Chicago was the place to be on March 8th as Disturbed, Three Days Grace, and Sevendust took over the United Center for a night of pure, adrenaline-fueled rock. This wasn’t just any show—Disturbed was celebrating 25 years of their album, The Sickness, and they made sure the hometown crowd got an unforgettable performance. Also affected were all six Chicago Bulls’ championship banners that hung proudly from the United Center’s rafters due to the heat from the band’s performance which included a vast amount of pyrotechnics. It has been reported that the damage is minor and United Center officials are currently working on repairing the banner fabric. In that, the banners have been removed for the rest of this season but they do anticipate their return for next season.

Aside from the fiery snafu mentioned above, the concert itself was definitely an evening to remember. Atlanta band, Sevendust opened up the night with their signature blend of heavy riffs and raw emotion and did not come to play. After all these years, Lajon Witherspoon’s vocals are just as powerful, and the band brought insane energy to their set. They played classics like Black and Denial while throwing in some newer tracks that proved they still have plenty of fire left. It was the perfect way to get the crowd warmed up.

Next up was the wildly popular and Canadian powerhouse, known as Three Days Grace, and as soon as they kicked into Animal I Have Become, the crowd lost it. Frontman Matt Walst delivered a rock-solid performance but it was the return of Adam Gontier that caused everyone to jump-up and pay attention. I’m not sure how many times I heard in the hallways, “I wondered how they were going to pull that off.” And, pull it off they most definitely did. Their setlist was packed with hits like Pain, Never Too Late, and I Hate Everything About You. They even threw in So Called Life from their more recent album, which got a great response. The mix of old and new kept the energy high, and by the end of their set, the crowd was primed and ready for Disturbed.

Then came the moment everyone was waiting for—Disturbed. From the moment David Draiman was wheeled out onto the stage, on a wooden dolly, similar to that of Hannibal Lecter (face mask and all), you could feel how special this show was going to be and how crazy it was going to get. This was their hometown crowd, and they definitely went all out.

To celebrate The Sickness turning 25, they played a stacked setlist, featuring the entire album, including Voices, Stupify, and Down With the Sickness (which had the whole arena screaming along). They balanced the old-school classics with some of their later hits like Inside the Fire, The Vengeful One, and of course, their emotional cover of The Sound of Silence.

One of the coolest moments of the night was Draiman taking a second to reflect on how far the band has come since The Sickness first dropped in 2000. You could tell he was genuinely moved, and the crowd responded with a deafening roar.

The production was top-notch…tons of pyro (as mentioned above), insane lighting, and level of loud that was greatly appreciated and added a whole new level to the experience. It felt like a true celebration of Disturbed’s legacy, and they made sure every fan left the arena knowing they had witnessed something special.

If you get the chance to catch this tour, DO IT. Sevendust set the tone, Three Days Grace brought the nostalgia, and Disturbed absolutely destroyed in the best way possible. The energy, the setlists, and the sheer power of their performances made this a night to remember, especially for those who have been rocking with The Sickness since day one.

As far as the Bulls’ banner damage, we shall see how that plays out so, check back for updates!

Disturbed – OFFICIAL WEBSITE

Three Days Grace – OFFICIAL WEBSITE

Sevendust – OFFICIAL WEBSITE

Oaklawn Racing & Gaming

Hot Spings, AR

By Daniel Locke

On February 16, 2025, Sara Evans graced Hot Springs, AR with her presence for a show at the Oaklawn Casino. Her “Unbroke Tour” is a delightful mix of personal stories, career insights, and anecdotes from her journey in country music. Throughout the performance, she shared the inspirations behind her hit songs, her artistic journey, and the challenges and triumphs she’s faced along the way. Additionally, she connected with the audience by discussing her philanthropic work, especially her passion for supporting causes like St. Jude Children’s Research Hospital.

Sara Lynn Evans, born on February 5, 1971, was raised on a farm near New Franklin, Missouri. As the oldest of seven children, she has always had music in her life, singing every weekend in her family’s band by the age of five. At sixteen, she began performing at a nightclub near Columbia, Missouri, which lasted for two years.

During the show, Sara frequently referenced her past singing gigs and how they’ve influenced who she is today while maintaining her family values. This was evident in how she keeps her family close—her sister was even touring with her as an audience member. She also shared stories about having a baby and touring with her child.

One of the most memorable aspects of the evening was the constant flow of fans taking selfies with her on stage. People would run up to the stage and take photos with her, and Sara made sure to be in every single one.

Sara also talked about the current state of the music industry, explaining that nowadays, artists need to already be famous before coming to Nashville and must build their own fan base on social media platforms like Facebook, Twitter, Instagram, and TikTok. In contrast, record companies used to build an artist’s fan base for them. She encouraged the audience to listen to her podcast as well.

Interestingly, this show was not listed on her website, only on her social media.

Throughout the “Unbroke Tour,” Sara Evans has been performing a variety of cover songs.

Not Over You (Gavin DeGraw)

Slow Me Down

Perfect

As If

I Keep Looking 

Behind Closed Doors (Charlie Rich cover)

It’s Too Late (Carole King cover)

No Place That Far

21 Days

Sorry Now

My Sharona (The Knack)

“I Could Not Ask for More” by Edwin McCain

Real Fine Place

Stronger

She’s Got You (Patsy Cline)

Suds in the Bucket

BTF

Website | Facebook | YouTube | Twitter | TikTok| Instagram |

Midway Music Hall 

Edmonton, Canada 

By Megan Veldhuis 

Royal Foundry, an alternative-pop band from Edmonton, kicked off the show for them on Saturday night. With Bethany away, it was Jared Salte and Robbie Szabo who took to the stage, and they delivered an electrifying start to the night. They truly brought the energy to Midway and the crowd loved it!

After sharing an emotional story of Bethany and Jared having to evacuate their home due to a fire last year, the duo played their new song “I Give Up”, which was released two weeks ago. When releasing the song, they posted “It’s not a song about quitting. It’s about surrendering to the moment, letting go of what you can’t control, and focusing on what you can—your mind, your resilience, your next step forward.” That really resonated with me. At the end of their set, Robbie surprised everyone by pulling out a cello and playing it for the last couple of songs.  

I’ve heard there’s a competition between Edmonton and Calgary to see which city can cheer and sing the loudest at concerts. Well, I may be biased, but I think Edmonton won this competition on Saturday. The moment Dear Rouge stepped on stage; the crowd was cheering. The band played all the fan favorites; “Fake Fame”, “Live Through the Night”, “I Heard I Had”, “Not Afraid to Dance”, and many more. Dear Rouge was extremely interactive with the crowd, which the crowd just ate up. During “Not Afraid to Dance”, lead singer Danielle McTaggart brought up four volunteers and danced on stage with them. She even jumped into the pit to dance near the end of the night! The special acoustic rendition of “Live Through the Night” was captivating and emotional. Danielle McTaggart had SO much energy all night, with engaging costumes, dance moves, and dynamic control over her voice. Dear Rouge put on a captivating and effervescent show, and I can’t wait until the next one! 

Website | TikTok | Facebook | YouTube | Twitter |Instagram |

Walking into Thalia Hall during the largest snowfall event in Chicago so far, I had no idea what to expect from Uncle Acid & The Deadbeats.  The name itself gave me a sense of mystery and intrigue.  And, as soon as the band hit the stage, I knew this was going to be something unique.  The stage setup was minimalist.  There were barely any lights, just a haze of smoke filling the air, and the stage was dark…with the exception of one lone candle, sitting atop of a small, wooden table, placed just in front of the mic stand.  It was clear this was part of Uncle Acid’s signature style, known for wanting very little light.  The stage was drenched in darkness, with the occasional flicker of neon colors that matched the haunting, hypnotic atmosphere they were creating…as well as that lone candle mentioned before.

The music hit hard from the get-go.  It was a mesmerizing blend of fuzzy, sludgy riffs with a distinctly retro feel, like something straight out of the ’60s or ’70s, but with a modern edge.  The sound was heavy and immersive, building an almost trance-like experience.  Uncle Acid’s voice was hauntingly smooth, the kind of tone that wraps around you in a way that makes you feel both unsettled and drawn in at the same time.  The guitar work was sharp and relentless, while the rhythm section locked into a groove that felt like it could go on forever.

Not to beat a dead horse, but the lack of bright lights or flashy visuals forced the focus entirely on the music, and it felt like a kind of ritualistic performance.  It was not your usual rock-star spectacle but instead, a performance is about connecting with the audience through sound and mood.  Speaking of mood, the crowd was just as absorbed as I was, swaying with the rhythm and losing themselves in the music.  There was a hypnotic quality to the show, like you could easily forget time and place.  Each song seemed to flow seamlessly into the next, building an emotional intensity that didn’t let up for the duration of the set.

What I appreciated most was how understated the whole thing was.  Uncle Acid wasn’t here to be flashy or a showman.  His performance was humble but captivating.  The stripped-back visuals, the sparse lighting, and the slow-burn intensity of the music combined into something that felt more like an experience than just a concert.  And, as the final notes rang out, I felt a deep sense of satisfaction.  The show wasn’t about spectacle or ego, it was about raw, unfiltered rock ‘n’ roll in its purest form.  Uncle Acid & The Deadbeats have created something entirely their own, and as someone who had never seen them before, I walked away feeling like I had witnessed something truly special.

Artist’s Official Website

Thalia Hall Official Website

Interview in Cleveland OH

by Drew

Silent Theory is an American nu metal band hailing from Moscow, Idaho. Formed in 2010 by drummer Mitch Swanger and lead vocalist Nick Osborn, the band has undergone several lineup changes over the years1. After Nick Osborn’s departure in 2013, Dakota Jerns joined as the lead vocalist in 2014, solidifying the current lineup.

The band gained recognition with their debut album, Black Tie Affair, released in 2011. Their subsequent albums, Delusions (2016), Hunt or Be Hunted (2021), and Tell Us How it Ends (2024), have further established their presence in the nu metal scene. Silent Theory’s music often tackles intense and emotional themes, resonating with fans through powerful lyrics and dynamic performances2.

With singles like “Fragile Minds” and “Shaking the Cages” achieving significant success on various charts, Silent Theory continues to push the boundaries of nu metal and captivate audiences with their unique sound

Drew: So, you are Dakota Jerns, the vocalist. Alright, cool. Alright, so. Let’s get started, yeah?

I’ve heard of you guys before and I’ve heard some music over the years. It’s like, “oh, who the hell is that?” I gotta go find them. Then I get to where I can find. It’s like I forget so and then I start and they’re like, hey, you want to cover sign there.

Dakota Jerns: Ohh nice!

Drew:You guys formed in 2010 in Moscow, Idaho when you hear Idaho that metal is the last thing I’m thinking of.

Dakota Jerns: OK, I have to ask… what is the first thing you think of when you think about Idaho?

Drew:Potatoes!

Dakota Jerns: Our biggest export, not our biggest import, which I mean it’s ridiculous.

And I don’t even think I have ever had Idaho potato. You know what I mean?

Drew:I saw that you guys, it was like founded by Mitch and Nick. Nick who left in 2013. And then after that you that came in to fill the vocalist slot. Very cool! After that transition, how long was it before you guys felt that you could green light this project and start making this band go forward?

Dakota Jerns: You know? Oh pretty immediately. I think we wrote songs the first weekend I came up. We were like, oh we like this! I think we did boogeyman, faceless and there was one other one. What was the other one that we did, Anywhere.

Anyways, that’s right. We did those 3, so we knocked those out pretty much in my audition week that I was up there. So it was a pretty immediate like, I always make the joke that I’ve never actually been like invited to be in the band that was just invited to do the audition. And I haven’t last. I just kept coming still.

Drew:(Laughing) That is awesome man! To get in, and just jive with the guys like that? Very cool! Yeah, I was looking back through my play lists because like I said, I’ve heard your songs here song there and when I was preparing for this, you are seriously peppered throughout my listening and streaming history!

In preparation for this interview, I was looking back through your catalog and I didn’t realize how far back you guys go with albums like “Black Cat Hair, Delusions, and Hunter be Hunted.” Now you are touring to promote the newest release titled “Tell Us How it Ends”.

(shuffling papers) I wrote too many things here. Sorry, man!

Dakota Jerns: You’re totally good.

Drew: When writing from CD to CD, what are you guys trying to do to keep the creativity growing and evolving?

Dakota Jern:Input, so everybody’s input is super important for keeping the creativity going. So, like the way we separated is these guys are really talented instrumentally, so they send a lot of the instrumentals to me. Then I write over the top and then we go over together and that way we just keep every song different and then we spend a lot of time individually on each song.

We’re a band that doesn’t really know when a single is going to hit, so we’ll just treat every song like it could be the next big song for us, which I think kind of adds to that consistency side of it. Like we treat every song like a single. So, we give it all that individual attention, which is just kind of also cool because we make a point to make each one different to we don’t want to repeat the same song. That’s why I’ve never done a fragile mind 2.0. Yeah, I think that’s mainly it, we separate those two parts and then bring them together at the end.

Drew:That is very cool, and to hear that you guys allow each other the freedom to create and then everyone has a say on the final product! Wow. Yeah, I am really in awe at this!

How is the metal scene in your hometown? Are there a lot of metal shows? Is there a metal scene there?

Dakota Jerns: Not at all. It’s dead. I don’t even think that our state knows we exist to be fairly honest. Yeah.

Last time we played in Boise was, what was it, 2020? 180 was that 2021 that. We did it, yeah.

With Gojira and that was like a fill-in replacement like last minute, is there a band from our area that could hop into this show like it’s so weird and I and I’ve known the radio people there for a while too. Yeah, there’s not a scene at all. Like, I can’t. I can’t name maybe 3 bands, even from Boise because I live in Boise. So, I’m in the capital. Yeah, I can’t name you even three rock and or metal bands that are killing it, right? Now I can’t think of anybody.

Drew: Not to sound rude, not in the slightest! You guys are easily categorized as metal, that is all fine and good! However, you are not in any way too hard for radio, you are not slash, speed, thrash, or black metal! How is it that you are not getting more radio play? That is really surprising to me!

George Swanger:

No. We are not. It’s just, see where we’re at is a small town.

Drew:This tour leg you are on, you have a total 10x stops to promote the new album, are there any cities you’re looking forward to or returning to?

Dakota Jerns: Oh yeah, for sure! New York is always fun just because my first time in New York was when we shot our last music video for the first song off of this album, and that was so much fun. Going back is going to be a blast. I haven’t been to Massachusetts, ever! Being able to go to Lowell, going to be cool because I know a little bit of history about Lowell. Yeah, like. It’s cool to hit the East Coast because we’re predominantly of West Coast fans and we do the Pacific Northwest a lot and those travel dates can be 5-6 hour drives from just one city. That’s to a secondary market city here. It’s like you go 2-3 hours, you’re in another state and that’s really helpful. East Coast is great.

Drew: I can say that we here in the East are happy to have you and anxious to see you play! I’m very limited on travel personally, but I can’t fathom how you guys live on tour. I can’t. I’ve spent three days with my friends in Cultus Black and Dead Animal Assembly Plant and they were on with Combichrist and the third day I shot a different show in another city. After those three days, I was dead man. Yeah. How you guys do this, I have no clue!

OK, moving on, man! Do you guys have any pre or post show rituals or practices to help you guys amp up or wind down?

Dakota Jerns:

After the shows? Food! Mexican food most of the time, if there anything that’s open after 24 hours is typically what we’ll do after the show. So I don’t know if we have any like pre show rituals per say. We don’t really have anything like that before a show. I’ve always wanted to do something, but not sure what.

For some reason with us, it’s Buffalo Wild Wings. I don’t know why we just happen to any city we go to Buffalo Wild Wings! Yeah, it’s not really a ritual, it just seems to always happen!

Drew:When I do go out of town, It’s just a thing I have to do, I have to have it hit a Chipotle everywhere I go.

Dakota Jerns: Now see, it’s a very similar thing. Yeah. It’s not so much a ritual habit of a habit. You know, life is like you can get anything, literally anything else. It’s even in your home city. Like, yeah, I have four of them in our area.

Drew:The lineup I saw on Wikipedia and there’s three Swanders (pronounced like Saunders) in the band, and I have siblings myself, and so how do you guys keep from any sibling rivalry being an issue? Sibling angst is kind of a part of nature in my experience.

Dakota Jerns: each other all the time. It’s not even like a situation where they’re just constantly in each other’s ear. I think that also helps. I mean, I can’t speak for them necessarily. I know George is here. So he could say probably to that. But yeah, I’m not sure how we keep it together.:I don’t know. Maybe I’m speaking out of turn and speaking for them, but being Irish twins being as close as. You guys are in age. I think that probably helps. I don’t know it cause you could say that a lot of the bands that have brothers in them are probably not a great example of like 30 bands. Ours seems to be fairly sturdy like we’ll have a fight that doesn’t last very long and usually I can’t think of the last time we had like a big fight and it’s usually about industry stuff. It’s never too like directed towards anyone individually. I don’t know. Also we separate this from like our daily life. So, like when we go home, we’re not always around

George Swanger: Of the three. I get left out of the loop and that’s just like how life has been in general, but it helps it like the biggest brother is also the most calm. And so if he was the is the biggest asshole, that would totally change the dynamic. It need to be a little different, but he’s the most calm and then. Than the oldest is more business sense and so he cares way more about that than I think the rest of us. And I’m the youngest and I’m the asshole, kind of.

Dakota Jerns: Everybody else in shock about Scott, the middle child. He’s very reserved. He’s easy going and yeah, the personalities fit really well. That’s very cool.

Drew: it’s more of a puzzle piece as opposed to grinding gears, that has to be helpful!

George Swanger

Yeah, that sounds good.

Drew: That’s awesome.

In your opinion… Why is the word abbreviation so long?

Dakota Jerns: Why is the word abbreviation so long?

Drew L. Yeah.

Dakota Jerns: This sounds like a joke… are you being serious? Is this part of the interview?

Drew: Just I throw in random stupid questions just to kind blindside people. I love the trip people up and see the reactions. When I interviewed Doyle, I looked at him and I said, “Do you think eyebrows are facial hair.”

Doyle looked at me, and straight faced says: “I don’t have any!”

Yeah, absolutely. Yeah, I love it. I just ask random stupid questions just to kind of trip people up, you know? It’s meant to be fun and catch people off guard. I promise, it is meant to be fun, no disrespect in the slightest.

Dakota Jerns: I get it. No, I don’t know why abbreviation is so long. (he said with a smile)

Drew: Did you guys have any other projects in the fire, on the on the back burner as they say?

Dakota Jerns: Yeah, we do. We have a couple of things coming up. We have some remixes of a couple of songs that we’re doing with some people off the new album, we have a thing we’re doing with beer union where it’s together. Both of us are doing a song together. We’ll release that one pretty soon here too. And then I think the goal is moving on from this next year to just continuously pump music anytime soon. Very cool. Like the album didn’t mean to necessarily mean an endpoint to an era. I just meant like drop the album and now we’re gonna keep pumping out new music. Yeah, the same thing in a month or two, we’ll have new music..

I don’t think we plan on the train stopping

Drew: Well, it’s like Davinci allegedly said: A masterpiece is never finished, only abandoned!

Dakota Jerns: Yeah.

Drew: Are there any other bands out there that you feel that are up and coming that?

Dakota Jerns: You guys listen to. Oh, yeah, totally. Like, recently. I’ve been listening to Thrown. I think Thrown killing it. They’re.

Personally, in my opinion, if I was doing a different project, I think that would be similar to what they are doing. Something like. You’ve got some of the bands that are popping up that I would say when I came out of high school, were just starting and now they’re like as big as they are. So, like, Bad Omens was just starting when I was just getting out of high school. Now they’re like, as big as they are. There’s a lot of them! I know The Funeral Portrait dropped an album the same time we did. They’re kind of on the same.

Drew: I know portrait. I’m actually photographing the next Friday.

Due to Funeral Portrait being in my Spotify favorites, that is where I was able to rediscover you guys! You were in the suggested listing. I was so happy, I finally had a name to the band that has so many songs I have heard over the last few years, and never really found!

Give me a moment to get this right… there’s no way of saying this without sounding rude or something, and it’s not meant to be. I love interviewing smaller bands, up and coming bands, catching local shows of bands because you don’t have the ego, and that mentality that you are above the fans. Yeah, most of the people I’ve met are really cool, but I love getting to know like people are on the way up because, you know, you get more down to Earth, you get to kind of see them on their way up, I mean this is a lot more intimate than you, you know, and it’s just more fun in my opinion!

Dakota Jerns: Here’s a question for you. Do you find the bands that have been around longer? That took a lot longer to get to that successful to be a little less egotistical than the ones that maybe have like that overnight success of like maybe two years and then they just knock it out and they’re already at the top, whereas like a band that struggled like 13 years to finally get to that arena level. I think those guys are a little less egotistical than the ones that just had it handed.

Drew: Wow… how can I answer this? In my experience, it is a case-by-case sort of thing. Surely circumstances are different for sure. There have been a couple of people that act like I’ve been owned this! I am a believer that you earn what you have, and what you get. While not every amazing band gets discovered, some of the best often are overlooked, sadly.

I do not care about how long I have listened to someone, I do not care about how bog or small your band is, if you have a nasty attitude towards people, and especially fans, I will listen to someone else, I will not photograph that person/band. Life is short, do what you love, and it is free to be a decent person.

I’m nobody of any importance in my opinion, and so I try not to have an ego! Look at this, you guys giving me time out of your day is a huge privilege and honor to me and if there is anything I can do to help you get more exposure to other bands.

Drew: So when you guys’ tour with other bands and stuff like right, you have three other acts on this on this show. What’s the kind of the criteria for other bands for you guys to come out with?

Dakota Jerns: Oh, we don’t really have one whatsoever. Like, for instance, Discrepancies, we’ve been tracking them for a while. We’ve been wanting to put something together, so we’ll reach out and we’ll be like, hey, are you available this time? So like, when we have a chance to put something like a.

Headlining run for ourselves, together we try to find bands that fit kind of what we.

Like I think Mitchell said it best the other night. He’s like, this is a great band to, like, hype you up for us? Like they’re so good at, like, getting you ready? Yeah. And like, that was perfect. And that’s how we kind of wanna be as an opener for a band as well. Like if we’re goanna open on a bigger tour, sure we’d wanna be the band. That’s like typing you up to get ready for that one. And so they’re killing it. We were so happy to be with them. And so I think if there’s a criteria in any way it would be the. We need a band that has that energy!

Drew: So when you guys are writing new music, what does your creative process look like? Is it more methodical or is it kind of just free range?

Dakota Jerns: Everybody has their own thing that comes together, like you said earlier. This last album iteration was a little different than what we did for delusions, our first album with me. We jammed music out and then we wrote it. And then I wrote the lyrics to. We went in the studio with it probably already pretty prod of it.

This time we went in kind of as a blank slate, and we wrote from the ground up and kind of built it around. And I kind of went more with my gut feeling on this go around. So when it came to the music, I kind of went with my first initial thought on what that should sound like. So in my head, when it came through, that was my first thought. And then I had. I have, like a booklet of lyrics that I’ve already built and sometimes.

Some things work, some things I make a really good thing on the fly. So it is a puzzle piece thing. But I also love to take the input of the other guys too. So if I’ve got a line that I’m Like “is this is good work?” People will be like, no, that’s shit. Stupid change that. So I love that too. So having all of the input is really helpful in the songwriting process for me.

Drew: While writing and prepping the new album, was there anything that you threw back in the vault to use for another release later?

Dakota Jerns: Yeah, sometimes like, it really has to not make the cut to even get to the point where it get. I wouldn’t even say it gets to me. But like when it gets to the point of like we’re goanna start working on this song, you know, it’s going to be like, good.

For instance, I’m not always around when Scott, Mitchell, George and Bob are putting together everything, they might be sitting on the computer and like, this sounds fucking stupid. They’ll change the rift and make it different. Then they’ll send it to me. And they’re like, so it goes through filters before I think I think get it. I’m not sure about that necessarily, but I think it does go through a filter process for sure for things that aren’t going to make.

Drew:Did you ever wonder if vegetarians are allowed to eat animal crackers?

Dakota Jerns: No, no, never, never. And I don’t ever think about vegetarians personally. Like, they’re not something that’s on my mind.

Drew:When you guys are on the road, is there any must must have snacks in the van?

Dakota Jerns: No we don’t have any snacks on the bus right now I’m so angry. I’m so hungry. Yeah. Red Bull is probably like the kidney stone creator, but Red Bull, is probably the most important thing for us is coffee.

These guys drink more coffee than they drink water and that’s insane. I would say the same thing. I’m like, if you ever want to run into a musician, just hit up like a come and go or something like that on the Interstate at like 3:00 in the morning. You’re gonna run into somebody probably famous at that point because that’s all we get. Like, by the time we’re done and loaded in, it’s like midnight. 1:00. If you’re in the gas station. So, like, the must have snacks. Probably gonna be like, you know, chips and cookies, which you can get right.

Drew: The video “Made Me This Way” the AI and that was phenomenal. I really loved that.

Dakota Jerns: Yeah! The Door Brothers killed it on that!

Drew: That was really fun to watch. I’ve watched it like 3 or 4 times right back-to-back!

Dakota Jerns: Since high school I was all about the multiplayer Call of Duty, doing everything like that. Going to destiny. Destiny from Destiny 2. I started with Dark Souls and so when I heard people say that this kind of reminded them like the beat, I kind of got that because I hadn’t played it up to that point. But I was thinking like If I had like a kind of industrial-ish, metal-ish, heavy Mushroomhead song, wouldn’t it be cool to have kind of like a steam punky type idea? So I came up with the idea of like a it was a junkyard. Geppetto was initially the initial thought for the whole thing, and then it molded from them like I told them that. And they took it and threw it into their software and built that. Over the course of like 2 weeks and so I think that’s what AI brought to that is, I’m not gonna like push AI as an advocation or anything like that. Push for bands like us in our size at the budgets that we have to make music videos to make something like that for what we paid for. It is insanely advantageous for bands of our size, yeah. We’re not going to have $30,000 to drop on a music video. I wish we did, but we don’t and we have a much smaller budget to drop on something like this. Yeah, that’s what you get. You something cool like that? I think AI will be awesome for that. I don’t think I should be used for every creative expense. For sure that was quite helpful!

Drew: I was getting speaking out about that. My wife and I both went to school for art. She has her BFA in Fine Arts and painting and an illustration minor. People started coming out using AI. She was hardcore against it. Now, the more she sees it, it’s actually giving me a lot of inspiration for photo ideas and stuff.

Dakota Jerns: That video that’s really nice. That’s awesome. I’m a painter too. So like I’ve still got some unused credits from college for painting and art and illustration specifically. Give the color blends. I only did black and white charcoal and people kind of said the same thing. They’re like, well, hey, how can you support AI and steals from artists thinking. I’ll support that when people start paying for my music again, because I can’t think of anybody advocating for the musician getting paid royalties or anything out, right? Yeah. I mean, look at what spot or what Spotify has taken from what basically Napster had created this big hole of, like, well, we’ll pirate music. No, no. We’ll give bands .06 sense of their song. Then we’ll give you credit for it. And that’s more than what, what I guess these brick and mortar artists.

Drew: Is there a platform that’s actually fairer to you guys as far as being more beneficial to artists?

Dakota Jerns: YouTube, I think pays out the highest if I’m not correct, is it YouTube, George?

George Swanger: I’m the wrong guy.

Dakota Jerns: YouTube Music, like if you if you throw on the YouTube Music, it seems to directly correlate with the channel as well.

Drew: Very cool! I’m trying to do what I can to support the bands in the ways I can!

Dakota Jerns: Basically, paying for like going to the show and paying out right is the best thing you can do for a band. But if you had to, you’d be.

Drew: What I like to do is when I go to shows, I never do selfies with bands. What I do is I buy a CD and have the band sign it because I don’t like pics of me! Just I feel like it’s too invasive to people.

Dakota Jerns: In the same way dude. It’s always weird that people want to take a photo with me, and they post it and I’m like… I’ve met a lot of people! Also, I always feel like I have a goofy smile or something weird about it, you know?

Take George! He loves it!

George Swanger

Nobody loves me more than a me and a mirror!

Drew: Looks like it’s going to get a good crowd.

Dakota Jerns

Yeah, this show had the highest presale so far.

Dakota Jerns

North Carolina is close to selling out, right? Yeah. This is our first time to the East Coast and we kind of did it as a trial run of, like, we’ll push this far and see what the turn out will be because we never know, you know, we don’t like headlining. I will say probably no band, probably likes them. Unless you’re, like, an arena Rock legacy act. I don’t think you like the headline. I always prefer to end earlier so that our fans can have that, you know, value of also going home at a good time. So last night last night our show got done. I want to say by 10:30p, or 10:40p, awesome! It was amazing cause we got on at like 9:45p or something like that. It was great and to have everybody stay and I’ve seen people filter out like if you go on at like 10:50 or 10:45 people are filtering out by midnight because they it was a Wednesday. You know what I mean? So it’s like I always advocated for people having a great time, but still getting home at a reasonable time too.

George Swanger

Yep.

Dakota Jerns

Start the show earlier and the show earlier. Get people home. Then you can have your Thursday shows, right? It sucks that you have to rely on Friday, Saturday, Sunday to be your markup!

Yeah. Imagine especially, I can imagine that. I mean I wasn’t sure what I was going to see up here as far as the crowd and maybe on Thursday. So yeah, but then we were like Lakewood was pretty big from what we had heard from the market. From what we had seen, this is basically Cleveland, right? Can I say that? Is it OK to say it’s Cleveland?

Drew: Yeah. You go that way about three blocks from where we are sitting, and it is literally

Dakota Jerns: Cleveland tonight, and no one’s gonna be like you’re an idiot, but yeah, I I thought the same thing. I was like no one will show up. And if they don’t, I never really care. Yeah, you know, it’s always fun to just play the three people too. We played in the bowling alley that had, like, maybe 13 people and people were like, bowling in the lane next to me, and I was like, “it’s fucking shoulder to shoulder in here!” That’s fun to me!

That’s never nerve wracking, having 300 people in front of me can sometimes be nerve wracking. Really! Never know if they’re there because of us, especially if you’ve got 5 or 6 bands on the bill, even if they are there for you. They might be trying you out with 300 people that you’re never sure, but if there’s only like 5 people there by like 11:00 and it’s you, they’re, you know they’re there for you 100%. You can do whatever! I’ll go down and dance with the mom or whoever!

Drew L.

Well, guys I appreciate this, so much! Doors are at 7 or something and so, I will leave you to your evening, and I will see you on stage! Thank you for coming to Cleveland, and many thanks for the interview!

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Review from one of their shows

Following a blistering triad of EP releases spanning nearly a decade, the idiom ‘leave them wanting more’ comes to mind, but Scour is about to satisfy that craving.

The extreme metal assemblage featuring Philip H. Anselmo (Pantera, Down), Derek Engemann (Philip H. Anselmo & The Illegals), John Jarvis (Nest, Agoraphobic Nosebleed), Mark Kloeppel (Misery Index), and Adam Jarvis (Pig Destroyer, Misery Index, Lock Up) is merging metal and the macabre like never before.

Ready to come ripping into the atmosphere on February 21 via Housecore Records (and Nuclear Blast in Europe) Scour’s first full-length, Gold, solidifies the nightmares lying in wait with speed, aggression, and a diabolical vigor.

Guitarist Mark Kloeppel explains the influence of literature’s horror genre on the making of this album: “Philip has always been a scholar of horror literature and strange fiction. While the tough persona may not lend itself to images of a person reading and studying books for hours on end, nonetheless, that is the reality.”

Gold’s predecessors, the 2016 EP The Grey, 2017’s The Red EP, and 2020’s The Black EP laid the groundwork for this highly anticipated forthcoming release.

“In releases past,” Kloeppel continues, “the lyrical approach was more of a tapestry of abstract phrases linked together to invoke the kind of existential tormented feelings one gets from horror fiction. While that approach is still present on Gold, it has evolved to include vivid depictions of scenes and scenarios. Similar to horror and strange fiction, those painted scapes are used to extrapolate emotion as opposed to just the direct communication of the phrases themselves.”

On Gold, Scour’s aural fusion of black metal, grindcore, punk, and thrash influences help weave an experience of terror that surpasses that of a book or movie.

“I wouldn’t necessarily call the songs stories, but some songs like ‘Invoke’ and ‘Infusorium’ do have distinctive plot-like succession of scenes,” added Kloeppel.

An official video for the forthcoming album’s first single, “Infusorium,” was released this past November, and has now been followed by a video for Scour’s latest single, “Blades” – both of which are effortlessly incinerating the eyes, ears, and minds of extreme music lovers.

As the release date of Gold creeps closer, Scour bassist John Jarvis explained what exactly was unique about the creation this album: “On Gold, I believe we pushed each other to be the best we could, faster and heavier than before.”

“It’s hard to compare to my other projects because it’s so different,” Jarvis continued, “but I learned a lot during the tracking of Phil’s vocals. At one point he was layering some vocals I asked him where he learned that, and he said ‘Ozzy.’ Good enough for me!”

Jarvis then noted: “I’d say it’s the most intense album I’ve been a part of!”

Of the thirteen tracks on Gold, Jarvis commented that “Invoke” is his favorite: “[A]lways a reaction from anyone I’ve played it for. A song that forces you to head-bang with a catchy sing- along!”

And regarding which song Kloeppel is most looking forward to playing live he explained: “We have played ‘Infusorium’ once live already and I loved performing that and its solo in front of people. It’s got a good combination of varying parts. With the amount of sheer speed we do, that one gives a good head- banging change of pace.”

Fortunately, the release of Gold is just the beginning of this deliciously dreadful journey. Despite a steady touring schedule for Anselmo with Pantera, Scour will perform at this year’s Milwaukee Metal Fest in May sharing the stage with the likes of Black Label Society, Gwar, Down, Arch Enemy, and many others, as well as promising more for this era of Scour to come soon. Click here for information and tickets for Milwaukee Metal Fest.

Gold, which features a guest solo by Gary Holt of Slayer and Exodus, will be available on CD, LP, limited edition cassette (in the U.S.), and digital formats, and is guaranteed to melt your face off. Click here for pre-orders.

We were all set to cover Tommy James’ performance in Reno. For those unfamiliar, Tommy James and the Shondells, formed in 1964 in Niles, Michigan, are a legendary American rock band led by Tommy James. Known for hits like “Hanky Panky” and “Crimson and Clover,” they scored 14 top 40 hits, including “I Think We’re Alone Now,” “Mirage,” “Mony Mony,” “Sweet Cherry Wine,” and “Crystal Blue Persuasion.” With over 100 million records sold, 23 gold singles, and nine gold and platinum albums, their music continues to resonate across generations.

However, upon arriving at the Grand Sierra Resort (GSR) and passing through the security gate, ready to interview Tommy, I discovered that he had canceled due to illness. In his place, Dennis Edwards’ Temptations Revue was scheduled to perform.

Dennis Edwards’ Temptations Revue is a tribute act that celebrates the legacy of the legendary Motown group, The Temptations, and Dennis Edwards himself. Dennis Edwards was a key member of The Temptations from 1968 to 1984, providing lead vocals on hits like “I Can’t Get Next to You” and “Papa Was a Rollin’ Stone.”

After leaving The Temptations, Edwards formed his own version of the group, known as Dennis Edwards’ Temptations Revue, in 1998. The Revue features handpicked singers who perform authentic renditions of The Temptations’ classic hits, ensuring that fans can experience the timeless Motown sound.

The crowd was ready for the switch in artists. Most were fans of 60s music, so the change was a surprise, but they were still eager to dance to all the hits. These included “Get Ready,” “Ain’t Too Proud to Beg,” “Ball of Confusion (That’s What the World Is Today),” “Papa Was a Rollin’ Stone,” “The Way You Do the Things You Do,” “Just My Imagination (Running Away With Me),” and “My Girl.”

I delighted to see the crowd dancing to all of their hits from start to finish.

September 29, 2023

The Nugget

By Ella Joyce

The Styx concert at the Nugget Event Center in Sparks, Nevada, on September 29, 2023, was a night to remember. The iconic rock band, known for their powerful performances and timeless hits, delivered an electrifying show that left the audience in awe.

The concert kicked off with “Blue Collar Man (Long Nights),” a classic that set the tone for the evening. The energy in the venue was palpable as the band transitioned into “The Grand Illusion,” showcasing their signature blend of progressive rock and hard rock. The crowd, a mix of long-time fans and new listeners, was immediately drawn into the band’s dynamic performance.

One of the highlights of the night was the performance of “Lady,” a song that has been a staple in Styx’s repertoire for decades. The band’s harmonies were flawless, and the audience sang along, creating a sense of unity and nostalgia. “Miss America” and “Lorelei” followed, each song met with enthusiastic applause and cheers.

As the night progressed, Styx continued to deliver hit after hit. “Rockin’ the Paradise” and “Fooling Yourself (The Angry Young Man)” were particularly well-received, with the crowd dancing and singing along. The band’s energy was infectious, and it was clear that they were enjoying every moment on stage.

“Too Much Time on My Hands” was another standout performance. The song’s catchy melody and relatable lyrics resonated with the audience, many of whom could be seen nodding their heads and tapping their feet. The band then slowed things down with “Khedive,” a more introspective track that showcased their versatility and depth.

The concert reached its peak with “Come Sail Away,” a song that has become synonymous with Styx. The band’s performance was nothing short of spectacular, with powerful vocals and intricate instrumentals that captivated the audience. The song’s crescendo was met with a standing ovation, a testament to the band’s enduring appeal and talent.

For the encore, Styx treated the audience to “Mr. Roboto” and “Renegade,” two of their most popular songs. The crowd erupted in cheers as the band returned to the stage, and the energy in the venue was electric. “Mr. Roboto” was a fun and theatrical performance, while “Renegade” brought the night to a thrilling close with its powerful lyrics and driving rhythm.

Throughout the concert, the band’s chemistry was evident. Each member brought their unique talents to the stage, creating a cohesive and dynamic performance. The lead vocals were strong and emotive, the guitar solos were electrifying, and the rhythm section provided a solid foundation for the band’s sound.

The Nugget Event Center, with its excellent acoustics and intimate setting, was the perfect venue for the concert. The sound quality was superb, allowing the audience to fully appreciate the nuances of the band’s performance. The lighting and stage design added to the overall experience, creating a visually stunning backdrop for the music.

In addition to the music, the concert was a celebration of Styx’s legacy. The band took time between songs to interact with the audience, sharing stories and expressing their gratitude for the fans’ support over the years. These moments added a personal touch to the concert, making it feel like a shared experience between the band and the audience.

The Styx concert at the Nugget Event Center was more than just a performance; it was a journey through the band’s illustrious career. From their early hits to their more recent work, Styx demonstrated why they have remained a beloved and influential band for so many years. The concert was a testament to their talent, passion, and dedication to their craft.

For those in attendance, the concert was a night of unforgettable music and memories. It was a reminder of the power of live music to bring people together and create lasting connections. As the final notes of “Renegade” echoed through the venue, it was clear that Styx had once again delivered a performance that would be remembered for years to come.

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September 29, 2023

The Nugget

By Elizabeth Locke

On a balmy evening in Reno, Nevada, the legendary rock band REO Speedwagon took the stage at the Reno Events Center, delivering a performance that was nothing short of spectacular. The band, known for hits like “Keep on Loving You” and “Roll with the Changes,” brought their A-game, captivating the audience with their timeless classics and energetic stage presence.

The night kicked off with the iconic “Don’t Let Him Go,” setting the tone for an evening filled with nostalgia and rock ‘n’ roll magic. Lead singer Kevin Cronin, with his signature denim jacket and sky blue sunglasses, led the band through a setlist that spanned their impressive career. The crowd was treated to a mix of old favorites and lesser-known gems, each song performed with the same passion and intensity as if it were their first time on stage.

One of the highlights of the night was the performance of “Keep on Loving You.” The crowd sang along in unison, creating an electric atmosphere that could be felt throughout the venue. The band’s chemistry was palpable, with each member feeding off the energy of the audience and each other. The harmonies were tight, and the solos were flawless, showcasing the band’s musical prowess.

Another standout moment was their rendition of “Roll with the Changes.” The song, which has become somewhat of an anthem for resilience and adaptability, resonated deeply with the audience. The band’s ability to connect with the crowd on an emotional level was evident, as fans swayed and sang along, lost in the music.

The band also took time to acknowledge their long-time fans, sharing stories and memories from their early days. This personal touch added an extra layer of intimacy to the performance, making the audience feel like they were part of the band’s journey.

As the night drew to a close, REO Speedwagon left the stage with a promise to return, leaving the crowd buzzing with excitement and gratitude. The encore, featuring “Time for Me to Fly,” was the perfect way to cap off an unforgettable night.

In summary, REO Speedwagon’s live performance in Reno 2023 was a testament to their enduring legacy and unwavering dedication to their craft. The band’s ability to deliver a high-energy, heartfelt performance after all these years is a testament to their talent and passion. For fans old and new, it was a night to remember, filled with great music, great memories, and a reminder of why REO Speedwagon has remained a beloved name in rock music for decades.

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Jack Daniels Big Bash

Nashville, TN

By Elizabeth Locke

Photos by Elizabeth Locke and Dan Locke

Over the years I have seen New Year Eve in the Philippines in the streets of Davao City and on television.  And on television it has always been NYE in New York  And never really saw anything other part of the celebration in the United State until now.

At the age of 53, as a Filipino woman with a deep love for 70s romantic music, I found myself stepping out of my usual musical comfort zone to experience Nashville’s famed New Year’s Eve Big Bash. And what an unforgettable experience it turned out to be! Here’s a look at the event through the eyes of someone who cherishes the timeless melodies of Barry Manilow and Air Supply.

Nashville, known as the epicenter of country music, delivered on its promise of a high-energy, musically rich celebration. The moment I arrived at Bicentennial Capitol Mall State Park, I was immediately swept up by the palpable excitement in the air. Thousands of people from all walks of life were gathered to ring in the new year with a night filled with music, dancing, and revelry.

The performances were the heart and soul of the Big Bash. The lineup featured an array of talented country artists, both legendary and emerging ( Keith Urban ,  Kane Brown, Jelly Roll, Shaboozey, Alana Springsteen and Brittany Spencer). Despite my affinity for the smooth sounds of 70s romantic music, I found myself appreciating the raw, heartfelt performances that country music is known for. The artists’ passion and connection with the audience were truly contagious. One moment that stood out to me was a beautiful ballad performed by a Keith Urban, which, although different in genre, resonated with the same emotional depth that I love about 70s romantic music.

The stage was a spectacle in itself, adorned with dazzling lights, fireworks, and giant screens that ensured everyone had a great view of the action. The visual effects were nothing short of spectacular, adding an extra layer of excitement to the night. As someone who grew up attending more intimate, mellow concerts, this grand-scale production was a thrilling change of pace.

One of the most delightful surprises of the evening was the variety of musical influences present. While country music was the star of the show, there were moments when other genres made an appearance. A DJ played a mix of pop and disco hits from the all genes during the intermissions, which brought a smile to my face and got me dancing along with the crowd. It was heartwarming to see people of all ages enjoying the nostalgic tunes that I hold dear.

As midnight approached, the anticipation grew, and the energy in the crowd became almost tangible. The countdown was a communal experience, with everyone joining in to mark the final moments of the year. When the clock struck twelve, the sky exploded with a breathtaking fireworks display that illuminated the entire city. It was a magical moment, filled with joy and hope for the year ahead.

However, no event is without its minor hiccups. The sheer size of the crowd was a bit overwhelming at times (220,000 people), and navigating through the throngs of people required some patience. Finding a good spot to watch the performances was a bit of a challenge, but once I settled in, it was well worth the effort. Additionally, the cold December night was a stark contrast to the warm, tropical climate of the Philippines, so dressing appropriately was key to enjoying the evening comfortably.

Despite these minor inconveniences, the Jack Daniels New Year’s Eve Live Nashville Big Bash was a phenomenal way to welcome the new year. It was a beautiful reminder of the power of music to bring people together, regardless of their backgrounds or musical preferences. As a fan of 70s romantic music, I discovered a newfound appreciation for country music and the vibrant culture of Nashville.

The event was also an opportunity to meet new people and share in the collective celebration. I struck up conversations with fellow attendees, exchanged stories, and even made a few new friends. It was heartening to see such a diverse crowd, all united in their love for music and the excitement of a new beginning.

In conclusion, Nashville’s New Year’s Eve Big Bash was an exhilarating and enriching experience. It was a departure from my usual musical taste, but it opened my eyes to the beauty of country music and the infectious energy of a large-scale celebration. If you’re ever looking for a unique way to celebrate the new year, I highly recommend giving the Big Bash a try. Who knows, you might just find yourself tapping your feet to a country tune and discovering a new musical love.

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