By: Jen

I would like to share an observation with you all. If you have not yet experienced Mushroomhead, I highly recommend attending. The interaction with their fans is truly remarkable, the atmosphere is incredible, and the energy throughout the entire evening was absolutely perfect.


Jackie's vocal performance was both passionate and captivating. Her energetic stage presence, particularly during her rendition of "The Heresy" where she directly engaged with the audience, was truly remarkable. The entire band also exhumed a high level of energy. Additionally, the water drummers delivered a notably interactive performance, splashing audience members with water multiple times upon request.

Steve Rauckhorst and Scott Beck demonstrated exceptional audience engagement, exhibiting remarkable energy and enthusiasm throughout the performance. Their dynamic presence, which included crowd surfing, fist pumping, and interacting directly with attendees from the stage, significantly enhanced the overall experience. This was undoubtedly one of the most memorable events I have attended in recent history. The Epic Event Center in Green Bay, Wisconsin, consistently curates an impressive lineup of artists capable of generating an electrifying atmosphere, like Mushroomhead!

Written by: Joe Perusse 
Photography by: Holly Roy Photography 

Toad’s Place turned the clock back to the ’90s Thursday night as Everclear rolled through New Haven on their Sparkle and Fade 30th Anniversary Tour, joined by Local H and Sponge. The place was packed and buzzing before the first chord hit.

Sponge kicked things off to an already shoulder-to-shoulder crowd. Guitarist Andy Patalan hit the stage with a red solo cup in hand, toasting the front row before ripping into the opening solo of “Wax Ecstatic (To Sell Angelina).” Touring bassist Jeff Hayes locked in deep grooves while frontman Vinnie Dombroski grinned ear to ear, saying it felt good to be back on Toad’s tiny stage — their first time there since 1995. The crowd belted out “Molly (16 Candles Down the Drain)” and cracked up when Dombroski admitted, “I’m not that smart — ‘Glue’ is just about glue.” Patalan streamed part of the set live, joking that anyone having a “Coldplay moment” should turn around. “Got to Be a Bore” brought out a talk box and maracas combo, and “Treat Me Wrong” kept the
room moving. They closed with “Plowed,” the whole place shouting every word — a killer way to start the night. Kyle Neely guitar and Dave Coughlin (drums) rounded out the lineup.

Then came Local H, and the energy only went up. Scott Lucas (vocals/guitar) and touring drummer Pete Beeman kicked off with “All-Right (Oh Yeah),” and you could feel that wave of nostalgia hit the room. Fans roared for “Cha! Said the Kitty” and “Fritz’s Corner.” Lucas teased the crowd about who’d seen them before, turning up the volume on their responses before crashing into “Hands on the Bible.” The floor literally shook during “Bound for the Floor,” and the night’s lone crowd surfer rode the wave during “John the Baptist Blues.” Lucas capped the set with “High-Fiving MF,” dedicating it to a few rowdy fans up front and ending in a haze of feedback and grins.

When Everclear finally hit the stage, Toad’s exploded. Old-school radio clips blasted through the PA before Art Alexakis and the band charged into “Electra Made Me Blind.” Alexakis looked fired up, shouting out guitarist Dave French before launching “Heroin Girl.” He joked with the crowd about counting to three for “You Make Me Feel Like a Whore,” then paused to shout out Sponge and Local H — and to reminisce that one of Everclear’s first big breaks was opening for Sponge right there at Toad’s 30 years ago. Halfway through the set, Alexakis tossed his Everclear baseball cap into the crowd — “Bad luck to wear your own merch on stage” — and swapped it for a fedora before “Father of Mine.” Between songs, he opened up about being broke in the early days, 36
years sober, and living with multiple sclerosis, getting the crowd to cheer for anyone fighting their own battles. “Strawberry” turned into a massive singalong that filled every corner of the club.  Bassist Freddy Herrera worked the crowd between songs, joking about whether bassists, guitarists, or drummers talk too much — only for Alexakis to cut in, “We should all just shut up and play music.” The band tore through “Heartspark Dollarsign” and “Everything to Everyone.” A quick tease of “Rock You Like a Hurricane” somehow turned into a  Zeppelin riff, with Scott Lucas jumping back on stage to guest on vocals — “We never tell him what song we’re doing,” Alexakis laughed. The back half of the set was a deep cut dream for longtime fans — “The Twistinside,” “Her Brand New Skin,” with a drum intro from Brian Nolan, “Nehalem,” and “Queen of the Air.” “Wonderful” was dedicated to the younger fans, followed by “Pale Green Stars” and “Chemical Smile” from Sparkle and Fade. Before wrapping the main set, Alexakis thanked the crowd for selling out Toad’s and said, “We almost never play this one live,” before breaking into “My Sexual Life.” The encore hit all the feels — “So Much for the Afterglow,” “I Will Buy You a New Life” (“about love, not money,” Alexakis said), and then a full-circle finale: Vinnie Dombroski back on stage for a high-energy “Santa Monica.”

Every person in the room sang like it was 1995 all over again. It was one of those nights that felt both nostalgic and alive — three bands, three decades of memories, and a sold-out crowd singing the soundtrack of their lives right where it all started.

By: Evan J. Thomas

If rock and roll had a spirit animal, it would be Crobot — the cosmic funk, the dirty grooves, and raw, unfiltered energy on stage. The band touched down at The King of Clubs in Columbus like a meteor on Sunday night, turning the venue into a sweat-soaked temple of riffs, roars, and rock salvation just days away from Halloween.  One of the most energetic, outgoing and personable bands i've ever had the chance to meet. 

From the moment frontman Brandon Yeagley strutted onto the stage, mic twirling and glorious beard glistening under the lights, the crowd knew they were in for something special. His vocals were a powerhouse blend of soul and snarl, effortlessly soaring over the thunderous rhythm section and the fuzz-drenched guitar of Chris Bishop, who ripped through solos like a man possessed by the ghost of every great riff master to ever.  New additions to the band include Willy Jansen on bass and Nico Jansen on drums and they didn't miss a beat and brought their own energy to the stage. 

The setlist was a glorious mix of new material and fan favorites — my favorite “Low Life,” along with a brand new song "Gun To My Head" had the crowd belting every word, while deeper cuts reminded everyone just how deep Crobot’s grooves really go. Each song hit like a cosmic sermon, delivered with tongue-in-cheek humor and a groove so deep you could lose your shoes in it.

The King of Clubs, already known for its killer sound and sightlines, was the perfect setting for Crobot’s brand of controlled chaos. The lighting bathed the stage in neon blues and molten reds, amplifying the band’s larger-than-life presence. Yeagley commanded the stage like a rock ‘n’ roll ringmaster from another dimension.

And let’s talk about the band’s chemistry — it’s pure rocket fuel. Whether Bishop and Yeagley were trading grins between licks or the rhythm section locked into a groove so heavy it could warp gravity, Crobot’s tightness was undeniable. Yeagley at one point leaped onto the shoulders of the giant Bishop as they strutted around the stage together.  I've seen shows where they walk around the crowd but in this case that wasn't possible. 

By the end of the night, Columbus got a reminder that rock isn’t just alive — it’s thriving, snarling, and covered in interstellar dust.  

It was my first time at The King of Clubs and I couldn't have been more impressed.  With a very tall and long stage along with an area in front of the stage where the most passionate fans could be front and center and can be within reach of the band.  Behind that area is a seated area where you can pay an extra fee for a table and seats.  The bar is straight back of the stage and there is an awesome upstairs overlook where you can take in a different view of the show.  The sound is glorious, make sure you have your earplugs and the lighting is superb for photographers.   The King of Clubs is a destination you should put on your bucket list. 

If you missed Crobot at The King of Clubs, you didn’t just skip a show — you missed a cosmic experience.  The band will be on tour for the next several weeks so try and catch them before the end of the year.  #RockOn

By: Evan J. Thomas

I've been following, photographing, listening and interviewing From Ashes To New since their breakout release "Crazy" in 2018.  I've seen the band grow from the smaller stages to headlining their own shows and playing some of the biggest music festivals over the past half decade.  

Once the lights dimmed the crowd went into a frenzy.   The nearly sold-out House of Blues in downtown Chicago was packed with die-hard fans and curious newcomers alike. Chicago has always taken a liking to the dynamic, genre-blurring band.

Unfortunately I missed the first two openers Until I Wake, Not Enough Space since the show started early at 6pm.  I did get there right in time for Magnolia Park as they warmed the crowd with a mix of punk, alt-metal, and melodic hooks, building the heightening momentum before the headliner strolled to the stage.  

The set balanced fan favorites like “Nightmare," "Panic" and “Through It All” along with the bands newest hit "New Disease" that hit just as hard. Frontman Danny Case commanded the stage with raw energy and connection and his high powered vocals, add in Matt Bradberry's mix of heavy rap verses aligning with the heavy riffs and cinematic electronics that sounded razor-sharp live.

The crowd was in full throat—singing every word, smiling, moshing, and lighting up the room. It wasn’t just a show; it was a full-body experience from beginning to end. Loud, emotional, and relentlessly alive — a reminder that modern rock is far from dead and anyone who says it is is a fool.  From Ashes To New proved once again they’re one of modern rock’s most dynamic live acts and future festival headliner.  

If you’re into music that wants to challenge, engage, and energize — don’t miss the rest of From Ashes To New's New Disease Tour.  Rock on!

By: Evan J. Thomas

The Barbarians of California is a relatively new heavy / hardcore-leaning project formed by Aaron Bruno (best known as frontman of AWOLNATION) in collaboration with producer/engineer Eric Stenman.  Just to give you a little heads up I had an interview with Eric but due to an audio issue there was no audio for the interview, only video so I will do my best to recall some of Eric's quotes.

From their debut, the Barbarians have straddled hardcore, metal, and even nu-metal textures. Stenman stated to me that Aaron was a skater in his younger days and loved the thrash music.  The band's debut album And Now I’m Just Gnashing My Teeth is full with punchy riffs, groove-laden breakdowns, and heavy vocals.  Their music videos are have a comedic style to them as they don't take themselves to seriously. 

Barbarians leaned into a more DIY energy and used that freedom to push boundaries without needing to adhere strictly to genre gatekeepers. Over time, buzz began to build, especially as fans of AWOLNATION or heavier music looked on curiously.

Stenman had told me that their 5th ever show they were opening up for their idols Deftones on tour.  Most bands understand that this isn't a common occurrence to open up for a legacy band within their first handful of shows and the Barbarians didn't take it for granted.  

Riot Fest 2025 in Chicago took place a few weeks ago (September 19–21) and marked the festival’s 20th anniversary.  The Barbarians of California were tabbed  for the Friday, September 19, on the Roots Stage, from 1:05 PM to 1:35 PM — a mid-afternoon slot during a day packed with punk, rock, and alternative names. This was a strategic placement: early enough to capture both dedicated festival goers and curious passersby, but also challenging, as late afternoon and evening draws often dominate attention.

​I can guarantee most of those checking out the Barbarians set didn't realize who the lead singer was and while I was walking through I could see the crowd get bigger and were more curious than at the start.  

If you have a chance to see The Barbarians of California live I highly recommend it.  Not only is the music a throwback to the 1990's-2000's skate culture but also a vibe that brings the heavy.