Hardy Boyd Band, The Whole Problem, 7,000 Amps, Leonard Washington, Conway Boseway, Lauran Hunt, Maddy Chontos, Jeanine Duke, Moises J. Gordon, Tyler Lowman, Sweet Grass Sally, Tripp’n, The Straynotes, Jonny Fields, The Expectations, Trevor Meadows, Mary Martin, Ellis Lowery, Soggy Bottom Waffle Boys, COC Acapella Group, The Duncan Brothers Band, Towne Park Drive, Kit + Char, David Pippin Group, Parachutes, Briarsweet, The Vinyl Birds, and Lee Harvey Wallbanger.

The inaugural Newnan Porch Fest 2025 lineup was carefully curated by Kris Youmans, Steve Quick, and Melody Kiser, who is also closing out the day’s festivities at The Alamo VIP After-Party with their band HeyDreamer alongside Rattled Bones and Miguel Olascuaga. Miguel Olascuaga is also known for their work as the lead singer with the Atlanta based Americana/folk string band Blood on the Harp. Now my goal to start the day was to photograph 30-35 bands/artists at the Newnan Porch Fest 2025, but I soon realized it was an ambitious goal. My apologies to the bands/artists that I did not get to photograph, I hope to watch you all perform and take photos of you all on the next round!

The Newnan Porch Fest 2025 offered a “diverse lineup of talented musicians”, artists & vendors throughout the area, multiple food trucks & drink vendors with a good variety for everyone, a multitude of fun kid activities and games throughout the festival, a dog-friendly atmosphere, upgrades for an enhanced VIP experience (Sold-Out!), a cornhole tournament, an optional “Opening Act” pre-party, an optional “Encore” after-party with a concert featuring special guest artists, and lest we forget the Newnan-Coweta History Center Garden Walks!

The inaugural Newnan Porch Fest 2025 includes seven (7) stage/porch locations where artists started performing at 11 am until HeyDreamer took the stage at 8:15 pm and closed out the event. The seven various porch performance areas included homes located on Wesley Street, Temple Avenue, and College Street in downtown Newnan, Georgia. Other performance areas in the downtown Newnan area included the ChildrenConnect (Kids’ Zone), RPM, Bodega, History Center, Historic Garden Walks, and the Alamo VIP After-Party located at the Newnan-Coweta History Center.

Starting the day at 11 am at the Newnan-Coweta History Center porch, jazz artist Melodie Fort entertained the V.I.P. attendees who arrived early for a delicious, wholesome breakfast and mimosas, plus we all got to watch a phenomenal performance by Melodie Fort. Once the clock struck noon, many performers across various porch locations on Wesley Street, Temple Avenue, College Street, and other locations in the downtown area started this inaugural event: COC Acapella Group, Mary Martin, Elliot Phillips, IDna Glitch, SAE Jam band, Candler Hobbs, Conway Bose, and Love, Laura Lee. To start the day, we managed to watch Mary Martin, COC Acapella Group, and the SAE Jam Band in that brief but blissful hour of music. I was sad that I missed Elliot Phillips, Idna Glitch, Candler Hobbs, Conway Bose, and Love, Laura Lee during the kick-off of the Newnan Porch Fest. I quickly realized that it would be hard to move on from each performance throughout the day because everyone on this lineup was going to captivate the audience in attendance.

Next up at 1 pm: Russ Gordon, Tavis Lance Mapp, The Hardy Boyd Band, Kraken’s Release, Trevor Meadow, and Rogan Rogers. I was able to make The Hardy Boyd Band, Russ Gordon, and Tavis Lance Mapp’s performances during the allotted hour timeslot. First up was the brilliant The Hardy Boyd Band who had gathered a large crowd with their performance on Wesley Street, and rightfully so as they performed a beautiful set for those in attendance. Next up, I walked upon Russ Gordon’s performance, and I heard the band playing a sweet cover of the Allman Brothers Band “Midnight Rider”, so I knew I was in the right place at the right time. Unfortunately, by the time I made it to the performance of Tavis Lance Mapp, I missed their cover of everyone’s favorite DGAF progressive country artist Sturgill Simpson’s “You Can Have the Crown” off his critically acclaimed debut album High Top Mountain. Luckily, I was able to hear a brief clip of this incredible performance by Tavis Lance Mapp and his band thanks to a video recorded by my lovely partner, Crystal. Teamwork makes the dream work!

The 2 pm - 2:30 pm performances included Leonard Washington, Sweet Grass Sally, Tripp’n, The Straynotes, The Duncan Brothers Band, Emma Holloman, Maddy Chontos, and The Whole Problem. During the 2 – 2:30 pm timeslots, I managed to watch Leonard Washington, Sweet Grass Sally, Tripp’n, The Straynotes, and The Whole Problem. We started off the 2 pm set with the Leonard Washington Band, who were set up and playing a fiery set of tunes on a porch on Wesley Street. The crowds had started to fill up during the previous hour, but you could see a significant difference as more people gleefully joined in the festivities in downtown Newnan.

It is worth noting that after watching Tripp’n and The Whole Problem perform, I can safely say that the future of alternative rock/rock ‘n’ roll bands in Georgia is in safe hands, thanks to bands like them. There is one more band to add to this list of up-and-coming alternative rock/rock ‘n’ roll bands, Soggy Bottom Waffle Boys, who would perform later in the day. All three bands possess the ability to command the attention of the audience with their skillful performances, and they even added some masterful covers of some classic tunes from artists ranging from the Allman Brothers Band to Collective Soul to Pearl Jam.

By the time we noticed it was time for the 3 pm performances, we were surprised that four hours of incredible music had already passed. The 3 pm – 3:30 pm performances included Towne Park Drive, Unk N’Nem, Kit + Char, The Kris Youmans Band, Ellis Lowery, Jonny Fields, Jeanine Duke, and 7,000 Amps. During the 3 pm scheduled performances, we managed to watch some phenomenal performances by Jonny Fields at the Newnan-Coweta History Center stage and the smooth jazz fusion sounds of Unk N’Nem performing on Temple Ave. in front of a lovely multi-story home. Unk, who is the founder of Unk N’Nem, has also performed with The Headliner Band at Steve’s South Street Porch Fest in 2022, so he was no stranger to wooing the audience that gathered on Temple Ave. to watch his remarkable band.

The 4 pm – 4:30 pm performances included the David Pippin Group, Parachutes, Hunter Callahan, Briarsweet (closing out the RPM porch), Moises J. Gordon, and The Expectations (closing out the History Center porch). During this timeframe, I managed to watch the very gifted David Pippin Group and the smooth sounds of Moises J. Gordon at the Historic Garden Walks stage. My crew utilized the rest of this timeslot to recharge with some food and water, where we parked our car in the V.I.P. parking lot at the Newnan-Coweta History Center.

There were so many food vendors to choose from, and we wish we could have tried them all, especially The Mad Greek (IYKYK). Since time was of the essence, we saw a much shorter line at the Tacos and Tequilas Mexican Grill food truck, so we made a dash to secure some tasty tacos and quesadillas. Once we arrived at our vehicle, we were happy to find the hand washing stations were still functioning late in the day. What an amazing feeling to freshen up after a long day of walking around listening to some unbelievable tunes from many astounding bands/artists.

It was hard to believe it was already time for the 5 pm – 5:30 pm performances, which was also the closing out all the porch stages, including the ChildrenConnect porch and the Historic Garden Walks porch: The Vinyl Birds, Lee Harvey Wallbanger, Soggy Bottom Waffle Boys, Rhythm Major, and Tyler Lowman. My crew managed to attend Lee Harvey Wallbanger, Soggy Bottom Waffle Boys, and Rhythm Major’s performances during this timeslot. Between the effortless sounds of the full jazz ensemble of Lee Harvey Wallbanger, the funky soulful sounds of Rhythm Major, or the alternative rock/southern rock vibes of the Soggy Bottom Waffle Boys, we were so enthralled with these three artists/bands that we did not make Tyler Lowman or The Vinyl Birds’ performances. Sometimes, one hour is just not enough when you are in the zone.  

Now, since we were in the final stretch of bands/artists to perform after the 6:30 pm timeslot, three out of the final five bands/artists were very familiar based on our history with Steve’s South Street Porch Fest. Our good pals in the band Female Fiction (RPM) and Miguel Olascuaga (The Alamo V.I.P. After-Party) were up first, entertaining the masses who had made their way to both local downtown Newnan businesses, RPM and The Alamo. It is always a great time catching up with both Female Fiction and Miguel Olascuaga while performing at one of these events. It is worth noting that Miguel’s set at The Alamo was moved up and started early, so I was a little late for the party and missed the start of what was an incredible set by the talented gothic-folk guitarist.

Rattled Bones would be next up at the Alamo VIP After-Party at 7:15 pm. While at 8 pm, DozeGuys closed out the last porch at the RPM porch. Unfortunately, due to time constraints, we were not able to attend the 7:15 pm performance of Rattled Bones at The Alamo V.I.P. After-Party. With that being said, I hope that we can cross paths soon! We were able to watch DozeGuys tear it down at the RPM stage during their 8 pm performance. There were many performances all day that grabbed the attention of the crowd, but this set from DozeGuys was rather exceptional. One of the major highlights was when a guest singer came on stage to help the band perform a superb rendition of the hit single from The Black Pumas, “Colors”. Closing out the festival at The Alamo V.I.P. After-Party was the wonderful and talented band HeyDreamer featuring Melody Kiser. I was happy to see HeyDreamer having such a great time on stage performing for the VIPs who had gathered at The Alamo for this incredible farewell celebration. After successfully organizing the inaugural Newnan Porch Fest 2025, Melody and their band, HeyDreamer, had the crowd dancing and singing along to their hits.

First off, I would like to extend my gratitude to Melody Kiser, Steve Quick, and Kris Youmans for their hospitality. I am very proud of what you all have accomplished in this first year, and I am excited to see what the future holds for this event. What a fantastic day! Perfect in every way. If you did not attend this year’s inaugural Newnan Porch Fest 2025, then I suggest making plans to attend next year’s 2nd Annual Newnan Porch Fest 2026! It is never too early to start planning your next adventure. You will thank me for it later.

You can revisit past reviews exclusively at Concerthopper of Steve’s South Street Porch Fest celebration in Griffin, Georgia, by checking out these links below:

·         “The 3rd Annual Steve’s South Street Porch Fest 2021: It’s A Celebration with Friends!”

·         “The 4th Annual Steve’s South Street Porch Fest ’22:  A Celebration of Great Music & Friends!”

·         “The 5th Annual Steve’s South Street Porch Fest (2023)!”

Curious about ConcertHopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as The Big Show Tour: They Might Be Giants Live at The Eastern, Frankie & The Witch Fingers Live @ Terminal West (Atlanta), AmericanaFest 2025, Dinosaur Jr. + Snail Mail Live at Tabernacle, KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), Cartoon Darkness World Tour: Amyl and the Sniffers Live @ The Eastern (Atlanta), ShoalsFest 2025, The Summer Slaughter Tour (Water Street Music Hall – Rochester, N.Y.), The Double Life Tour: Our Last Night Live at Town Ballroom, Savage Master, Nite, & Charitos Overdrive: Live at Bogg’s Social & Supply (Atlanta), Maximum Fun Tour – A Day To Remember & Yellowcard: Live at Empower Federal Credit Union Amphitheater at Lakeview (Syracuse, N.Y.), Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, Blood Incantation w/ Pallbearer in the Caverns (Pelham, TN.), Dream Theater: Parasomnia Tour (Coca-Cola Roxy – Atlanta, Ga.), Summer U.S. Tour 2025: Crowbar and EyeHateGod: Live at 529 (Atlanta, Ga.), GBH: Live at The Masquerade (Atlanta, Ga.), Kublai Khan TX Live @ Jannus Live (St. Petersburg), L.D. 50 25th Anniversary Tour: Mudvayne (Coca-Cola Roxy – Atlanta, Ga.),  God is a Weapon Tour: Falling in Reverse – Darien Center, N.Y., and My Morning Jacket “is” On Tour: Live at The Fox Theatre by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Review: Kentucky Gentlemen- 'Rhinestone Revolution'

Some say everything that can be done in music has already been done, and, even in a genre as expansive as Americana, there isn't anything truly “new” being produced anymore. Allow me to debunk that myth by pointing to Kentucky Gentlemen. With their blend of classic '90s country, '00s R&B, cowboy anthems, and liberal doses of pop sheen, they're moving the Americana needle in a way not seen since Gangstagrass came onto the scene. On their new album, Rhinestone Revolution, they continue to forge that unique path.

Kentucky Gentlemen is a duo consisting of twin brothers Brandon and Derek Campbell. They've been kicking around Nashville's country scene for almost a decade, but Rhinestone Revolution is their full-length debut album. For their debut, they worked with a producer whose resume is as eclectic as their music, David “Messy” Mescon (Megan Maroney, Nicki Minaj, Ariana Grande).

For a taste of just how wide-ranging their sound is, look no further than the album's debut single “Country Hymn.” On its face, it's a straightforward R&B ballad, but it's hard to deny the lyrical nods to country tropes: “rolling leads to hootin'/ hootin' leads to hollerin'/ next thing it's last call / and clothes get to fallin'.” The song also showcases the kind of tight harmonies that only come from a family act, especially when that relationship is between twins.

The album's most fun song is “Loose Screws.” Anyone with an eccentric family member or members (or who might be said family member) will find familiarity with the duo's stories of an aunt on her “umpteenth husband”, a cousin “selling funny looking ferns out of his greenhouse” before warning “don't try to act like it ain't you too.” With a percussive banjo background and a slick electric guitar wail, it's the album's upbeat highlight.

And speaking of banjos, there's the aptly titled old-time tinged “Banjo.” The song gives the brothers a chance to stretch their country twang and deliver quote-worthy lyrics like “I'm blue like a ridge, cryin' in Carolina / dug me a ditch / just to lay beside ya.”

Of course, no good “rhinestone revolution” would be proper without plenty of whiskey and in that, Kentucky Gentlemen deliver. There are sad whiskey and jukebox songs (“Hard Pill to Swallow”) and “getting over her” upbeat whiskey songs (“Whiskey Does”).

Elsewhere, the genre-bending continues. “Denim” has a disco beat interspersed with a banjo. “Country on My Mind” gives a nod to another genre-breaking country pioneer, Ray Charles. “Atta Boy” is an autobiographical and expansive R&B anthem about chasing your dreams. The lead single “Country Hymn” may be the first time someone tried combining yodels with hip-hop beats.”

Genre-bending is fun on its own merits. It's always nice to see someone expanding country and Americana music in new directions. But, at the end of the day, that kind of experimentation gives way to whether the music is actually good. In the case of Rhinestone Revolution, the answer is a resounding yes.

[concerthopperblog]

Review: The Shootouts- 'Switchback'

The old saying goes, “Dance with the date that brung you.” The Shootouts don't subscribe to that saying. Throughout their three previous albums, the trio has shown their willingness to cast their net wide, pulling influences from country, blues, swing, and Americana. On their new album, Switchback, available now from Transoceanic Records, they go even further, adding a rock and roll guitar swagger to many of the album's songs.

After previously working with Chuck Mead and Ray Benson, this time around, the band turned to producer Dan Knobler (Allison Russell, Lake Street Dive) for a studio assist. The result is an album that toes the line between tight and loose enough to let the light in.

One of the highlights of Switchback is an unusual cover, “Only You”, originally performed by synthpop duo Yazoo. The band's bluegrass-tinged classic country ballad take on the song is refreshing. It also features a trio of guest musicians in harmonica player Mickey Raphael (Willie Nelson), Americana troubadour Lindsay Lou, and the king of the mandolin himself, Sam Bush.

Bush also lends his golden fingers to the instrumental title track of the album. A rollicking bluegrass reel, it sees Bush trading licks with the band's lead guitarist Brian Poston, who also wrote the song. The interplay keeps the music lively.

Another highlight is another cover, this time Pure Prairie League's “I'll Be Damned.” Leaning heavily into Western swing, the song features a vocal assist from the song's writer, country legend Vince Gill. It's a song that changes up the vibe while honoring the original.

Lyrically, “Dancing With the Distance” is the star. Another harmonica-heavy song (once again courtesy of Raphael), it will be all too familiar to those with unrealized dreams. “There's a guitar in the corner / that I used to play / songs I used to sing when I had more to say,” vocalist Ryan Humbert croons. On the chorus, he drives the message home, “From where I am / to where I'd rather be / I'm dancing with the distance in between.”

Elsewhere on the album, the band leans into lyrically hooked classic country (“Only Good at Goodbye”, featuring Logan Ledger), strolling Americana (“Trampoline”, another collaboration with Lindsay Lou), and Tom Petty-style Southern rock (“The Other Side of My Life”).

If a band can be judged by the company they keep, The Shootouts are a band that can be judged highly. But even without the likes of Gill, Bush, Lou, and Raphael, Switchback would be an album worth listening to. It's nice to see a band willing to experiment, doubly so when they do so this successfully.

[concerthopperblog]

Amyl and the Sniffers with Sheer Mag at the Eastern in Atlanta, GA, May 22, 2025

“I don’t know what they’re putting in the water in Australia, but they’re pumping out some amazing bands.” Those were the words of my dearest friend, Kevin—something he said when we first started talking about Amyl and the Sniffers a little over a year ago. Maybe two. 

For the longest time, if you asked someone to name an Australian band, the answer was almost always AC/DC. It could be INXS or Kylie Minogue, depending on your musical tastes. Nick Cave, in my opinion, feels too far removed from Australia these days to count, though he’s technically still an Aussie. If someone were to ask me, though, the definitive Australian act has always been the Cosmic Psychos- Australia’s premier and undisputed godfathers of Aussie punk.

However, over the past decade or so, Australia has been cranking out a wave of eclectic and punk-infused acts. Tropical Fuck Storm, King Gizzard & the Lizard Wizard, The Chats, C.O.F.F.I.N., Mini Skirt, the Dune Rats, Private Function, Cable Ties, Drunk Mums, the Ausmuteants, Sly Withers, The Grogans, Itchy and the Nits—just to name a few.

Much like the Cosmic Psychos, unpolished and rough around the edges—exactly what punk should be. Amyl and the Sniffers are working-class purveyors of the classic formula, a prime example of what makes a truly essential punk band. Picture a bulldozer relentlessly plowing through the noise and nonsense of modern life. Amyl and the Sniffers is that bulldozer but powered by jet fuel. And in the short amount of time, they’ve been a four-piece act, they’ve been making themselves noticed worldwide.

Formed scarcely a decade ago in Melbourne, Australia, in their brief but volcanic existence, they have unleashed three full-length albums and several shorter works—each a nitro-fueled tantrum against the absurdity of day-to-day nonsense society presents to us daily. Now, they embark upon what appears to be their first headlining rampage across the North American continent, having previously served time on the road beside the likes of King Gizzard and the Lizard Wizard, Sleater-Kinney, and the Foo Fighters.

Joining them on this twenty-three-date run would be Philadelphia-based Sheer Mag, a punk rock assemblage whose riffs evoke both the ecstasy and defiance of rock n’ roll attitude. The tour commenced beneath the grey skies of Portland, Oregon, on March 25th, and concluded in the twinkling neon-lit music capital of Nashville, Tennessee, on May 23rd for its North American run.

The contents to follow are a recounting of the evening of May 22nd, 2025, when Amyl and the Sniffers brought their rip-roaring energy to The Eastern, a venue tucked into Reynoldstown—a neighborhood on Atlanta’s Eastside. With them, the two groups left a record of sound and motion, the two acts and the crowd meeting in a shared moment of loud, unruly celebration and plenty of positive energy.  

This was my first trip to The Eastern, a relatively new addition to Atlanta’s music scene—four years old this September. The place has its act together. There’s a rooftop bar with a big screen streaming the action below, solid drinks, and food that’s more “craft” than a concession stand. The capacity tops out around 2,300, and this being a sold-out show, it never felt cramped. Gender-neutral bathrooms—because it’s 2025 and that shouldn’t be a big deal, but still, props.

Inside, the venue’s towering structure is built to let the music breathe. The sound was spot-on, no matter where you stood—balcony, floor, halfway to the bar. And the staff was cool, dialed-in, not the usual herd of disinterested security guards. You got the sense they wanted to be there, too. 

Plastered on the walls and door of the venue was a message passed along from the band that roughly stated that there was a zero-tolerance policy for anyone who was acting in any discriminatory manner, be that racism, sexism, body shaming, etc. They made clear this was a safe space to have a good time, and anyone who was out to disrupt that would not be met with any less than a one-way ticket to the door.

Seeing these messages displayed brought a sense of affirmation to my being. Punk rock was never about being pretty or conforming to society's expectations of what it thought should be normal. It was about being loud, angry, and alive in a world that didn’t want you. From the start, it was a haven for the misfits—the weird kids, the outcasts, the ones who didn’t fit into polite society’s version of “normal.” So it’s no surprise that there would be a large number of the LGBTQ+ community that found a home there. This was music for people who had something to scream about, and who better than those who’ve been shouted down their whole lives? In the sweat-soaked clubs and DIY spaces, nobody cared who you loved—only if you showed up, stood your ground, and left it all on the floor. 

Sheer Mag then made their way onto the stage as I stood gazing up from the pit below.

Composed of vocalist Tina Halladay, guitarists Kyle and Hart Seely, bassist Matt Palmer, and touring drummer Evan Campbell. Together on stage, the band channels a gritty, magnetic energy—equal parts swagger and soul. Their sound draws heavily from classic rock giants akin to Kiss and Aerosmith, but it’s filtered through a punk lens reminiscent of the Clash and Joan Jett and the Blackhearts, giving it a rough, immediate edge. There’s a sultry confidence in Halladay’s voice, anchored by a tight, driving rhythm section. While twin guitars churn out crunchy, vintage riffs that ripple through the air, thickening the atmosphere, the band so effortlessly commands. It’s music you feel in your chest, and you stop and find yourself unable to look away from the stage. The set lasted a brief but satisfying 30 minutes, comprising 8 songs from all their releases, including Need to Feel Your Love, A Distant Call, and their latest Playing Favorites, all distributed by Third Man Records.

Between sets, I wandered the venue, trying to get a stronger feel for the place, eventually ending up at the rooftop bar, surrounded by the old habit of smoking. To distract myself from it, I watched the sun bleed out over the Ralph David Abernathy Freeway, the cars below humming past like a slow-moving current. The smell of fresh fries and fried chicken drifted in and out of the haze of Blue Camels and American Spirits. That warmth of freshly salted food in the air reminded me that my stomach was empty, the same as my wallet had been all week. I told myself hunger was a state of mind, and that a half-eaten bag of beef jerky in the car was somehow a reward for endurance. So I tossed back a paper cone of cold water, gave myself a nod, and headed back down into the pit to do what I’d come to do. 

“If anybody falls down, you help them up! Don’t touch anyone who doesn’t want to be touched! Get rowdy!” gleefully proclaimed frontwoman Amy Taylor as the band took the stage. Someone had assumed she was thirsty and took it upon themselves to toss a drink her way, completely overlooking the fact that she’d already walked on stage with one. Unfazed, Taylor’s infectious smile never faltered as she geared up to hype up the room. The band strutted out to a thumping remix of Alex Gaudino’s “Destination Calabria”. As if the crowd needed another reason to lose their minds—a 2000s Eurodance banger was just the kind of absurd, high-octane choice to throw gasoline on an already burning fuse. Why not? 

Guitarist Declan Mehrtens, bassist Gus Romer, drummer Bryce Wilson, and frontwoman Amy Taylor stormed the stage—and never gave it back. They launched into the set with "Control," a blistering cut from their self-titled debut, then tore through fan favorites like "Security" and "Freaks to the Front" with unbridled enthusiasm. After these few songs, Taylor paused to address the crowd—not to catch her breath, but to make her voice heard. “I don’t think that I’m smarter than anyone in this room, but because I have a mic, it's important that I say it to make sure people are thinking about it.” She spoke briefly but candidly about the ongoing tragedy in Gaza, framing the title of their latest release, Cartoon Darkness, as a reflection of her heartbreak towards the tragedy we all hear in the news day to day, of the atrocities unfolding there. Also, despite the risk of jeopardizing their visas, she didn’t hold back in voicing her disdain for the current U.S. leadership of President Donald Trump, delivering a choice set of words that landed somewhere between the front and the back of her anatomy.

I haven’t followed every public statement she’s made, but it’s clear that frontwoman Amy Taylor doesn’t shy away from speaking her mind onstage. She’s unapologetically outspoken, and the band stands firmly behind values of inclusivity and compassion. There’s a clear sense that they understand the weight of the world’s problems—and rather than retreat from them, they lean in with solidarity. The message seems simple but powerful: We’re not here forever, so let’s make things better while we can. That energy was palpable in the crowd. People moved freely and dressed however they pleased, without fear of judgment. It was a space where being yourself wasn’t just tolerated, it was celebrated.

Romer’s bass throbbed like a diesel engine, locked in with Wilson’s unstoppable precision drumming to form the ironclad foundation beneath the hood of this vehicle. Over top, Mehrtens unleashed sharp, shreddy guitar riffs that cut through the noise of the band's engine like a blowtorch. And in front of it all, Taylor—charismatic, unfiltered, and utterly magnetic—channeled the band’s energy as a driving force for positivity, defiance, and acceptance. Taylor bounced back and forth between band members like an electrical current connecting the circuits of the machines that made up the aforementioned jet-fueled bulldozer that is Amyl and the Sniffers. 

Tracks including “Got You,” “Chewing Gum,” “Some Mutts (Can’t Be Muzzled),” and “Guided by Angels” were among some of the hits that lit up the first 45 minutes of their 75-minute set, each one landing with the force of a punch and the precision of a band completely in their element. Then the pace shifted. Amy Taylor paused to introduce “Knifey,” a song she normally dedicates to the ladies, non-binary, and trans friends in the crowd. But this time, she turned it toward the fellas.

“Because I genuinely think y’all have the same pains as us,” she said, her tone sincere. She spoke openly about the importance of men checking in on one another, acknowledging that everyone struggles with something and that it’s okay to feel that. But it’s not okay to take that pain out on women or anyone else.

“You never know what someone’s going through,” she added. “Everybody reacts to pain differently, so just have compassion. I don’t think there’s enough of that right now.”

With that, they switched tone and went to a track off the new album, “Me and the Girls,” this time with Sheer Mag’s Tina Halladay joining in on vocals—a brief, powerful moment of kinship and release. Afterward, the show rocketed forward by performing new album favorites “Jerkin’” and “Tiny Bikini” before finally settling on show enders “U Should Not Be Doing That” and “Hertz” before the 2 song encore. 

As the final notes rang out and the crowd spilled into the warm Atlanta night, there was a lingering charge in the air—a buzz that came not just from the decibels or the dancing, but from something more personal and more inviting. Amyl and the Sniffers, with Sheer Mag at their side, didn’t just deliver a show—they created a moment, a pocket of time where noise became meaning, rebellion became communion, frustrations a little less so, and insecurities surrendered.  It was sweaty, loud, righteous, and human. In a world that often feels like it’s coming apart at the seams, nights like these remind you that joy can still be loud, compassion can still be punk, and music can still be a lifeline.

Amyl and the Sniffers Setlist via Tidal

Sheer Mag Setlist via Tidal

[concerthopperblog]

The Infinite Arc Tour: Coheed and Cambria & Mastodon

Coming in hot from Estero, Florida, Coheed and Cambria and Mastodon, alongside Periphery, brought their Infinite Arc Tour to the Hertz Arena and tore the floor up and nearly melted the ice below. While I have no actual clue what they put over the ice for these events, my feet were slightly cold until the bands began.

Kicking off was Periphery. While their songs are quite complex and as intricate as progressive metal can get, there isn’t a bigger name in the genre than them. Three songs were all they played, but for anyone who’s a fan, that’s still a full set. Opening with their massive sixteen-minute-long song “Reptile,” Periphery showed no remorse as we constantly headbanged to their infinitely complex songs. Even as Spencer Sotelo had some issues with his earpiece, he never missed a beat or a breakdown.

I’m not even going to try to lie, I am not sure what could be said about Mastodon that hasn’t already been said. Being hardcore veterans in the heavy metal scene or even just rock ‘n roll in general, Mastodon did not disappoint. It’s always nice to see that, while being such enormous rock stars, they are still incredibly sweet and nice people off stage. I was able to meet Troy Sanders and Brann Dailor during Coheed’s set, and they were such nice dudes and had no problem taking photos with the fans, yours truly included.

Usually, when you hear of bands that have been playing for 25+ years, you don’t expect much stage presence, or maybe, that’s just me, but I knew Mastodon wasn’t like this, despite me never seeing their show live before. Troy was never stationary for longer than a minute and reminded me of Suicidal Tendencies’ Mike Muir with just being in constant motion. Playing some of their best tracks with gnarly visuals in the background just sets you up for a sensory overload in the best way possible. Brann’s vocals never sounded better as he drummed away and sang at the same time, which has always impressed me. I can barely ride a stationary bike and talk to my wife at the same time, let alone play drums and sing. All in all, seeing Mastodon and meeting Brann and Troy was most definitely a super highlight of the night.

If the floor was ice before in the Hertz Arena, it wasn’t after Coheed was finished with their set. As a long-time fan of the band once named Shabutie, I can honestly say it has been way - and I mean way - too long since I’ve last seen them live. Coheed was an absolute obsession of mine during the mid-2000s, and although they no longer open with “In Keeping Secrets of Silent Earth: 3” like they once did, which is honestly the best opening song ever, Coheed did not disappoint, nor do they ever.

One of the biggest features their set showed was the arrival of “Blind Side Sonny.” At some point during the first few songs, a massive 20+ foot Blind Side Sonny rose from the stage and towered over Coheed. Claudio turned to face the massive inflatable in an almost shocked and fearful fashion. Blind Side Sonny’s eyewear would also change throughout the show, and his face would appear in different colors or patterns as well. Claudio also experienced some sort of technical issue with his guitar during the sets, swapping out a few different times and unable to strike a chord at first, but amidst the technical issues, Claudio kept his composure and still proceeded to shred. Rounding out the final song of the night with “Welcome Home,” I encourage any fan who even likes one of these bands just a little to check out their remaining shows. This is an infinitely amazing tour, and I can’t wait to see them when they return in the fall with Taking Back Sunday!

Remaining dates for the current tour are:

5/28 – Portland, ME @ Cross Insurance Arena 5/30 – Syracuse, NY @ Empower Federal Credit Union Amphitheater at Lakeview 5/31 – Scranton, PA @ The Pavilion at Montage Mountain 6/01 – Youngstown, OH @ Youngstown Foundation Amphitheatre 6/03 – Fort Wayne, IN @ Allen County War Memorial Coliseum 6/04 – Peoria, IL @ Peoria Civic Center Arena 6/06 – Grand Rapids, MI @ Van Andel Arena 6/07 – Green Bay, WI @ Resch Center 6/08 – Waukee, IA @ Vibrant Music Hall

[concerthopperblog]

Jason Isbell Brings Shoalsfest Back for 2025 featuring Browne, Waxahatchee

After taking the last two years off, the Jason Isbell curated Shoalsfest is back with a bigger name lineup of artists than ever. Shoalsfest, taking place October 11-12 at McFarland Park in Florence, Alabama, values quality over quantity. With only one stage and a handful of artists per day, each artist gets a full set rather than the 30-45 minutes usually seen in a festival environment. So, who is on tap for Shoalsfest 2025? Let's take a look at some of the highlights.

Saturday, October 11

Jackson Browne Isbell swung for the fences for his Saturday night headliner, snagging multi-time Grammy nominee and Rock and Roll Hall of Famer Jackson Browne. Browne, best known for hits like “Doctor, My Eyes” and “Running on Empty,” has a whopping 60-year career to pull from for this set.

Jason Isbell, Patterson Hood, and Chris Tompkins in the Round Co-headlining the night is a one-off collaboration between Isbell, Drive-By Truckers frontman Patterson Hood, and Grammy Award-winning songwriter Chris Tompkins. With the recent release of Isbell's solo acoustic album and all three men's close ties to the Muscle Shoals area and each other, the “in the round” style should fit them perfectly.

Dan Penn and Spooner Oldham Talk about Muscle Shoals royalty, you would be hard-pressed to find any more renowned than Dan Penn and Spooner Oldham. Both worked together in Muscle Shoals' storied FAME studios and wrote, produced, and recorded alongside the likes of Aretha Franklin, Percy Sledge, and The Box Tops. Oldham is also a Rock and Roll Hall of Famer and member of the Muscle Shoals Rhythm Section.

Sunday, October 12

Jason Isbell & the 400 Unit It wouldn't be a Jason Isbell curated festival if he didn't bring his rock and roll show along for the ride alongside his stellar band, The 400 Unit. Having seen Isbell many times, he always delivers the heat. I haven't gotten to hear the full band versions of songs from his solo acoustic album Foxes in the Snow yet, but I've heard they translate well.

Waxahatchee If there's a critic somewhere to acclaim, they've probably at some point in their careers raved about Katie Crutchfield and her project, Waxahatchee. Her six indie folk albums have been lauded by the likes of NPR, Pitchfork, and No Depression, and she has been nominated for a Grammy Award. Waxahatchee is another artist I've gotten to see live and can't recommend enough.

Steve Trash Shoalsfest has always committed itself to being a family-friendly event and always programs something for the kids to enjoy. This year, performing both Saturday and Sunday, will be magician and environmental educator Steve Trash. His eco-magic shows are as entertaining as they are educational and have garnered Trash an award as Environmental Educator of the Year. Come to the fest early. You won't want to miss this one.

If it’s Americana or Southern rock you’re looking for, you won’t find any better festival for it than Shoalsfest, taking place October 11-12, 2025, at McFarland Park in Florence, AL.

Tickets for Shoalsfest 2025 are $125 for General Admission tickets and $499.50 for VIP. You can get tickets and see all the bands performing at Shoalsfest here.

[concerthopperblog]

The Squirrely Years Tour Invades The Eastern

For anyone who is a fan of the industrial music genre (whether it is the subcategory of rock or metal), the band Ministry is synonymous with fans of that style of music. Ministry has long since been regarded as one of the forefathers in the industrial music genre, helping other bands along the way, like Nine Inch Nails. I know my fellow Gen Xers can remember that one episode on the second season of MTV’s Beavis & Butt-Head when Ministry’s music video for “N.W.O.” was nestled between Geraldo Mejia’s “Rico Suave” and Soundgarden’s “Outshined”. Ministry would grace Beavis & Butt-Head’s television show once more during the third season with another song, “Just One Fix”, off their critically acclaimed fifth (5) album ΚΕΦΑΛΗΞΘ (commonly known as Psalm 69: The Way to Succeed and the Way to Suck Eggs). Even Nitzer Ebb appeared late in the second season of Beavis & Butt-Head with a music video of their song “Godhead”.  

Enough of the ‘memberberries’, let’s get back to the present. In February, Ministry announced they would embark on an ambitious tour paying homage to their influential past. A past enriched with some heavy and groovy synth-pop sounds that have been dormant from past Ministry tour setlists. That is, until Ministry decided to celebrate these relics of the past at their 2024 Cruel World Music Festival performance last year, when they dug up tracks from their first two albums, With Sympathy (1983) and Twitch (1986). The positive response they received from this performance helped spawn the idea of revisiting these jewels and re-recording them for release. This project would be called The Squirrely Years, and you can preorder your copy at Cleopatra Records now. This record is expected to ship on June 6th, 2025. 

The Squirrely Years Tour began at Van Buren in Phoenix, Arizona, on April 29th and will conclude at the House of Blues Las Vegas in Las Vegas, Nevada, on June 5th. To make this tour even more appealing, Ministry has asked their buds, old-school industrial rockers Nitzer Ebb, Die Krupps, and My Life With the Thrill Kill Kult, to come out on tour and assist as opening support at select dates. Die Krupps will perform on all dates, while Nitzer Ebb will open the first half of the tour, and My Life With the Thrill Kill Kult will open the second half. For the Atlanta date, The Eastern was picked to host The Squirrely Years Tour, and I could not be happier with that decision. What a venue!

Die Krupps is an industrial metal/EBM/industrial rock band from Dusseldorf, Germany that has been active from 1980-1985, 1989 to 1997, and 2005-present. Nitzer Ebb currently consists of Jurgen Engler (vocals/guitars/keyboards/synthesizers and programming/Stahlophon), Ralf Dorper (keyboards/synthesizers and programming), Dylan Smith (guitars), and Paul Keller (drums). Nitzer Ebb has released eleven (11) LPs, eight (8) anthologies, two (2) live albums, six (6) compilations, and forty (40) singles/EPs. 

I knew Die Krupps’ opening set at The Eastern this evening would be incredible, and I was delighted to see a large crowd dressed in black already gathered for the opening festivities. To set the tone, Die Krupps began with a galvanizing and crowd-pleasing performance of their song “Nazis auf Speed” off their eighth album The Machinists of Joy which was released in 2013. Die Krupps delighted fans by playing their song “Fatherland” from their fifth album, II – The Final Option, released in 1993. The sea of black had grown since Nitzer Ebb started the evening, and you could observe everyone intently locked in on Die Krupps’ impassioned performance. I was delighted to hear “Metal Machine Music” from their fourth album, I, released in 1992. This was one of my favorite albums by Die Krupps when I was growing up. This was a song I remembered quite well from a mix tape a friend made featuring various industrial bands from the late 80s and early 90s.

In addition, the song “Robo Sapien” off their eighth album The Machinists of Joy was next on the list, and the crowd blissfully sang along with Jurgen as he belted out the lyrics “I am the robo sapien”. Closing out their opening set, Die Krupps chose the song “Bloodsuckers” also from the album II – The Final Option, and I think that this song is even more relevant given today’s socio-political climate: “Bloodsuckers/Got your values out of whack/You’ve been selling your soul/For a greenback stack”. So, not only did I get to see Nitzer Ebb for the first time, but this would also be my first time experiencing Die Krupps live, and I am very thankful for this unique opportunity. What a legendary and unforgettable performance from the boys from Dusseldorf as they commanded the crowd’s attention right up until the final note. Bravo, Die Krupps!  

You can view Die Krupps’ setlist from this tour stop in Atlanta below:

·         “Nazis auf Speed”

·         “Der Amboss” (Visage cover)

·         “Fatherland”

·         “Metal Machine Music”

·         “Robo Sapien”

·         “To the Hilt”

·         “Bloodsuckers”

 Nitzer Ebb is an industrial dance/industrial rock/EBM/electronic band from Chelmsford, Essex, England that has been active between 1982-1995, and 2006-present. Nitzer Ebb consists of Bon Harris (programming/synthesizers/drums/vocals/bass) and David Gooday (vocals/drums). Douglas McCarthy (vocals/guitar) is currently not touring with the band due to an ongoing illness. We here at Concerthopper are sending good vibes and wish Douglas a speedy recovery. For touring purposes, Rona Rougeheart (percussion) is also added to the list. Nitzer Ebb has released six (6) LPs, three (3) EPs, one (1) demo, twenty-one (21) singles, four (4) compilations, fourteen (14) music videos, and twenty-two (22) B-sides and non-album tracks.

Next up to perform this evening, Nitzer Ebb started their night with three songs off their second album, Belief, which was released in 1989. Their club classic “Control I’m Here” kicked off the vibe for the rest of their career-spanning set. I was happy to finally see Nitzer Ebb perform live, plus, hearing “Hearts and Minds” > “Blood Money” was something special. Nitzer Ebb closed out their set with one of my favorite tracks, “Murderous”, from their debut album That Total Age (1987). After forty-plus years in the music industry, Nitzer Ebb is still bringing high-impact energy to each live show they perform. The crowd then feeds off this energy and, in turn, gives it right back to Nitzer Ebb.

Check out Nitzer Ebb’s setlist from their performance at The Eastern below:

·         “Control I’m Here”

·         “Hearts and Minds”

·         “Blood Money”

·         “Lightning Man”

·         “Captivate”

·         “Once You Say”

·         “Join in the Chant”

·         “Murderous”

Ministry is an industrial metal/synth-pop/thrash metal/industrial rock band from Chicago, Illinois that has been active from 1981-2008, 2011-present. Ministry consists of Al Jourgensen (lead vocals/guitars/harmonica/keyboards/programming/production), Monte Pittman (guitars/backing vocals), Cesar Soto (guitars/backing vocals), Pepe Clarke Magaña (drums), Paul D’Amour (bass), and John Bechdel (keyboards). Ministry has released sixteen (16) LPs, eight (8) live albums, thirty (30) singles, five (5) video albums, fourteen (14) compilations/remix albums, and twenty (20) music videos.

This would be my fourth time seeing Ministry live; my most recent experience was The Industrial Strength Tour at the Tabernacle in 2022. But in all honesty, I felt more excited about The Squirely Years Tour as the anticipation grew closer and closer to their performance at The Eastern on May 6th. Once Ministry walked out on stage, the sea of faithful that gathered on a Tuesday in May collectively expressed their excitement for the event that was about to commence. The reimagining of some of the earlier work by Uncle Al made so much sense after hearing the recordings after they were released. Now, witnessing these earlier Ministry songs performed live helped intensify those old feelings for these groundbreaking songs that I remember so fondly growing up.

Some early highlights were opening the set with “Work for Love” > “Here We Go” taken from the debut album With Sympathy (1983). About a quarter of the way through the night, I was happy to hear a back-to-back of “I’ll Do Anything for You” > “Same Old Madness”. Both songs are deep cuts from some previously unreleased material from the band’s early days. “I’ll Do Anything for You” is a previously unreleased song taken from a compilation box set, Trax! Box, released in 2015. And “Same Old Madness” is taken from another compilation box set of unreleased remixes and rarities, Trax! Rarities, which was released in 2016.

One of my favorite songs off their debut album, With Sympathy (1983), “Effigy (I’m Not An)” made the cut right before the end of the night, and another great song from the same album, “Revenge” was performed. Ministry ended the “set” with their creepy fan favorite, “(Everyday Is) Halloween”, a B-side off the single All Day / (Everyday Is) Halloween (1984), which was an excellent, old-school selection in my opinion. The crowd sang the lyrics “‘Cause to me every day is Halloween / I’ve given up hiding and started to fight” along with Uncle Al during the opening verse. It was great to see the crowd dancing happily and blissfully singing along to what seemed to be an obvious favorite song of many in attendance.   

Ministry would come out to do a marvelous encore cover of “Ricky’s Hand” from Fad Gadget off their sixteenth (16) album, Hopiumforthemasses (2024). Fad Gadget is a British avant-garde electronic musician who is considered a pioneer in synth-pop, industrial music, and electro-pop. Fad Gadget proved to be very influential to artists like Ministry and Depeche Mode, for example. I find beauty in the fact that these three renowned industrial bands have influenced a multitude of artists/bands over the years, and yet they still find the time to give thanks to those who have come before them in the industrial music scene. The Squirrely Years Tour is a perfect celebration of the past, so I find this little homage to Fad Gadget to end the night very appropriate. I would like to take the time to thank the folks with Ministry, Nitzer Ebb, and Die Krupps for this opportunity and the support after the show. 

Check out Ministry’s flashback setlist from this evening at The Eastern below:

·         “Work for Love”

·         “Here We Go”

·         “All Day”

·         “I’ll Do Anything for You”

·         “Same Old Madness”

·         “Cause We’re in Love Again”

·         “I’m Falling”

·         “Just Like You”

·         “Over The Shoulder”

·         “We Believe”

·         “Effigy (I’m Not An)”

·         “Revenge”

·         “(Everyday Is) Halloween”

Encore:

·         “Ricky’s Hand” (Fad Gadget cover)

You can read (or re-read my first review featuring Ministry from their 2022 The Industrial Strength Tour w/ Corrosion of Conformity and (the) Melvins live at The Tabernacle! There are still plenty of dates left on Ministry’s The Squirrely Years Tour, featuring performances of songs from the first two albums, With Sympathy and Twitch. This once-in-a-lifetime celebration of influential trailblazers in industrial music should not be missed:

 May 12 Mon

Soundstage Presents @ 7:00 PM

Nitzer Ebb

Die Krupps

Baltimore, MD, United States

Tickets RSVP

 May 13 Tue

Franklin Music Hall @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Philadelphia, PA, United States

Tickets RSVP

 May 14 Wed

Roadrunner @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Boston, MA, United States

Tickets RSVP

 May 16 Fri

Brooklyn Paramount @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Brooklyn, NY, United States

Tickets RSVP

 May 17 Sat

MTELUS @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Montreal, QC, Canada

Tickets RSVP

 May 18 Sun

HISTORY @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Toronto, ON, Canada

Tickets RSVP

 May 20 Tue

Palace Theatre @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Saint Paul, MN, United States

Tickets RSVP

 May 21 Wed

Burton Cummings Theatre @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Winnipeg, MB, Canada

Tickets RSVP

 May 23 Fri

Midway @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Edmonton, AB, Canada

Tickets RSVP

 May 24 Sat

The Palace Theatre @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Calgary, AB, Canada

Tickets RSVP

 May 26 Mon

Commodore Ballroom @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Vancouver, BC, Canada

Tickets RSVP

 May 27 Tue

Commodore Ballroom @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Vancouver, BC, Canada

Tickets RSVP

 May 28 Wed

Showbox SoDo @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Seattle, WA, United States

Tickets RSVP

 May 29 Thu

Spokane Live @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Airway Heights, WA, United States

Tickets RSVP

 May 31 Sat

Mission Ballroom @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Denver, CO, United States

Tickets RSVP

 Jun 1 Sun

The Union Event Center @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Salt Lake City, UT, United States

Tickets RSVP

 Jun 3 Tue

The Warfield @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

San Francisco, CA, United States

Tickets RSVP

 Jun 4 Wed

Hollywood Palladium @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Los Angeles, CA, United States

Tickets RSVP

 Jun 5 Thu

House of Blues Las Vegas @ 7:00 PM

Die Krupps

My Life With the Thrill Kill Kult

Las Vegas, NV, United States

Tickets RSVP

 Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as Newnan Porch Fest 2025 (Newnan, GA.), The Big Show Tour: They Might Be Giants Live at The Eastern, Savage Imperial Death March Part II: Napalm Death & Melvins – Live @ The Masquerade (Atlanta), Frankie & The Witch Fingers Live @ Terminal West (Atlanta), AmericanaFest 2025, Asking Alexandria Live at Buffalo Riverworks, The Reverend Horton Heat Live @ Jannus Live (St. Petersburg), Dinosaur Jr. + Snail Mail Live at Tabernacle, KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), Cartoon Darkness World Tour: Amyl and the Sniffers Live @ The Eastern (Atlanta), The Double Life Tour: Our Last Night Live at Town Ballroom, Savage Master, Nite, & Charitos Overdrive: Live at Bogg’s Social & Supply (Atlanta), Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, Kublai Khan TX Live @ Jannus Live (St. Petersburg), and My Morning Jacket “is” On Tour: Live at The Fox Theatre by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Savage Imperial Death March Part II: Melvins & Napalm Death Live @ The Masquerade

A sequel can be good. Sometimes, it is even better than the original. In 2016, there was a blockbuster six-week tour that trekked across the United States entitled the Savage Imperial Death March Tour featuring both (the) Melvins and Napalm Death. That was a fun night in April at the original site of The Masquerade in Heaven with (the) Melvins, Napalm Death, and as opening support, the Japanese noise rock band Melt Banana. Fast forward to November 19, 2024, (the) Melvins announced via their social media channels that they would once again team up with Napalm Death on the Savage Imperial Death March Part II Tour with some heavy hitters including Weedeater (April 4-May 5), Titan To Tachyons featuring Mr. Bungle’s Trevor Dunn (May 7-20), The Hard-Ons with Jerry A (May 22-June 2), and Napalm Death’s very own Shane Embury’s Dark Sky Burial, who will be opening support at all dates in this massive seven-week tour. The Atlanta date falls on April 27th, which means our good pals Weedeater would be performing the opening duties for (the) Melvins and Napalm Death at The Masquerade.

As mentioned, Dark Sky Burial is the side project of Napalm Death’s longtime member Shane Embury. Dark Sky Burial is an experimental/electronic/dark ambient/drone/industrial noise project that has released four (4) LPs, one (1) compilation, and two (2) singles since forming in the early days of the pandemic. I thought this quote from Dark Sky Burial’s Facebook page sums it up quite nicely, “The Soundtrack to Shane’s Life!” Unfortunately. Dark Sky Burial could not perform, so Atlanta’s own Void Manes (abstract electronica) stepped in to save the day. You can still stream all of Dark Sky Burial’s music through their Bandcamp page today.

This would be my second time getting to see Void Manes live, and I was eager to hear his music performed again in a live setting. Void Manes is no stranger to (the) Melvins; in fact, the two have collaborated three times in the past. Most notably, Void Manes is featured on the new (the) Melvins album Thunderball (released by Ipecac Records). For the brief time that Void Manes performed, he commanded the crowd’s total attention until his final note played. Void Manes would also be noted as the opening support at the Tuesday, April 29th tour date at the 40 Watt Club in Athens, Georgia.

You can stream all Void Manes’ music through their Bandcamp page today.

Wilmington, N.C. natives Weedeater is a stoner/sludge metal band that was founded in 1998. Weedeater has released five (5) LPs and has been signed to the French record label Season of Mist since November 2013. Weedeater consists of founding members Dave “Dixie” Collins (bass/vocals), Dave “Shep” Shepherd (bass), and Ramzi Ateyeh (drums), who joined the band in 2019 after the tragic death of their drummer Carlos Denogean. Ateyeh grew up with both Daves and was a former bandmate of Dixie in the band Buzzov*en during the recording of the album At a Loss and the tour that followed. “Dixie” Dave Collins has also been a member of some influential bands in the stoner/sludge metal genre such as Buzzov*en, Bongzilla, Sourvein, Barstul, and Hail. As many of our readers know, Weedeater is no stranger to the Concerthopper family, and the band has been featured many times in the past.

Once the band walked out on stage, Dixie had his ceremonial cup of beer ready for consumption before the first note was played. Weedeater started their set off with a heavy hitter from their catalog, “Hammerhandle,” taken from their fourth (4) studio album, Jason… The Dragon (2011). The next four-song block was for the fans: “Mancoon” > “Turkey Warlock” > “God Luck and Good Speed” > “Wizard Fight”. This four-song block featured songs from my favorite two albums from Weedeater: God Luck and Good Speed (2007) and Jason… The Dragon (2011). It’s always great seeing the dudes in Weedeater destroy any venue’s stage with their brand of slow, sludgy metal that pairs well with any metal tour.

Check out Weedeater’s setlist from this evening’s performance at The Masquerade:

·         “Hammerhandle”

·         “Mancoon”

·         “Turkey Warlock”

·         “God Luck and Good Speed”

·         “Wizard Fight”

·         “Jason… The Dragon”

·         “$20 Peanut / Time Served”

·         “Weed Monkey”

 (the) Melvins are a sludge/alternative/doom metal/experimental rock band from Montesano, Washington, that formed as a band in 1983. (the) Melvins have released twenty-eight (28) LPs, six (6) EPs, seven (7) live albums, forty-seven (47) singles, and eight (8) collaboration albums in their historic and trailblazing career. As mentioned earlier, Thunderball (released April 18, 2025) is the third installment under the “Melvins 1983 series”, featuring two of the band’s original members: Buzz Osborne and Mike Dillard. The band currently consists of Buzz Osborne (vocals/guitar), Steven Shane McDonald (bass/backing vocals), Dale Crover (drums/percussion/backing vocals), and, for this tour, honorary (the) Melvins member Coady Willis (drums/backing vocals) as an additional drummer. You may know Coady from the band Big Business and, most recently joining the mighty High on Fire, not to mention filling in for Dale on drums when he was not able to tour with the Melvins.

(the) Melvins opened with a fan-favorite song,” Working the Ditch,” taken from their twenty-seventh (27) studio album Tarantula Heart. (the) Melvins have been known to put on a wild show from start to finish, and each time that I have seen them perform over the years, they get better and better with age. Tonight was no exception. (the) Melvins have always radiated a high-velocity energy that demands your full attention while they perform. This has been the case since day one, and I do not see these dudes bringing down that energy anytime soon. (the) Melvins decision to also bring Coady on the Savage Imperial Death March Part II Tour to play drums alongside Dale was a fantastic idea and a marvel to witness as it happened live on stage. (the) Melvins managed to squeeze in twelve definitive songs from their massive discography, and I was overjoyed to hear “It’s Shoved” and “Your Blessened” from their third (3) studio album, Bullhead, released on January 28, 1991. Not to mention, “Honey Bucket” and “Night Goat” made the cut from their fifth (5) studio album, Houdini, released on September 21, 1993.

Listed below is (the) Melvins setlist from this evening at The Masquerade in Atlanta:

·         “Working the Ditch”

·         “The Bloated Pipe” (Melvins & Lustmord cover)

·         “Never Say You’re Sorry”

·         “Evil New War God”

·         “It’s Shoved”

·         “Billy Fish”

·         “A History of Bad Men”

·         “Blood Witch”

·         “Honey Bucket”

·         “Revolve”

·         “Your Blessened”

·         “Night Goat”

 Napalm Death is a grindcore/death metal/anarcho-punk band from Meriden, West Midlands, England that formed in 1981. Napalm Death consists of Shane Embury (bass/backing vocals), Mark “Barney” Greenway (lead vocals), Mitch Harris (guitar/backing and occasional lead vocals), John Cooke (guitars), and Danny Herrera (drums). In their storied career, Napalm Death has released sixteen (17) LPs, fourteen (14) EPs, four (4) live albums, three (3) compilations, eight (8) singles, three (3) video albums, and two (2) cover albums. I had not seen Napalm Death since the last Savage Imperial Death March Tour in 2016, so I was ready to hear some of the new material from the new collaborative album with (the) Melvins aptly titled Savage Imperial Death March (2025) and their new studio album Resentment is Always Seismic – A Final Throw of Throes (2024).

Since Dark Sky Burial was not able to perform, this also meant that Shane Embury would not perform his normal duties on bass for Napalm Death. Filling in on bass was a close friend of the bands named Max. Napalm Death began their merciless set with “Multinational Corporations, Part II” and this was just the beginning. The beginning of Mark “Barney” Greenway constantly running and moving around the stage as he belts out some of the most well-known ferocious vocals in the metal genre. It had been a few years since I last got to see Napalm Death perform live on stage (seven years to be exact), so I was very excited to catch back up with the band. One thing about Napalm Death that I have always respected is their ability to stand up for what’s right. Tonight, Napalm Death performed a classic Dead Kennedys cover of “Nazi Punks Fuck Off” and the pit went into a frenzy as concertgoers released some built up energy while Barney screamed out “You still think swastikas look cool / The real Nazis run your schools / They’re coaches, businessmen, and cops / In a real fourth Reich, you’ll be the first to go”. Napalm Death even treated the fans to some songs from their 1987 groundbreaking, debut album Scum including the self-titled track “Scum” and closing the evening out with “Siege of Power”.

You can check out Napalm Death’s setlist below from this evening in Atlanta:

·         “Multinational Corporations, Part II”

·         “Silence Is Deafening”

·         “Lowpoint”

·         “Smash a Single Digit”

·         “Contagion”

·         “Twist the Knife (Slowly)”

·         “Narcoleptic”

·         “Amoral”

·         “The World Keeps Turning”

·         “Retreat to Nowhere”

·         “Social Sterility”

·         “Dead”

·         “Suffer the Children”

·         “On the Brink of Extinction”

·         “Backlash Just Because”

·         “Fuck the Factoid”

·         “Cold Forgiveness”

·         “Scum”

·         “Control”

·         “You Suffer”

·         “Nazi Punks Fuck Off” (Dead Kennedy’s cover)

·         “Siege of Power”

 There are still plenty of dates left on the Savage Imperial Death March Part II Tour as it travels across the United States. Check below and see if they are coming near you: May 02 - Carrboro, NC @ Cat's Cradle May 03 - Virginia Beach, VA @ Elevation 27 May 04 - Baltimore, MD @ Baltimore Soundstage May 05 - Philadelphia, PA @ Union Transfer May 07 - Brooklyn, NY @ Warsaw May 08 - Boston, MA @ Paradise Rock Club May 09 - Harrisburg, PA @ Harrisburg Midtown Arts Center May 10 - Pittsburgh, PA @ Mr. Small's May 11 - Cleveland, OH @ TBA May 12 - Detroit, MI @ Saint Andrew's Hall May 13 - Grand Rapids, MI @ The Intersection May 15 - Cincinnati, OH @ Bogart's May 16 - Louisville, KY @ Mercury Ballroom May 17 - Nashville, TN @ Brooklyn Bowl Nashville May 18 - St. Louis, MO @ Red Flag May 19 - Chicago, IL @ Metro May 20 - Milwaukee, WI @ The Rave II May 22 - Minneapolis, MN @ First Avenue – Main room May 23 - Des Moines, IA @ Wooly's May 24 - Kansas City, MO @ Madrid Theatre May 25 - Omaha, NE @ The Waiting Room May 27 - Denver, CO @ Summit May 29 - Salt Lake City, UT @ Metro Music Hall May 31 - Bozeman, MT @ The ELM June 01 - Spokane, WA @ Knitting Factory Spokane June 02 - Seattle, WA @ The Showbox June 03 - Portland, OR @ Revolution Hall June 04 - Eugene, OR @ McDonald Theatre June 06 - Reno, NV @ Virginia Street Brewhouse June 07 - Berkeley, CA @ Cornerstone Berkeley

You can check out previous reviews exclusively at Concerthopper.com featuring Napalm, Death, (the) Melvins, and Weedeater: Twins of Evil Tour: Boris & (the) Melvins @ Variety Playhouse (2023), The Industrial Strength Tour: Ministry w/ Corrosion of Conformity & (the) Melvins live at The Tabernacle! (2022), Weedeater w/ Telekinetic Yeti, Restless Spirit, & Possum Rot Live at Grantski Records! (2024), Bringing the Heat at the Inaugural Snowblind Festival! (2022), Weedeater/ASG/Toke/Beitthemeans: Live at The Masquerade (2019), and The Final Tour: Slayer / Lamb of God / Anthrax / Testament / Napalm Death (2018).

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as Newnan Porch Fest 2025 (Newnan, GA.), 25 Years of Noise: Silverstein Live at Buffalo Riverworks, The Big Show Tour: They Might Be Giants Live at The Eastern, Lore 10th Anniversary 2025: Elder Live at The Earl, The Reverend Horton Heat Live @ Jannus Live (St. Petersburg), Killswitch Engage Live at Buffalo Riverworks, AmericanaFest 2025, Soul Coughing Play the Songs of Soul Coughing Again Tour – Live @ The Eastern (Atlanta), Meshuggah w/ Cannibal Corpse & Carcass – Live at Coca-Cola Roxy (Atlanta), Cartoon Darkness World Tour: Amyl and the Sniffers Live @ The Eastern (Atlanta), Asking Alexandria Live at Buffalo Riverworks, The Squirrely Years: Ministry w/ Nitzer Ebb & Die Krupps Live at Coca-Cola Roxy, Dinosaur Jr. + Snail Mail Live at Tabernacle, The Sickness 25th Anniversary Tour: Disturbed Live at KeyBank Center (Buffalo), It’s A Nice Day To… Tour Again!: Billy Idol & Joan Jett and The Blackhearts Live @ MIDFLORIDA Credit Union Amphitheatre (Tampa), KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), The Poisoned Ascendancy Tour 2025: Trivium & Bullet for My Valentine Live @ Coca-Cola Roxy (Atlanta), Kublai Khan TX Live @ Jannus Live (St. Petersburg), The Double Life Tour: Our Last Night Live at Town Ballroom, Savage Master, Nite, & Charitos Overdrive: Live at Bogg’s Social & Supply (Atlanta), Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, My Morning Jacket “is” On Tour: Live at The Fox Theatre and The Cursed Tour: Paleface Swiss Live at Empire Live (Albany) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Spring Co-headline Tour 2025: Asking Alexandria, From Ashes To New, Royale Lynn & What Lies Below 04/23/2025

In February, Asking Alexandria and From Ashes To New announced their co-headlining tour, featuring 14 dates. The tour kicks off in Buffalo, New York, at Buffalo Riverworks and concludes in Tampa, Florida, at The Ritz Ybor. There are also two additional festival dates: if you can’t catch Asking Alexandria during this short run, you can see them at Sonic Temple Festival and Welcome To Rockville. Royale Lynn and What Lies Below will join Asking Alexandria and From Ashes To New on this tour. When I saw the tour announcement, I knew I had to attend, as I haven’t seen Asking Alexandria perform since 2018 during the last full country run of the Vans Warped Tour. (Check out that coverage here.) The night started slowly, but many fans still poured into the venue, eager to see what the evening had in store. Fans rushed to the merchandise booths to pick up items from each band. If you missed out on this show, that's okay; they will also be performing in Syracuse on this tour. Additionally, two other great shows were happening that night: Hawthorne Heights in Buffalo and The Funeral Portrait in Syracuse. The night was packed with action all over upstate New York.

What Lies Below is a band based in Harrisburg, Pennsylvania, formed during the pandemic. With nearly 80,000 listeners on Spotify, they are poised to make a significant impact on the metalcore scene. The lineup of What Lies Below includes Andrew Watson (vocals), Mike Watson (guitar/vocals), Sam Hart (guitar), Zach Erickson (bass), and Jonah Luteman (drums). The band has released two EPs, one album, and several singles. Their latest single, "The Silence We Keep," was released just a few days before they began their tour. What Lies Below was the first band to take the stage for the night, and they came out ready to rock for their tour. Zach Erickson, on bass, was impossible to keep still; he took the stage by storm, moving all over the place and playing his heart out. On guitar and vocals, Mike Watson interacted playfully with the crowd, making faces while he played and clearly enjoying their time on stage. One of the songs they performed was "The Silence We Keep," which I really enjoyed and would happily add to my personal playlist.

Royale Lynn is a country and rock singer who has gained popularity across her multiple social media platforms, amassing over 1 million followers. While she originally focused on country music, she has since transitioned to a more "alt-metal" style. Since her debut in 2021, she has released 11 singles and has signed with Epitaph Records. Her single "Death Wish" features Danny Worsnop of Asking Alexandria. Royale Lynn brought incredible energy to her performance, supported by her guitarist and drummer. She performed seven songs in total, starting the set with “Sacrifice.” The set includes a cover of “All Around Me” by Flyleaf, which the audience loved. The highlight of the evening was a surprise appearance by Danny Worsnop of Asking Alexandria during her performance of “Death Wish.” His presence made the energy in the room surge, elevating the rest of the night even more.

From Ashes To New is a familiar face in the Concerthopper household. We’ve covered their performances and groundbreaking music numerous times, and they blow us away each time! Don't miss out! Check out our other articles to dive into the excitement! (The Blackout Tour, The Carnal Tour & The Dark Horizon Tour) Since we last saw From Ashes to New, they released a deluxe edition of their album Blackout, which includes six additional songs. The track “Barely Breathing,” featuring Against The Current, is currently number one on the band’s Spotify. This album also features collaborations with Yelawolf and a remix by Sullivan King of their song “Hate Me Too.” From Ashes To New were next to hit the stage, they played fan favorites such as “Panic”, “Nightmare” & “Barely Breathing.” During the show, in between songs, Matt Brandyberry (Vocalist) talked to the crowd, shouting out the other members of the band. He stated that for the next song, he wanted the crowd to go hard, since Danny (Vocalist) is from Rochester, which is only about an hour from Buffalo, NY. Matt wanted it to be like they were playing a hometown show to make the set even better.

Asking Alexandria is an English rock band formed in 2006 by former member Ben Bruce. The band consists of guitarist Cameron Liddell, drummer James Cassells, vocalist Danny Worsnop, and bassist Sam Bettley. Since their debut, Asking Alexandria has released nine studio albums. Their most recent album, titled Where Do We Go From Here?, was released in 2023. In 2024, they will release a deluxe version of this album that features remixes of their songs by Sullivan King, Kode Blooded, Fairlane, and others. From 2011 to 2018, the band was nominated for 13 awards and won 7 of them, including honors for Best British Band, Hottest Male, and Breakthrough Artist. I started listening to Asking Alexandria when I was 15 or 16 years old. One of the first songs I heard was “The Final Episode (Let’s Change the Channel)” along with “Not the American Average.” Both songs rank among their top five most popular tracks on Spotify. I have also enjoyed their more recent music, such as “Alone in a Room” from their self-titled album, Asking Alexandria, which was released in 2017. Asking Alexandria closed out the night on this co-headlining tour, and the room was filled with metalheads eagerly awaiting their set — myself included. When "Chop Suey" by System of a Down began to play, signaling the moment everyone awaited, the lyrics "I cry when angels deserve to die" echoed through the air. The lights went dark, and Asking Alexandria took the stage, kicking off their set with "Eve," performed live for the first time since 2020. After a few songs, lead vocalist Danny Worsnop paused the show to check on a fan who had been hurt during the performance. Once he confirmed that the fan was okay, the band resumed their set. Asking Alexandria played a diverse selection from their discography, including tracks they hadn’t performed live before, such as "Hopelessly Hopeful" and "House on Fire." They even revisited their roots with "The Final Episode (Let’s Change the Channel)" before closing out the set with "Alone in a Room."

Get ready for an exciting summer with our Hoppers! We’ve got a ton of amazing content lined up just for you. Don’t miss out—make sure to keep checking back for all the latest updates! Join our community on Facebook and Instagram, and hit the “Like” and “Follow” buttons to stay in the loop.

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Five Can't Miss Acts from the Initial AMERICANAFEST 2025 Lineup

The Americana Music Festival and Conference, known by most as AMERICANAFEST, released its initial lineup of artists for its 2025 festival, being held September 9-13 in dozens of venues around Nashville. And while there is plenty of great music throughout the lineup, these five caught our eyes as can't-miss shows.

Amanda Shires There's a reason Amanda Shires is the first name on the AMERICANAFEST poster. Shires is about as big a name as there is in Americana music. Since her debut album in 2005, Shires has produced a body of music that is rivaled by few. She's a multi-time Americana Honors and Awards nominee and 2017 winner for Best Emerging Artist, and a 2020 Academy of Country Music Awards nominee with her supergroup The Highwomen. She's also known and respected throughout the Americana world, so while there's no guarantee of a guest sit-in during her set, she's probably one of the most likely to have one.

Willi Carlisle It wasn't that long ago that Willi Carlisle was near the bottom of the AMERICANAFEST lineup poster, playing sets in some of the festival's smallest venues. What a difference a few years make. With the release of his 2024 album Critterland, Carlisle's star has risen in the Americana world, and now he will likely be playing to a near-capacity crowd in one of the fest's larger venues. Carlisle's mixture of traditional banjo folk, queer country, and liberal doses of humor make his show the kind of rollicking and side-splitting good time that is perfect for a festival audience.

Mike Farris and the Fortunate Few I'm not sure who makes up Mike Farris' band The Fortunate Few, but I've known Mike Farris' various bands and projects going back to his days with The Screamin' Cheetah Wheelies in the '90s. Since that time, he's dabbled in blues, soul, gospel, and on his latest album, the Muscle Shoals sound. Having seen Farris at more than one AMERICANAFEST, either solo or as part of one of the festival's many all-star tribute shows, I can guarantee that you won't find a higher energy level at any show the entire week.

The Reverend Peyton's Big Damn Band If there's anyone at AMERICANAFEST who might rival Mike Farris for high energy output, it will be The Reverend Peyton's Big Damn Band. Despite their gargantuan name, they're a three-piece with two percussionists, bringing a raw, almost punk, sound that matches perfectly with Reverend Peyton's big damn voice. Since their debut in 2006, the band has played all over North America and Europe, logging over 200 dates most years, snagging opening slots for the likes of Flogging Molly and playing festivals like Austin City Limits and Bonnaroo. I don't know how big the stage is at the venue where they'll be playing, but it likely isn't going to be big enough for the three large personalities that will be on it. This is the place to be if you want a pure party.

Palmyra I was fortunate enough to catch Palmyra a couple of years ago at AMERICANAFEST at the Wild Ponies Happy Hour (always a great place to hear new bands before they blow up). I spent the entire show trying to figure out how to genre label them. There are elements of the humor-tinged folk of Arlo Guthrie, but with a core that is equal parts rock and roll and country. In other words, they're the perfect band for the big tent genre approach that is Americana. Their debut album for John Prine's Oh Boy Records, Restless, just came out last month, so this will be a first impression of the band for many attendees of AMERICANAFEST. Lucky them.

You can get your passes to AMERICANAFEST 2025, September 9-13, here.

[concerthopperblog]

Nick Cave & the Bad Seeds. The Anthem. Washington, D.C. April 21, 2025.

Nick Cave & the Bad Seeds. That’s grown-up music, the kind of sound that makes you straighten your back and pay attention. Music for people who’ve seen a thing or two, maybe lost something along the way. An artist's artist. Everything about them. The look, the sound, the mystique, the way they seem to conjure something out of the shadows and hand it to you bleeding but left alive. Never having sewn their seeds a bed in any set genre, subculture, or space in time. Everything about them says this is the real deal. The pinnacle of what it means to mean something. Transformative and transcendental.  

I’ve chased that haunting charisma through what seems like a few lifetimes now. Having not passed up a chance to see Nick Cave when given the chance, he’s come to my part of the world. I first caught some of that mystique in 2010, when Grinderman tore through the Variety Playhouse in Atlanta like a hungry wolf among sheep. Shilpa Ray opened—  a one-woman wrecking crew with a harmonium and a howl that still rattles every fiber of my being when I listen to her. Then, in 2013, the full weight of the Bad Seeds hit the Ryman Auditorium in Nashville like a sermon from the gods. Sharon Van Etten opened that night—haunting, devastating—and later joined the Bad Seeds on stage, alongside Shilpa Ray, contributing backing vocals.  And most recently, in 2023, it was Cave on solo piano, with Colin Greenwood of Radiohead on bass, at the Atlanta Symphony Hall. That one stuck with me for a different reason.

The year before that show, I’d finally put two and two together: My love of photography and live shows. It made sense. I’d been in so many darkly lit rooms and sticky-floored clubs for over 20 years, through six hundred-some shows, just me and the noise huddled around other patrons of the concert-going culture. It never occurred to me to bring my camera. So I tried to photograph him—Nick Cave—at that show. Got close but was told no. It wasn’t the right time, the odds told me. I didn’t consider it a screaming failure, though—only a slight hum of postponement. So I made myself a promise: next time.

Six hundred miles is a long way to drive for a show, but it’s nothing I’m not used to. I love driving. Especially when I’m going to someplace far away and have never been. In 2018, I packed up my stubborn little life in Northeast Georgia with two of my best friends and pointed the car west. Seeing the flat lands of Kansas, the majesty of Colorado, the jagged colossi of the Rockies, the red peaks of Moab, the salty dirt of Utah, and the deathly heat and beauty of Arizona and Nevada, all for the first time. All that to see the Melvins and Boris play a one-off at the Echoplex in LA. That trip wasn’t just a memory. It was a moment that burned itself into the film reel of who I am. A rite of passage disguised as a road trip. One of those rare, feral flashes in life when everything makes sense for just a second—and then rewires you forever.

I’ve witnessed many memorable experiences in a great deal of cities, but none more often than in Washington, D.C. The city is steeped in culture and heritage, not just as the nation’s capital or a cornerstone of the Civil Rights movement, but as a vital home to the DIY punk and hardcore scene. This is where basements turned into battlefields, where bands like Minor Threat, Bad Brains, and Fugazi carved out a legacy that cemented D.C. on the musical map for generations.

It makes sense, then, that every time I’ve traveled here, it’s been for a different, one-of-a-kind music experience. There’s a cultural richness within D.C.'s community that often gets overlooked by the unfamiliar—those who dismiss it as just another government town are just blind to the heartbeat that drives it.

Shows like Boris pulling a 2-night stint and performing Flood in full at the Rock & Roll Hotel. John Carpenter is weaving synth-drenched nightmares at the Lincoln Theatre. Fever Ray summoning Nordic witchcraft at the 9:30 Club. And the Mummies are leaving sweat and fuzz all over the Black Cat. So, it would be that once again, my soul would be beckoned to attend Nick Cave & the Bad Seeds at the Anthem in D.C.’s District Square at the Wharf.

If asked, ‘why’? I guess I could say that some people collect stamps. I seem to collect moments. And here I am, chasing another.

This was the biggest show I’d photographed since starting this messy, but beautiful thing two years ago. Normally, I don’t rattle easily when attending shows. I’ve stood too close to too many amps, eaten at too many 24-hour diners and late-night street vendors, suffered too many stomped toes, too many times to be shaken by much anymore. But this one had me twitching. Not in a dramatic kind of way—just a low rattle under the hood before the ‘check engine’ light comes on. But, like all of us, we can only ignore that light for so long. 

I’m not in this for the money. There isn’t any. I’m a working-class guy trying to carve out something meaningful on the side of a job that helps me get by just enough so I can live to do this again, much like everybody else. So yeah, taking a chance like this was an experience I couldn’t afford. But couldn’t afford to miss either. Growth, experience, all those lofty things you tell yourself when the checking account is whispering, “Maybe not.”

I got to the venue early. Sleek, industrial, crouched right there on the edge of the Potomac River like it wasn’t supposed to be there. It painted a picture I wasn’t used to seeing. Truly, a venue to behold. I stood outside for a while, letting the nerves do their little dance, and stared out across the water and thought about how weird it was that I was here doing something like this. This is something for other people, other than me. How did I get here? What if the camera dies? What if I blow it? What if I’m just not cut out for this?

Eventually, the doors opened, and I made my way in.

There were still two hours to kill, so I wandered. That’s what I do. And sometimes, when life has it, I talk to people. I let the moment slow-cook and happen naturally, all the same. Chatted with the floor crew, bartenders, and fellow peers, shooting the show. I met a Polish sculptor named Milo who’d worshipped Cave since he was eleven and carried that fandom like religion. He told me about a personal meeting with the man himself where he handed Cave a birthday present and other past run-ins he’d had involving him over the years. You learn a lot about people in places like this—backstage and behind the curtain, just before the lights go down. There’s a strange camaraderie among strangers in those moments.

Soon enough, the clock lurched forward. Not a dramatic drumroll or spotlight—just a quiet shift in the air. I felt it. We felt it. More people had pressed themselves as close to the stage as possible, awaiting him like the coming of a messiah. It was time to get into position. Showtime was coming, whether I was ready or not.

As the house lights dimmed and the stage lights came to life, I took one final breath. The crowd—thousands deep—roared to life as the Bad Seeds took the stage: Warren Ellis, George Vjestica, Colin Greenwood, Larry Mullins, Jim Sclavunos, Carly Paradis, T Jae Cole, Janet Ramus, Mica Townsend, Wendi Ross. Some had worn the title of Bad Seed longer than others, but a Bad Seed all the same. 

And then—like a prophet stepping into his legend—Nick Cave appeared. Familiar, yet different. Radiating something beyond normal means, as if carved out of a myth. The crowd’s hands reached for him, but he stood just beyond their reach. For now, at least. I felt it too, that radiance, like a whisper in the air: “Don’t worry, I’m here now. Everything will be okay.”

A wave of excitement surged through me. Joy wrapped itself around my body. And just like that, the self-doubt, the worry, the noise clouding my head, were all washed away.

And just like that, the 11-piece ensemble launched into their fourth stop on an 18-date trek across North America, riding the heels of their latest offering, Wild God. The opener, “Frogs,” came in slow and swelling horns and strings, a whispering soft jazz percussion/bass combo, soaring synth organ shrills, as Cave sat front and center, tinkering with and coaxing notes from his Yamaha grand. Singing of Sunday rain and Kris Kristofferson kicking a can down the street.

Midway through, the energy of the song shifted. Cave jumped up, stepped away from the keys, and moved toward the crowd—mic in one hand, the other extended like a preacher, a prophet, or maybe just a man who understood what everyone needed in that moment. His face held the same eager light as the crowd’s—just as thrilled to see them as they were to see him. Hands stretched toward him like vines reaching towards the sunlight, each one hoping for even a fleeting touch, a connection, a moment of healing from whatever weight they’d carried in with them. I caught glimpses of the crowd as some faces glistened in the light with tears, and others, wide-eyed with excitement, ready to burst out of their heads. 

Cave would perform this action regularly throughout the night, jumping from crowd to piano, like a shepherd checking on his flock. Gifting them moments that last for most people’s lifetimes: a look, a gesture, a stare down, a lyric sung directly to them, a sense of being truly seen. He gives them time, a connection, and a rare vulnerability, all wrapped in a performance as raw and visceral as the lyrics and notes he’s penned since his earliest days with The Boys Next Door and The Birthday Party. As the Bad Seeds moved through newer material like “Wild God” and “Song of the Lake,” his longtime collaborator and musical soulmate, Warren Ellis, sent out electric bursts of energy—fiery, but measured. He moved from violin to guitar to his microKORG synthesizer like a mad sorcerer on the edge of chaos, channeling a kind of caged heat, always dancing the line between noise and beauty, or dancing in the seat of his chair which I’m to understand is the same chair that tours with him all over the world. Excitedly kicking the air on cue with the flow of the songs, where he deemed fit, and a bottle of wine not far out of reach. As Cave aptly said that night, “Warren is a man of many sounds.” 

Colin Greenwood, stepping in for longtime bassist Martyn Casey, slid into the lineup like he’d always been there, locking in with percussionists Larry Mullins and Jim Sclavunos to form a rhythm section that didn’t just support the band, but propelled it. Their groove laid the foundation, steady and unshakable, while Carly Paradis’s synth textures floated above the layers of sound like smoke, adding a cosmic shimmer to the atmosphere. George Vjestica handled dual rhythm and lead guitar duties with the kind of understated swagger that keeps the engines of this vehicle purring. And rising above it all—literally and sonically—was the powerhouse vocal quartet of T Jae Cole, Wendi Ross, Mica Townsend, and Janet Ramus, elevating and lifting the songs past the stratosphere. 

What followed was a journey through four decades of music—a carefully curated stretch of sound and sentiment that felt less like a setlist and more like reading from a scripture. From the back of the room, I sat still and let the grandeur of it all wash over me as my eyes chained themselves to the stage. I wept openly during “Carnage” and “Joy,” two songs that, although on the newer side, have burrowed into me and haven’t come back out yet. I snarled the words to ”Tupelo” “Red Right Hand” and “Papa Won’t Leave You, Henry,” letting the grit of their fury burn inside my throat. And when “Jubilee Street” and “White Elephant” hit, I noticed myself moving and bobbing along to rhythms that felt familiar and entirely new in the moment. It wasn’t just nostalgia. It was communion. A reminder of every moment I’d ever needed these songs—and how, somehow, they still knew how to meet me where I was.

Again, needing them just as much as they needed him. Cave never let go of his grasp of the crowd. Commenting on people's fashion choices and proclivity of not wanting to put down their phone, prompting him to alter a lyric of “Red Right Hand” to beckon a woman to put down her phone and see beyond that tiny screen. He clasped every hand that reached up to him. Commanding and conducting the crowd with a series of random bursts of “Yeah! Yeah! Yeah!” to keep the engagement with the rest of the crowd that wasn’t close enough to the front of the stage to interact on a physical level. Dancing like a conduit and his transistor, the piano. Every twitch and jolt mimicking an antenna tuning into something just outside the realm of ordinary. Frequencies from another world transforming electricity into sound and feelings we could understand. Cave’s command of a room is deeper than most. Maybe his choice of words and how he uses them are just the right combination of keys fitted specifically to some people’s locked-up emotions. Or, maybe those words are like answers to questions we’re often too afraid to ask out loud. Or perhaps it’s because he offers answers through his site, The Red Hand Files—launched in 2018 as a space where he speaks directly to fans and shares his responses in an open-letter format. A kind of divine correspondence, if you will. Like a god who will write you back.

As the final notes of the last song faded and the Bad Seeds took their leave, the applause still echoing through the venue like aftershocks, Nick Cave lingered. He stayed behind, not out of obligation, but as if he had one last thing to say—something that couldn’t be delivered through bombast or showmanship, only intimacy. The stage lights softened. The noise dwindled. He sat at the piano.

And then it began. “Into My Arms.” A hush swept over the room, as if every soul inside knew they were about to be a part of something sacred. The opening piano notes rang out with gentle caress, and Cave’s voice followed, cracked and human: “I don’t believe in an interventionist God / but I know, darling, that you do.” I felt the tears come without resistance—not just mine, but from those around me, strangers linked by a moment that pulled on something deeper than fandom. 

The song, long known to be deeply personal to Cave, hadn’t been a staple in his live performances until recent years. But here it was, stripped down and reverent, offered up like a benediction at the end of a religious experience. For all the spectacle and sound that had preceded it, this quiet, vulnerable moment hit the hardest. Like all great art, it didn’t ask for anything—it just offered itself freely, to be interpreted, felt, and carried away in the ways each person needed most. The crowd turned choir sang back at Cave, the chorus in unison as he leaned back from the microphone and let us all have this moment to ourselves. He then concluded. Thanked everyone and said, “I’ll see you…Whenever it is, l see you again.” 

[Nick Cave. Exit stage right.]

I had plenty of time to reflect during the long drive back home to Georgia. This wasn’t just another show—it meant something deeper. I thought about how far I’ve come in life up to now, how this was something I once only imagined doing, and now, here I was—doing it. Not because someone else said I could, but because I believed I could. 

There’s something about long drives that gives your thoughts room to breathe or, if you’re with someone, time to bond. The open road, going to places you’ve never been, unknown of what lies in store for you—they open up something new inside you. Meeting people you’d never cross paths with otherwise, collecting moments that stick to your soul. It’s these quiet moments that remind you you’re alive, and maybe even help you become the person you’re happy to be. Having the time to reflect on that, I sort of realize that even though it took me a while longer than most to find my passion, I’ve had many experiences in the past that have helped get me to this moment.

For a long time, I felt like I was just drifting—idling from one day to the next without direction. But somewhere along the way, I found something that gave me purpose. Something I cared about deeply.

I still struggle with doubt, as we all do. Wondering if I’m good enough, if I belong—but moments like this help silence that voice. They remind me that I’m on the right path. That I’m building something real for myself and not anyone else. Pulling a quote from Nick Cave and Sean O’Hagan’s 2022 book Faith, Hope, and Carnage,“Vulnerability is essential to spiritual and creative growth…” I certainly hope I’ve been able to convey some of my vulnerabilities here, as Cave does in everything he does.

Setlist via Tidal

[concerthopperblog]

North American Tour 2025: Meshuggah w/ Cannibal Corpse & Carcass

Meshuggah announced on December 10th, 2024, via their social media channels a North American Tour 2025 that started in Quebec City, QC on March 28th at the Videotron Centre and concluded on April 24th in New York City, NY at The Theater at Madison Square Garden. What makes this tour even more special is the fact that Meshuggah has two more legendary metal bands, Cannibal Corpse and Carcass, as opening support for this North American tour. These metal titans bring three distinct subgenres of metal to the table, and I feel this tour is an impressive mixture of metal music for all fans to enjoy. It has been a while since I have seen either of these bands perform live, so I have been looking forward to this evening for a very long time.

Carcass is a grindcore/death metal/melodic death metal band from Liverpool, England that formed in 1985. Carcass features Bill Steer (guitar/vocals), Jeff Walker (bass/vocals), Daniel Wilding (drums/backing vocals), and James ‘Nip’ Blackford (guitar). Carcass has released seven (7) LPs, five (5) EPs, two (2) compilation albums, two (2) demos, seven (7) music videos, and one (1) video albums. Carcass released the album Swansong in 1996 as a farewell when the band disbanded, but the band reunited in 2007 to the delight of metal fans across the globe. Torn Arteries is their latest album released on September 21, 2021, by Nuclear Blast Records.

I remember the first time hearing both Heartwork and Necroticism – Descanting the Insalubrious when a friend brought over his cassette tapes, I was blown away at the complex and brilliant guitar work by Steer and Walker’s callous death metal vocals. At the time, Morbid Angel and Death were my two favorite bands in the death metal genre. But that soon changed with the addition of Carcass to my list of top death metal bands. Without Bill Steer, the metal genres of grindcore and death metal would not be the same. Steer is considered an innovator in the world of metal music and has been at the forefront of both grindcore and death metal guitarists. Bill Steer has been one of my favorite guitar players in the metal genre and every time I am in awe seeing Steer effortlessly perform live on stage. So, getting to witness Steer once again blowing my mind with his intricate, yet fierce riffs alongside Walker, Wilding, and Blackford made me one happy metalhead. Once Carcass opened their set with a vicious performance of “Unfit for Human Consumption” off their sixth (6) album Surgical Steel (2013), I knew we were all in for a wild ride. I was ecstatic to hear a few songs off Necroticism – Descanting the Insalubrious: “Corporal Jigsore Quandary”, “Incarnated Solvent Abuse”, and not to mention closing with the outro to “Carneous Cacoffiny” to end their set. Add a few songs from Heartwork including “Buried Dreams”, “No Love Lost”, “Death Certificate”, and the title track “Heartwork”, and I felt this set was probably one of the best sets from Carcass that featured many songs from two of my favorite albums from the band.

Check out Carcass’ brutal set from their performance at Coca-Cola Roxy in Atlanta, Georgia in support of Meshuggah:

·         “Unfit for Human Consumption”

·         “Buried Dreams”

·         “Incarnated Solvent Abuse”

·         “No Love Lost”

·         “Death Certificate (w/ “Tomorrow Belongs to Nobody” intro)

·         “Corporal Jigsore Quandary”

·         “Heartwork”

·         “Carneous Cacoffiny” (outro only)

 You can stream Carcass’ discography online or buy some merchandise like vinyl records, flags, and beanies by checking out their Bandcamp page today. Or you can go to Nuclear Blast’s US/EU webstore and their clothing webstore at Rebellion Republic.

Cannibal Corpse is a death metal/brutal death metal band from Buffalo, New York that has been making heads bang since 1988. Cannibal Corpse includes George “Corpsegrinder” Fisher (vocals), Alex Webster (bass), Rob Barrett (guitar), Erik Rutan (guitar/backing vocals), and Paul Mazurkiewicz (drums). Cannibal Corpse has released sixteen (16) LPs, two (2) EPs, two (2) live albums, four (4) video albums, twelve (12) music videos, and one (1) box set since releasing their debut album Eaten Back to Life in 1990. Cannibal Corpse’s latest release, Chaos Horrific, was released September 22, 2023, on Metal Blade Records and produced by guitarist Erik Rutan at Rutan’s Mana Studio in Florida.

Butchered at Birth and Tomb of the Mutilated were my first introductions to the massive discography of Cannibal Corpse when I was in high school. When these albums were released, death metal as a genre had been around since the 1980s, so the next wave of death metal bands in the 1990s had some time to cultivate their sound and imagery. Now entering the chat, Cannibal Corpse was not like any other death metal band at the time. Their extreme lyrics and horror imagery were captivating for those of us who had a connection to horror movies and the like.

Cannibal Corpse kicked off their set with “Scourge of Iron”, which is a track from their twelfth (12) studio album, Torture (2012). Since it had been a few years since I have seen Cannibal Corpse live, I was hoping to get some songs off their last few albums like the second song of the night “Blood Blind” off the last album Chaos Horrific. And the very next song of the night “Inhumane Harvest” from their fifteenth (15) studio album, Violence Unimagined, released in 2021. For all the old-school fans of Cannibal Corpse, they saved the best for last with a trilogy of songs taken from their third (3) and fourth (4) albums: Tomb of the Mutilated and The Bleeding: “I Cum Blood”, “Stripped, Raped, and Strangled”, and “Hammer Smashed Face”.  I was thrilled to hear these songs live again and as a reminder of the simpler times when these records were first released.

Check out Cannibal Corpse’s setlist from this evening’s performance below:

·         “Scourge of Iron”

·         “Blood Blind”

·         “Inhumane Harvest”

·         “Evisceration Plague”

·         “Death Walking Terror”

·         “Unleashing the Bloodthirsty”

·         “Summoned for Sacrifice”

·         “I Cum Blood”

·         “Stripped, Raped, and Strangled”

·         “Hammer Smashed Face”

 Listen to Cannibal Corpse's last album, Chaos Horrific, and give them a follow on Bandcamp. Or get some merchandise, including shirts, hoodies, CDs, vinyl records, and hats, over at Cannibal Corpse’s webstore.

Meshuggah is a progressive metal/avant-garde metal/groove metal/djent/technical death metal band from Umea, Sweden that has been active since 1987. Meshuggah consists of Jens Kidman (lead vocals), Dick Lovgren (bass), Fredrik Thordendal (lead guitar/backing vocals), Tomas Haake (drums/backing and spoken vocals), Marten Hagstrom (rhythm guitar/backing vocals). Meshuggah has released nine (9) LPs, two (2) live albums, six (6) EPs, one (1) compilation album, and several music videos in their discography. Meshuggah’s last album, Immutable, was released on April 1, 2022, on Atomic Fire Records.

It has been a few years since I last saw Meshuggah perform live, 2016 to be exact when they went on tour with High on Fire and stopped by the Tabernacle to perform. So, I was eager to get in the photo pit and experience Meshuggah with a whole new approach. Meshuggah took the stage at Coca-Cola Roxy at 9:15 pm, and you could feel the anticipation in the room as the fans wondered what song would start the evening off. During the first song, we were held back from the pit while the lights were very dim for the first song of the night “Broken Cog” from their last album, Immutable. Next up, Meshuggah performed the title track to their eighth (8) studio album Violent Sleep of Reason. Coincidentally, I was really hoping that this song would make the cut for tonight’s setlist.

I was happy to hear “Rational Gaze”, “Lethargica”, “Born in Dissonance”, and “Future Breed Machine” in the regular set. Not to mention that unbelievable encore featuring a few songs from two of my favorite albums from Meshuggah. “Bleed” from their sixth (6) studio album obZen (2008) and closing the night out with “Demiurge” from their seventh (7) studio album Koloss (2012). Meshuggah managed to squeeze in an appropriate mixture of songs from their catalog that accurately represented their entire discography. Meshuggah has always performed on a level that is a step above most metal bands in the genre. Their innate ability to create intricate songs from day one has solidified Meshuggah as one of the premiere metal bands. If you have not seen Meshuggah live, I suggest the next time they come to tour North America, you make it out to one of their tour stops. Let me know what you think!

Feast your eyes on this ferocious setlist from Meshuggah’s performance below:

·         “Broken Cog”

·         “Violent Sleep of Reason”

·         “Rational Gaze”

·         “Combustion”

·         “Kaleidoscope”

·         “God He Sees in Mirrors”

·         “Lethargica”

·         “Born in Dissonance”

·         “Dancers to a Discordant System”

·         “Swarm”

·         “Future Breed Machine”

Encore:

·         “Bleed”

·         “Demiurge”

 You can buy Meshuggah vinyl records, tee shirts, hockey jerseys, etc. at the following web stores: Meshuggah Omerch, Rebellion Republic, Puck Hcky, and Reigning Phoenix Music.    

There are no dates left on Meshuggah’s North American Tour 2025, but they have some select festival dates coming up this June:

Fri, JUN 6

Sweden Rock Festival 2025

Sölvesborg, Sweden

 RSVP

Tickets

  Sun, JUN 8

South of Heaven Open Air 2025

Maastricht, Netherlands

 RSVP

Tickets

  Thu, JUN 12

Z! Live Rock Fest 2025

Zamora, Spain

 RSVP

Tickets

  Sun, JUN 15

Download Festival 2025

Derby, United Kingdom

 RSVP

Tickets

  Fri, JUN 27

Tons of Rock 2025

Oslo, Norway

 RSVP

Tickets

 Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as 25 Years of Noise: Silverstein Live at Buffalo Riverworks, The Big Show Tour: They Might Be Giants Live at The Eastern, Lore 10th Anniversary 2025: Elder Live at The Earl, Killswitch Engage Live at Buffalo Riverworks, Savage Imperial Death March Part II: Napalm Death & Melvins – Live @ The Masquerade (Atlanta), AmericanaFest 2025, Soul Coughing Play the Songs of Soul Coughing Again Tour – Live @ The Eastern (Atlanta), Meshuggah w/ Cannibal Corpse & Carcass – Live at Coca-Cola Roxy (Atlanta), LCD Soundsystem Tour 2025: Live @ Coca-Cola Roxy, Asking Alexandria Live at Buffalo Riverworks, The Squirrely Years: Ministry w/ Nitzer Ebb & Die Krupps Live at Coca-Cola Roxy, Dinosaur Jr. + Snail Mail Live at Tabernacle, It’s A Nice Day To… Tour Again!: Billy Idol & Joan Jett and The Blackhearts Live @ MIDFLORIDA Credit Union Amphitheatre (Tampa), The Sickness 25th Anniversary Tour: Disturbed Live at KeyBank Center (Buffalo), KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), The Poisoned Ascendancy Tour 2025: Trivium & Bullet for My Valentine Live @ Coca-Cola Roxy (Atlanta), The Double Life Tour: Our Last Night Live at Town Ballroom, Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, and My Morning Jacket “is” On Tour: Live at The Fox Theatre by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Soul Coughing Play the Songs of Soul Coughing Again: Live at The Eastern

Soul Coughing is an alternative rock/electronic band from New York City that has been active during the timeframes: 1992-2000, 2024-present.  Soul Coughing is comprised of Mike Doughty (vocals/guitars), Yuval Gabay (drums), Mark Degli Antoni (keyboards/sampler), and Sebastian Steinberg (bass). Soul Coughing has released three (3) LPs, six (6) singles, one (1) compilation, and six (6) live albums. I remember the first time I heard Soul Coughing; the song was “Blue Eyed Devil” off their debut album Ruby Vroom (released September 27, 1994). A friend had turned me on to them because he knew I was a fan of some eclectic musical genres. Soul Coughing’s debut album, Ruby Vroom, was ahead of its time in my opinion. Artists like DJ Shadow, Massive Attack, and Portishead were already incorporating unique samples and jazz influences with some world music thrown in for good measure. Add some inventive lyrics delivered by the tender yet grainy vocals of one Mike Doughty. And lest we forget the incredible mix of jazz, hip-hop, and drum and bass beats by multi-talented drummer and producer Yuval Gabay. This is Soul Coughing. I was fortunate to see Soul Coughing perform live in 1996 at the now-defunct venue Cotton Club in Atlanta, Georgia. And a few years later in 1998 at the Tabernacle in downtown Atlanta, Georgia.  

Soul Coughing took a pause in 2000, only to reunite nearly 25 years later to the delight of fans across the globe. Let me tell you that this was a shock to most fans of the band since the breakup was deemed to be unreconcilable based on the agonizing details in Mike Doughty’s autobiography, “The Book of Drugs”. So fast forward to 2024, Soul Coughing had a mostly sold-out tour in September and October 2024 and even made a live television appearance on Jimmy Kimmel Live to perform “Super Bon Bon”. Unfortunately, this tour did not come close to the Georgia area. But on December 10th, 2024, Soul Coughing announced Soul Coughing Play the Songs of Soul Coughing Again Tour during April 2025 that would come to The Eastern in Atlanta on April 12th.

For the first time, Soul Coughing took the stage at The Eastern in Atlanta, Georgia. It was their first time back in Atlanta since their last tour date on August 5th, 1999, at Heaven @ The Masquerade (R.I.P. to the original location). A fun fact about Soul Coughing tour dates that took place in the city of Atlanta, is that the band performed at my Alma mater Georgia State University on November 14th, 1994, which incidentally, was their first time performing in Atlanta. This show at Georgia State University featured songs off their debut album, Ruby Vroom, like “Bus to Beelzebub”, “White Girl”, “Is Chicago, Is not Chicago”, and “Sugar Free Jazz”. Fast forward to tonight’s show, I had high hopes to hear Soul Coughing perform a few of the songs previously mentioned live tonight at The Eastern on their Soul Coughing Play the Songs of Soul Coughing Again Tour.

Since this evening had no opening support, I felt confident that Soul Coughing would perform numerous hits from their albums Ruby Vroom, Irresistible Bliss, and El Oso. Starting the night, Soul Coughing performed “Sugar Free Jazz” from their debut album and, one of the songs I was hoping to hear performed. And then went right into another crowd-pleaser, “Blue Eyed Devil” from the same album. I could tell from the crowd of fans who were rail riding during the first three songs they were ecstatic and on cloud nine during this performance. With a nearly sold-out crowd, it made me wonder how many of the attendees had the chance to see Soul Coughing during their first tenure as a band. And how many of the attendees were getting to see Soul Coughing for the very first time? Either way, this evening was magical for both camps of fans. Witnessing Mike Doughty smile between songs and seeing how well the band engaged with each other as they performed sent chills down my spine.

The first half of this set also included some of my favorite songs off Irresistible Bliss like “Soft Serve”, “White Girl”, “Soundtrack to Mary” and “The Idiot Kings”. But once Sebastian Steinberg plucked the bass lines from “True Dreams of Wichita” and Doughty sang “Signal got lost to the satellite/Got lost in the/Rideup to the/Plungedown”, the crowd let out some cheers knowing what was coming. Unbeknownst to everyone attending, the next few songs on the set list would get the crowd moving and grooving across the venue. Hearing “St. Louise is Listening” and “Down to This” back-to-back was quite exhilarating. For some of us, this night was a religious experience getting the opportunity to jam out to Soul Coughing songs that we either grew up listening to or for those of us who may have just heard of these songs since their breakup post 1999.

Right before the “last song” of the night, “Screenwriter’s Blues”, Doughty explained to the crowd their intention to bow out after the end of this song, but only to come back out on stage after the crowd lets them know that they want more. And of course, Soul Coughing was gracious enough to come back to perform not one, but two songs for their encore performance. Taking a song from their first two releases, “Is Chicago, Is Not Chicago” and “Super Bon Bon”, both songs, in my opinion, encapsulate the intricate, yet delicate sound that has made Soul Coughing famous. After all the past heartache and pain that the band endured, seeing Soul Coughing on stage now performing their songs for a nearly sold-out crowd at The Eastern proved that in the end eventually friendship and love wins out.

Check out this unbelievable career-spanning setlist from The Eastern (04/12/2025) below:

·         “Sugar Free Jazz”

·         “Blue Eyed Devil”

·         “I Miss the Girl”

·         “Soft Serve”

·         “White Girl”

·         “Soundtrack to Mary”

·         “Bus to Beelzebub”

·         “Misinformed”

·         “The Idiot Kings”

·         “True Dreams of Wichita”

·         “Mr. Bitterness”

·         “St. Louise Is Listening”

·         “Down to This”

·         “Collapse”

·         “Moon Sammy”

·         “Casiotone Nation”

·         “Disseminated”

·         “Circles”

·         “Screenwriter’s Blues”

Encore

·         “Is Chicago, Is Not Chicago”

·         “Super Bon Bon”

 There are still some dates left on Soul Coughing Play the Songs of Soul Coughing Again during the following dates below. Make sure to check out the VIP upgrades at each selected tour date:

 Apr 18, 2025

Longhorn Ballroom

Dallas, TX

VIP

Tickets

 Apr 19, 2025

ACL Live at The Moody Theater

Austin, TX

VIP

Tickets

 Apr 22, 2025

The Majestic Theatre

Detroit, MI

VIP

Tickets

 Apr 23, 2025

House of Blues Cleveland

Cleveland, OH

VIP

Tickets

 Apr 24, 2025

HISTORY

Toronto, ON

VIP

Tickets

 Apr 25, 2025

Water Street Music Hall

Rochester, NY

VIP

Tickets

 Apr 26, 2025

The Capitol Theatre

Port Chester, NY

VIP

Tickets

 You can support Soul Coughing by browsing their official online store and maybe preorder Soul Coughing Live 2024, their brand new live 21-track double LP estimated to ship sometime this month (April 2025).

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as 25 Years of Noise: Silverstein Live at Buffalo Riverworks, The Big Show Tour: They Might Be Giants Live at The Eastern, Lore 10th Anniversary 2025: Elder Live at The Earl, Killswitch Engage Live at Buffalo Riverworks, Savage Imperial Death March Part II: Napalm Death & Melvins – Live @ The Masquerade (Atlanta), AmericanaFest 2025, Soul Coughing Play the Songs of Soul Coughing Again Tour – Live @ The Eastern (Atlanta), Meshuggah w/ Cannibal Corpse & Carcass – Live at Coca-Cola Roxy (Atlanta), LCD Soundsystem Tour 2025: Live @ Coca-Cola Roxy, Asking Alexandria Live at Buffalo Riverworks, The Squirrely Years: Ministry w/ Nitzer Ebb & Die Krupps Live at Coca-Cola Roxy, Dinosaur Jr. + Snail Mail Live at Tabernacle, It’s A Nice Day To… Tour Again!: Billy Idol & Joan Jett and The Blackhearts Live @ MIDFLORIDA Credit Union Amphitheatre (Tampa), The Sickness 25th Anniversary Tour: Disturbed Live at KeyBank Center (Buffalo), KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), The Poisoned Ascendancy Tour 2025: Trivium & Bullet for My Valentine Live @ Coca-Cola Roxy (Atlanta), The Double Life Tour: Our Last Night Live at Town Ballroom, Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, and My Morning Jacket “is” On Tour: Live at The Fox Theatre by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Elder - Lore 10th Anniversary Tour: Live at The Earl

Heavy psych rockers Elder announced on September 25, 2024, via their social media channels, that they would embark on a 10th Anniversary Tour celebrating their third full-length album Lore (2015) in Europe and North America. Besides Elder headlining the music festival Desertfest in three separate locations: Oslo, London, and Berlin, Elder starts May 8th in Hamburg (DE) at Bahnhof Pauli and will conclude this European part of the Lore: 10th Anniversary Tour on May 25th at the aforementioned Berlin edition of Desertfest. But before heading out on the European leg of the Lore: 10th Anniversary Tour, Elder would first tour North America starting April 3rd in Brooklyn, NY at The Meadows and will conclude on April 19th at a sold-out hometown show in Cambridge, MA at the Middle East. For opening support in the United States portion of Lore: 10th Anniversary Tour, Elder has called upon Oceanside’s heavy psych rockers Sacri Monti and Atlanta’s Moon Destroys to come out on the road and melt some minds with them.

Moon Destroys is a progressive metal/rock band from Atlanta, Georgia that has been active since 2020. Moon Destroys has released one (1) LP, two (2) EPs, and one (1) compilation. Moon Destroys’ debut album, She Walks by Moonlight, was recently released on April 4, 2025, and can be ordered directly from the band at their Bandcamp page.  Moon Destroys consists of Juan Montoya (guitars), Evan Diprima (drums), Charlie Suarez (vocals/guitars), and Arnold Nese (bass).

Now you may say that the names of the members of Moon Destroys sound familiar. Well, Juan’s credentials are as follows: Torche, MonstrO, Stallone, Cavity, Disconnect, Ed Matus’ Struggle, Pontius Pilot, Pandabite, and Killer be Killed. Evan’s accolades include Royal Thunder, Gold Pyramid, Brother Hawk, Cousin Snake, and Stallone. Charlie’s record contains MonstrO and Sunday Driver. And Arnold has also been a part of Sunday Driver. As you can see there is a connective tissue that keeps these ultra-talented dudes together to make some damn good music.

Moon Destroys kicked off the evening with a hometown show for a large gathering of their most devoted fans. Seeing the homies getting on stage to the roar of the crowd was quite exhilarating. You could see the love coming from the crowd to all members of Moon Destroys knowing this band is working hard to make an impact on the touring scene. After this tour with Elder, I truly hope Moon Destroys receives the recognition it so greatly deserves and gets its music out to folks who have yet to hear the excellence that Moon Destroys is. Also knowing that Moon Destroys performed in front of a sold-out crowd at one of their favorite local venues in town just made me ecstatic for them. Moon Destroys played a few songs from their new album including: “The Nearness of June”, “Set Them Free”, and “Echoes (The Empress)”. Mixed in this unbelievable set was one of my favorite songs from the Moon Destroys’ discography, “Wondrous Beast”, from their release, Stallone Demos 2009.

Check out Moon Destroys’ set list from The Earl below:

·         “Strombringer”

·         “The Nearness of June”

·         “Wondrous Beast”

·         “Echoes (The Empress)”

·         “Set Them Free”

·         “At The End of Time”

 You can stream Moon Destroys on their Bandcamp page today. You can also order the new LP, She Walks By Moonlight, in a few record variants, and the digital format.

Sacri Monti is a heavy rock/psychedelic rock band from Oceanside, California that has been together since 2012. Sacri Monti consists of Dylan Donovan (guitars), Brenden Dellar (vocals/guitar), Evan Wenskay (organ/synth), Thomas DiBennedetto (drums), and Anthony Meier (bass). Sacri Monti is signed to Tee Pee Records and has released one (1) live album and three (3) LPs, their latest album is entitled Retrieval which was released July 26, 2024. The blog Outlaws of the Sun said that Sacri Monti is “…building off their repertoire as one of the premier heavy psych bands…” The review went on to describe the new album as “… a technical and vibrant reflection of 70’s rock, filled with the progressive components and psychedelia of the era but completely of their own design.” This would be my first time checking out Sacri Monti and after a few songs, I knew I had made a mistake by sleeping on this band. I have always been a fan of the spacey, heavy psych subgenres within the heavy rock and/or metal categories.

Sacri Monti was next to perform at The Earl in support of Elder, and I was excited to finally see Sacri Monti live on stage. Sacri Monti performed a few songs from their latest album most notably “Maelstrom” and “Desirable Sequel” which in my opinion are fantastic songs to see performed live. These two songs encapsulate the complex psychedelic hard rock sound Sacri Monti has perfected in crafting their own path in the genre. I loved seeing Sacri Monti having fun on stage as they mesmerized the sold-out crowd at The Earl with their mind-blowing set.

You can show Sacri Monti some support by following them on Bandcamp and checking out their online merchandise at their web store.

Elder is a four-piece doom metal/progressive/stoner rock band that consists of Jack Donovan (bass), Nick DiSalvo (vocals/guitar), Mike Risberg (guitar/keyboards), and Georg Edert (drums). Elder has released six (6) LPs, three (3) singles/EPs, two (2) live LPs, and one (1) collaboration LP (with Kadavar). Elder was founded in Massachusetts, but many of the band members now live in Germany and they are signed to Stickman Records, a Hamburg-based label. If you have followed my column over the last few years, you may remember Elder from previous reviews and how I have expressed my continuing support and love for this band’s discography.

Elder took the stage at The Earl in front of a sold-out crowd filled with a lot of familiar faces ready to hear their album Lore from start to finish plus one additional song as a bonus. What a treat for fans of Elder to be able to witness this in such an intimate setting as The Earl in the East Atlanta Village (EAV). Just hearing the opening notes to “Compendium” gave me goosebumps and by the sound of the sold-out crowd they also felt some excitement knowing the journey was about to begin. It was great seeing the dudes in Elder flawlessly perform the songs off of their album Lore plus one more bonus song, “Halcyon”, from their 2020 album Omens.

Check out Elder’s complete setlist from The Earl below:

·         “Compendium”

·         “Legend”

·         “Lore”

·         “Deadweight”

·         “Spirit at Aphelion”

·         “Halcyon”

There are a few dates left on the North American portion of their Lore: 10th Anniversary Tour, but unfortunately a few dates are already sold out:

04/15/2025 Axis Toronto, ON

04/17/2025 Theatre Fairmount Montreal, QC

04/18/2025 Space Ballroom Hamden, CT. SOLD OUT

04/19/2025 Middle East Boston, MA. SOLD OUT

Show Elder some love and head over to their Bandcamp page or their official shop directory for some merchandise. Check out some of my previous reviews featuring Elder exclusively at Concerthopper: Elder, Ruby the Hatchet, & Dreadnought: Live at The Earl (2022), North American Tour 2023 Part 2: Elder, REZN, and Lord Buffalo Live @ The Earl (2023), and Tool w/ Elder Live at State Farm Arena (2024).

Before I let you all go, I would like to put something out in the universe. Knowing that Elder celebrated the 10th anniversary of their album, Lore (2015), this gives me much hope that in 2027, we will get a Reflections of a Floating World (2017) 10th anniversary tour as well. Reflections of a Floating World is one of my favorite records from Elder to date. I feel this record also deserves a celebration with its many accolades over the years. If you have not heard of this album yet, here you go courtesy of Elder’s Bandcamp: Reflections of a Floating World.

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2023, on all music-related events/festivals such as 25 Years of Noise: Silverstein Live at Buffalo Riverworks, The Big Show Tour: They Might Be Giants Live at The Eastern, Killswitch Engage Live at Buffalo Riverworks, Savage Imperial Death March Part II: Napalm Death & Melvins – Live @ The Masquerade (Atlanta), AmericanaFest 2025, Soul Coughing Play the Songs of Soul Coughing Again Tour – Live @ The Eastern (Atlanta), Meshuggah w/ Cannibal Corpse & Carcass – Live at Coca-Cola Roxy (Atlanta), LCD Soundsystem Tour 2025: Live @ Coca-Cola Roxy, Asking Alexandria Live at Buffalo Riverworks, The Squirrely Years: Ministry w/ Nitzer Ebb & Die Krupps Live at Coca-Cola Roxy, Dinosaur Jr. + Snail Mail Live at Tabernacle, The Sickness 25th Anniversary Tour: Disturbed Live at KeyBank Center (Buffalo), KROCK Presents: Papa Roach & Rise Against: Rise of the Roach Tour – Live @ Empower Stadium (Syracuse), It’s A Nice Day To… Tour Again!: Billy Idol & Joan Jett and The Blackhearts Live @ MIDFLORIDA Credit Union Amphitheatre (Tampa), The Poisoned Ascendancy Tour 2025: Trivium & Bullet for My Valentine Live @ Coca-Cola Roxy (Atlanta), The Double Life Tour: Our Last Night Live at Town Ballroom, Yonder Mountain String Band, Daniel Donato, & Railroad Earth Live at Tabernacle, and My Morning Jacket “is” On Tour: Live at The Fox Theatre by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  You can also follow my concert hopping on Facebook and Instagram.

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Spring Headline Tour 2025: Killswitch Engage with Kublai Khan, Fit For A King & Frozen Soul 04/09/2025

In October 2024, Killswitch Engage announced their first North American tour since 2022. The tour features 27 dates, starting on March 5 in Nashville, Tennessee. One of the final stops on the tour will be at Buffalo Riverworks in Buffalo, New York, and this show is SOLD OUT! Killswitch Engage will be joined on this tour by Kublai Khan, Fit For A King, and Frozen Soul. Killswitch Engage announced eight additional shows for May, including two festivals: Sonic Temple and Welcome to Rockville. I arrived at the venue quite early, and the line of fans wrapped around the parking lot. During the first three bands, fans continued to pour into the venue. Since it was a sold-out show, it seemed like there was no end to the crowd arriving. This concert was truly one for the books; if you weren’t in Buffalo to catch these guys performing, you missed out!

Frozen Soul is a five-piece band based in Dallas, Texas, formed in 2018. They quickly gained recognition in the metal scene and are known for their "In Your Face" death metal sound. The band consists of Chad Green on vocals, Sam Mobley on bass, Matt Dennard on drums, Chris Bonner on guitar, and Michael Munday on guitar. Frozen Soul has released two albums: Crypt of Ice and Glacial Domination. Additionally, they have an EP titled Encased in Ice, which includes some bonus tracks. Frozen Soul was the first band to hit the stage. They had impressive stage props; the singer Chad’s microphone stand was made of chain links, and skeletons were impaled on both sides of the stage. This was a fitting touch for the music they were about to perform. Frozen Soul played six songs during their set to hype up the crowd for the rest of the night. They started their performance with “Encased In Ice.” Before one of the songs, Chad dedicated a track to his brother, who was no longer with us. They concluded their set with “Crypt Of Ice.” In the circle pit, a couple of members from Fit For A King played Magic: The Gathering.

Fit For A King is another great metalcore band from Texas, formed in 2007. They are a band that Concerthopper has covered multiple times and loves to see rock out on the stage. If you want to check out other articles featuring them, check them out here. The Metalcore Dropouts 2nd Semester Tour, Fit For a King Brings The Hell We Create Tour to Buffalo, N.Y., August Burns Red: Leveler 10th Anniversary Tour & many more. Since I saw them in January 2024, I can only imagine what they will bring to the table this year. They started strongly by touring Europe with Motionless In White and Brand of Sacrifice. In July 2024, Fit For A King released two new songs, "Technium" and "Keeping Secrets," adding to their discography. Fit For A King never disappoints when you catch them live, whether they are headlining or supporting another band. During their set, the band performed a total of 10 songs, including their new tracks "Technium" and "Keeping Secrets." The band's stage presence is impressive, with Ryan "Tuck" O'Leary jumping and spinning while flawlessly delivering his performance. Ryan Kirby engaged the crowd during their song "Backbreaker," encouraging them to respond each time he pointed the mic at them, which they enthusiastically did by shouting "Backbreaker!" The atmosphere was electric, with numerous crowd surfers making their way over the audience throughout the show. Fit For A King concluded their performance with the powerful song "God of Fire."

Frozen Soul & Fit For A King aren’t the only bands based in Texas; another notable group is Kublai Khan. Kublai Khan is an American metalcore band from Sherman, Texas. The band was formed in the summer of 2009 and currently consists of the following members: Matt Honeycutt (vocals), Nolan Ashley (guitar and vocals), Eric English (bass and vocals), and Isaac Lamb (drums). Kublai Khan has released six albums and two EPs. Their latest album, titled Exhibition of Prowess, was released in 2024. Additionally, they collaborated with Malevolence and Lamb of God on a single called "Another Nail for Your Coffin." I was personally excited to see Kublai Khan perform when they came on stage. My husband listens to them often, but I hadn’t been able to catch one of their shows in the area before. During their set, they played 13 songs. One song, “Theory of Mind,” stuck in my head long after the concert; the lyrics “Monkey see, monkey do, so who the f*ck made you?” are incredibly catchy. During the third song, “Low Tech,” something flew onto the stage. Matt Honeycutt picked it up, and it turned out to be a bra that someone had thrown. He tossed it right back into the crowd. Towards the end of their set, the band split the audience in half and asked everyone to do a two-step, which ultimately turned into a wall of death and a massive mosh pit. They closed the night with “Antpile” and “Antpile 2.”

 Killswitch Engage is an American metalcore band from Westfield, Massachusetts, formed in 1999. The band's current lineup includes vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike D'Antonio, and drummer Justin Foley. Since its formation, Killswitch Engage has released nine albums, with the most recent being titled This Consequence. The band has received 14 nominations for various awards between 2003 and 2019, winning a total of five, which include Best Live Band, Act of the Year, and Best Album. Before Killswitch Engage took the stage, fans rushed to the bar and food stand to grab snacks and drinks, refueling for the performance ahead. You could feel the anticipation in the room growing as the stage was reset for the band. Killswitch Engage brought an impressive light show to enhance their performance. Despite being active since the late '90s, the band displayed an incredible amount of energy, especially with only two more dates left on their tour after this one. They performed a total of 18 songs throughout their set, which included new tracks from their latest album, "This Consequence," such as “Aftermath” and “Collusion.” They also closed their set with fan favorites like “My Curse” and “The End of Heartache.”

Get ready for an exciting summer with our Hoppers! We’ve got a ton of amazing content lined up just for you. Don’t miss out—make sure to keep checking back for all the latest updates! Join our community on Facebook and Instagram, and hit the “Like” and “Follow” buttons to stay in the loop. Amazing adventures and fun-filled content are just around the corner!