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By: Evan J. Thomas Bogarts became ground zero for one of the most intense nights Cincinnati’s metal scene has experienced this winter. The Violent Hour, playing in just their third ever show and displayed some ferocious stage presence, delivered a performance that felt less like a concert and more like a seismic event. From the moment the house lights dropped, the band launched headfirst into a set that blended tight musicianship with unfiltered aggression. With Carla Harvey (Butcher Babies, Lords Of Acid) being the face of the band and having four incredibly talented female musicians filling out the bands lineup. Their sound—equal parts modern metal bite and atmospheric darkness—filled every corner of the venue, pulling fans straight into their storm. Carla's command of the crowd was undeniable, pacing the stage with an electric urgency that ignited the crowd as she thrashed about whipping her hair around. Guitars sliced through the air with sharp melodic leads and punishing riffs, while the rhythm section hammered away with industrial-strength force. The energy never dipped; if anything, it intensified as the set went on. Between songs, the band connected with the audience in raw, genuine moments, reinforcing why their fanbase continues to grow at such a rapid pace. By the final song, Bogarts was drenched in sweat, adrenaline, and the shared exhilaration of a crowd that had willingly surrendered to the chaos. The Violent Hour didn’t just put on a show—they stamped their name deeper into Cincinnati’s heavy-music landscape. Another unforgettable night for a band proving they’re one of the most dangerous rising acts in the scene.
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By: Ashlee Lannon What’s a better way to warm up on a cold December night than dodging flying bodies in front of a stage packed with amazingly chaotic talent, tearing down the walls in my favorite Grand Rapids venue: The Pyramid Scheme? The first opener, Fuck You Hong Kong, showed us exactly what to expect as they came out and somehow made a stage that has been home to many household names feel like a DIY fire hazard with a $5 cash cover. They describe themselves as “third world fight music,” and I honestly can’t sum it up better than that. They’re a blend of industrial and hardcore with the kind of energy that demands aggressive mosh pits and stage divers in droves. Next on the bill was Johnny Booth. It’s always a treat to see these guys. A metalcore band that truly recognizes the genre’s hxc roots. They’re heavy, aggressive, and a spectacle to behold, especially as frontman Andrew Herman cosplays getting attacked by bees, with the rest of the band (and the crowd) following suit. After that came Soul Blind, bringing a different (but far from unwelcome) type of energy. Their sound is more versatile, with influences ranging from grunge to shoegaze to hxc. They delivered a less chaotic yet more emotionally charged set that still didn’t shy away from the heavy riffs. And lastly, the moment everyone was waiting for: Better Lovers. A supergroup featuring former members of The Dillinger Escape Plan and Every Time I Die, plus a current member of Fit for an Autopsy. These guys are technically a metalcore band, however, I prefer calling them “noisy and chaotic metal,” because that’s the only label that truly fits. Sporadic and almost too loud... BUT only almost, because anything less wouldn't really do them justice. If the energy was intense for the openers, it absolutely multiplied once the crowd started feeding off Greg Puciato’s feral screams. For the first Monday after Thanksgiving weekend, this show was an incredible way to release all that pent-up aggression. Wielding a camera in the carnage these guys unleashed was a true challenge... but one that was worth every second! FUCK YOU HONG KONGJOHNNY BOOTHSOUL BLINDBETTER LOVERSBy: Evan J. Thomas Sunday was the last night of his nearly two weeks of performances and a day after the city of Chicago got hammered with nearly 10 inches of snow. Walking into the Lyric already felt different than lining up outside a normal rock venue. Billy Corgan’s performance at the Lyric Opera in Chicago, IL celebrating the 30th anniversary of Mellon Collie and the Infinite Sadness was nothing short of surreal for longtime Smashing Pumpkins fans. This wasn’t just a show — it was an emotional time machine wrapped in elegance, nostalgia, and power. Fun little back story... Billy grew up in Glendale Heights, IL, same town I did. He also lived on the same block behind the Brunswick Bowling alley on James Ct. Instead of distortion pedals and chaos, the night leaned heavily into orchestration, atmosphere, and drama. And somehow, the songs that raised hell in the ’90s felt even bigger in this space — more important, more permanent, more alive.The history in the walls, the chandeliers, the velvet seats — it all signaled that something special was about to happen. And when Corgan took the stage, the room transformed from opera hall to sacred Pumpkins cathedral. There were certain moments sent chills through the crowd “1979” Pure nostalgia flooded the room. A smile crept across every face as that familiar rhythm kicked in. You could practically feel everyone flash back to car rides, high school, first loves, and summers that never seemed to end. Most everyone was singing to this one. “Bullet with Butterfly Wings” Even stripped of its original sonic rage, the song’s message hit just as hard — maybe even harder. The audience sang along in unity, a powerful reminder of how timeless the lyrics are. “Zero” Still dark. Still defiant. Still iconic. The opera house setting gave it a haunting new edge. “Tonight, Tonight” Hearing this inside the Lyric Opera felt like destiny fulfilled. The orchestral elements wrapped around the song so perfectly that it felt as though it had always been meant to be performed this way. There were actual tears in the crowd during this one with myself being one. The way it was set up, moments of the song sprinkled into other areas of the night's performance before the big finale which drew a nice long standing ovation. You didn’t just hear these songs. You felt them. This was different, a magical display of visual and sonic ambiance.  By: Evan J. Thomas It was Thanksgiving Eve, a brisk Wednesday night in Chicago at the iconic House Of Blues and those who had a ticket were in for a treat. Return to Dust, out of Los Angeles, CA opened with a punchy, gritty alt-rock sound as I perked up. The band delivered heavy, gritty-laden riffs and songs instantly grabbing the crowd’s attention. Return To Dust consists of Matty Bielawski on guitar and vocals, Graham Stanush bass and vocals Sebastian Gonzalez on guitar and London Hudson slapping the drums. Hudson is the son of legendary Guns 'N Roses guitarist Slash. Return To Dust raw, youthful sound mixed with a ’90s-grunge vibe but with enough modern kick to feel fresh. It’s the kind of opener that doesn’t feel like filler; instead, you walk in expecting a warm-up and leave thinking you just caught something worth following. While Myles Kennedy is often known for arena-sized performances, on this bill he serves as a “special guest,” and he delivered an incredible rocking set. Kennedy's one of a kind voice along with his classic-meets-modern rock balance permeated the masses and making the night feel personal and special. Next up was Mammoth WVH, this was the third time i've seen him and the first time photographing him and his band. Mammoth brings a blend of hard-rock muscle and emotional weight, tailored riffs, tight musicianship, and songs that swing between energetic anthems and deeper, moodier moments. Mammoth catalog is loud and powerful, but close enough for you to feel every nuance. Looking at the crowd standing elbow to elbow singing along to every note, Mammoth is bound to be a future arena headlining act fueling the new generation of rock music and festivals. RETURN TO DUSTMYLES KENNEDYMAMMOTH WVHReview By: Evan J. Thomas Photos courtesy of Getty Images I've been on this planet for nearly 51 years and I finally had the opportunity to witness in person what arguably could be the most famous musician of all time. The legendary Beatle, Paul McCartney walked onto the stage on Monday night like a man who has nothing left to prove—yet somehow still proves everything. During his Chicago stop on the “Got Back” Tour at the United Center, the legendary Beatle delivered a show that was less a concert and more a living, breathing document of modern music history. I am not one to hold back my emotions during a show, from the opening song "Help" my emotions were heightened throughout. For nearly three hours, McCartney swept the packed arena through a multi-decade journey--The Beatles, Wings, and his expansive solo catalog—each moment reminding fans why his songs have become foundational threads in the fabric of popular culture. At 83 years old, McCartney performed with a vitality that stunned newcomers and long-time fans alike. McCartney dove into Beatles classics like "Let Me Roll It" and “Love Me Do,” immediately cementing the night as a celebration rather than a nostalgia act. There was a snafu at one point when McCartney sat down at the piano and started hitting the keys for the intro to Wings classic "Let 'Em In" when he said "This piano is busted" (see video HERE) A few moments later after an engineer fixed the issue he restarted the intro. As a little kid, I used to walk around the house whenever my parents played this song as I knocked on the door, a performance that wove tenderness and grit into one powerful moment and a great remembrance of my late mother who passed away in March. He then moved seamlessly into storytelling mode—charming, self-deprecating, and effortlessly funny—setting up intimate renditions of another of my favorite songs, “Blackbird,” played solo on a rising platform that illuminated him like a moonlit silhouette. A hush fell over the arena when McCartney paid tribute to his late bandmates. His duet with archival footage of John Lennon during “I’ve Got a Feeling” felt stunningly alive, blending past and present in a way only McCartney could manifest. The emotional weight was palpable, many fans visibly wiping tears, including me... once again. Moments later, he brought thunder back into the building with “Band on the Run,” an epic rendition of “Live and Let Die” complete with the trademark pyrotechnics and a jubilant, arena-shaking “Hey Jude.” Chicago didn’t just sing; it roared. McCartney returned with the energy of someone half his age, rocketing through “Helter Skelter” and an explosive Abbey Road medley: “Golden Slumbers,” “Carry That Weight,” and “The End.” The closing guitar trade-off by his band was electric, and McCartney’s final bow carried the warmth of an artist deeply connected to his audience. A night that felt like a dream come true, Paul McCartney’s Chicago stop on the “Got Back” Tour was more than a concert—it was a reminder of music’s ability to transcend time, generations, and boundaries. He delivered the kind of night fans will talk about for the rest of their lives. If this truly is his victory lap, he’s running it with the same grace, emotion, and rock ’n’ roll fire that shaped the world’s soundtrack for over six decades. Paul McCartney didn’t just “get back” in Chicago—he brought everyone with him. By: Holly Roy Photography As someone who’s been devoted to Sevendust since the late ’90s, I thought I knew what to expect from an acoustic tour. I expected nostalgia. I expected stripped-down vulnerability. I expected to feel some things. What I didn’t expect was to be completely overwhelmed—to cry, to feel ecstatic, to be wrapped in this massive sense of pride for the band I’ve loved for so long. The vibe in the room was electric and emotional at the same time, the kind of atmosphere only Sevendust can create. It wasn’t just good—it was warm, buzzing, and unbelievably special, the kind of energy that makes you realize you’re witnessing a night you’ll remember forever. From the moment Lajon Witherspoon stepped into the spotlight, the room practically held its breath. LJ’s voice in an acoustic setting is unreal—rich, soulful, full of depth. He connected with the crowd in that rare, genuine way he always does, but this time it felt even more intimate, like he was sharing pieces of himself with each of us. Clint Lowery was phenomenal, crafting gorgeous acoustic layers that turned familiar songs into fresh experiences. His harmonies with LJ were flawless, and every chord he played felt intentional and full of heart. John Connolly brought that steady, grounded presence, clearly in his element and feeding off the audience’s energy. Watching him and Clint interact was like watching two brothers speak a language only they know. Vinnie Hornsby added his signature laid-back, supportive energy—clean, warm bass lines and a genuine connection with the crowd. He held down the foundation of the set with ease and authenticity. And of course, Morgan Rose, behind his full drum kit, brought the emotional thunder only he can deliver. Even in an acoustic setting, he played with the same intensity and vulnerability he’s known for. His backing vocals were raw, and his drumming elevated every moment with a pulse that tied everything together. Setlist & Emotional HighsStarting with “Black” was a bold move, and it hit me instantly. There’s something about hearing such an iconic heavy song stripped down that makes it feel brand new. “Disgrace,” “Beautiful,” and “Skeleton Song” followed, pulling at every nostalgic thread I’ve tied to this band over the years. Then came the powerful trio:
But the emotional core of the night for me—where the tears actually came—was “Xmas Day” and “Angel’s Son.” Those two songs have always carried weight, but hearing them in this setting… I couldn’t hold it in. The room felt still, connected, reverent. I cried quietly, not out of sadness but out of appreciation, memory, and how beautifully LJ delivered every line. And then came the moment that made “Angel’s Son” even more powerful: LJ dedicated the song to a fan in the crowd who had recently lost her own son. The entire venue shifted. You could feel the collective breath, the compassion, the heaviness and love in the dedication. When the first notes hit, the emotion was overwhelming. It was one of the most heartfelt, unforgettable moments I’ve ever experienced at a Sevendust show. Their cover of “Hurt” (Nine Inch Nails) hit me hard in a cathartic, unexpected way. Clint’s voice wrapped around that song so naturally it felt like it belonged to him all along. The energy shot up again with “Rumble Fish,” especially when they dropped that surprise snippet of Pantera’s “Walk.” The place erupted. “Bitch” and “Too Close to Hate” were explosive even acoustically—proof that Sevendust’s intensity doesn’t need amps to hit hard. And the encore, “Face to Face,” was the perfect ending—powerful, unifying, and full of the fire that’s kept this band thriving for nearly three decades. A Night to RememberWhat made the night truly special was the connection. The band spoke to us, not at us. They laughed, reminisced, got vulnerable, and made the entire room feel like part of the Sevendust family. There was a moment—one of those quiet, still ones—where LJ took a beat to thank the fans for staying with them, for growing with them, for helping them survive the hard years. You could feel the sincerity radiating from every member. As the last chords faded, I was reminded of exactly why I’ve loved this band for so long: Sevendust doesn’t just perform—they connect. They share. They mean it. And on the Southside Double-Wide tour, that authenticity is amplified, not stripped away. This show wasn’t just amazing—it was a reminder of why music matters, why this band matters, and why being a Sevendust fan feels like being part of something bigger than yourself. By: Terrell Stewart It’s always a great pleasure to be asked by a band's pr to cover their band's show. This past Saturday night I had the great pleasure of covering the final show of The Darkness and what a fun show to witness let alone photograph! Starting the night off was Mark Daly and the Ravens. Opening their set with their new single, “This is Love” started off the night with a great and loud rock and roll sound that the crowd got into right away and set the tone for an evening of solid high energy rock and roll! Backed with strong experienced musicians, they powered through a great set of music that had the crowd moving and cheering. What a great start for this night. After the electric start from Mark Daly and the Ravens, anticipation built quickly for the headliners. When The Darkness finally took the stage, the energy in the room shifted instantly. Justin Hawkins strutted out with his trademark flamboyance, his vocals soaring out through the venue that remind you why this band carved such a unique space in rock. The Darkness wasted no time showing the crowd why they remain masters of playful rock theater. Opening with “Rock and Roll Party Cowboy” from their latest album Dreams on Toast, the band leaned into their familiar mix of humor and hard-hitting riffs. Frontman Justin Hawkins stepped out in a velvet jacket with a glam rock flair, flashing quick grins as he launched into the opening with his powerful vocals. By the end of their second song, a bit of commotion stirred just behind me. A handwritten sign from two women in the crowd was passed forward to Justin, reading: “Please play “Love On the Rocks”. It’s how we fell in love, ironically!” Moments later, I felt something bounce off my head — what looked at first like a piece of padding. Another photographer scooped it up and handed it to Justin, revealing it to be a black bra tossed onstage by one of the same women. Justin wrapped the bra around his neck and moved right into, “Get Your Hands Off My Woman”. Justin finished off song then stood on his head on the drum riser. (photo gallery) Just three songs into a 27 song set list, The Darkness was just getting started! They continued their amazing set with tracks like, “Get Your Hands Off My Woman” and “Barbarian” delivered the raw punch, while “Love Is Only a Feeling” and “Heart Explodes” carried the emotional weight without ever losing intensity. Their cover of “Dead Flowers” paid proper tribute to the Stones while still carrying that unmistakable Darkness sheen. And then came “The Power of Love” — the Celine Dion classic reimagined in a way only this band could pull off. It drifted seamlessly between parody, sincerity, and full vocal showcase, landing as one of the night’s most memorable highlights. As the night rolled on, the room stayed fully locked in. “Japanese Prisoner of Love,” “Friday Night,” and “My Only” kept the momentum surging, each track feeding the crowd’s energy. Between them, the band slipped in partial runs of “Pressure,” “Black Shuck,” and “Christmas Time,” quick bursts of nostalgia that sparked laughter and sing‑alongs without breaking stride. The encore was a punch of its own — a bright, sharp, and perfect moment that began with a cover of Bryan Adams’ “Summer of ’69.” The room erupted, voices raised in unison as the band leaned into the anthem. “One Way Ticket” carried that surge forward, spinning the energy into a final sprint. And then came the closer, “I Hate Myself,” delivered with a grin, a punchline, and a blast of volume. What an amazing show to witness! A very big thank you to Renee of Publicity Please for asking me to cover this show, it was such a great night! MARK DALYTHE DARKNESSBy: Arianna Karnezis On an unusually warm November Saturday evening, Trivium graced Milwaukee’s gigantic four-stage venue The Rave/Eagles Club for the first time in nearly 20 years, this time playing in the 4,000-capacity Eagles Ballroom. Being a Chicago suburbanite, I made the two-hour trek to the Fresh Coast to fulfill my three-year-long goal of photographing Trivium after seeing them live at Radius with Between the Buried and Me and Whitechapel in 2022. This time around, the band was not only celebrating 20 years of their major label debut and their sophomore album that put them on the map of modern metal music, Ascendency, but also offering up their latest record, the three-song EP Struck Dead. Joining them on this excursion were UK metal up-and-comers Heriot and the modern metal legends Jinjer. Kicking off this incredible show was Heriot, showcasing their talents in the United States for the first time ever on this tour. Formed in Swindon, England, in 2014, vocalist Debbie Gough rounded out this band after joining five years later, and the band would record three EPs before releasing their first full-length record, Devoured by the Mouth of Hell, in 2024. The band was a fitting choice to open the show, and despite a 30-minute set, they made a lasting impression on their audience. Gough and bassist Jake Packer’s powerful screams and their heavily inspired sound mixed classic metal with a smidgen of hardcore, giving them admittedly a common sound of modern metal, and yet their passionate stage presence set them apart from many of their counterparts. This band is clearly ready to grow in their scene, and we can only hope to see more of them as a result of this tour. Up next was Jinjer, the established progressive metal act hailing from Ukraine. The band has enjoyed renowned success in the metal community for the last decade, and their performance showed absolutely no signs of them relenting. They too have spent 2025 supporting a new album, their fifth studio effort, Duél, and the band’s setlist actually consisted mostly of songs from this record. In spite of their struggles with the ongoing Russian invasion of Ukraine–Jinjer was forced into hiatus in 2022 followed by relocation to America–the band has persevered, and Duél has drawn inspiration from their experiences with this war. Notably, their penultimate song in their setlist, “Someone’s Daughter,” tells the story of a woman trained to become a soldier. Jinjer’s melodic instrumentation combined with vocalist Tatiana Shmayluk’s beautiful and haunting vocals (both clean and screaming) add to the range of stories they tell. As someone who was unfamiliar with Jinjer’s discography, I found it regrettable that I have yet to see a headlining show of theirs. As captivating as their setlist was, it would have heightened the experience of seeing Jinjer live to hear a wider range of tracks from their 15-year-long career. Nonetheless, their performance has put them on my radar, even if I am late to the party. With beautiful medieval imagery as their backdrop, the members of Trivium greeted the audience one by one, beginning with the band’s new drummer Alex Rüdinger–formerly of Whitechapel and a prime example of things falling into place, as the band had invited him to join back in 2016, but he was forced to decline because of timing. After bassist Paolo Gregoletto, guitarist Corey Beaulieu, and vocalist Matt Heafy soon followed, the band immediately dominated the stage with “In Waves.” The audience erupted into crowd-surfing, moshing, and singing along to one of the band’s staple tracks, and the ballroom shook with an implacable energy that only seasoned yet young metal bands can truly do. Afterward, in accordance with their continual celebration of 20 years of their acclaimed album Ascendancy, Trivium quickly launched into “Like Light to the Flies.” Their setlist would contain a mix of old and new hits and more staples such as “Strife” from 2013’s Vengeance Falls, “Into the Mouth of Hell We March” from 2008’s Shogun, and the inspirational “Until the World Goes Cold” from 2015’s Silence in the Snow. Sadly, this setlist would not include any tracks from their latest two albums, 2020’s What the Dead Men Say or 2021’s In the Court of the Dragon–it was also a surprise to only hear one song from the chart-topping In Waves. Nevertheless, this tour’s setlist will absolutely please both longtime and newer fans alike. Before jumping into one of two of their newest singles, “Bury Me With My Screams,” vocalist Matt Heafy took a minute to reflect on the last few years. After the final leg of their tour supporting In the Court of the Dragon in 2023, the band announced they would be taking a break for a couple of years to rest. During that time, the band focused on revamping an old hangar in Orlando, Florida, they had purchased in 2020 to turn into a home studio. During this short intermission, Matt Heafy mentions he had also used that time to work on himself, to “become a better father, better husband, and better bandmate”--in short, the band saved themselves from burnout so they could come back stronger than ever, and the evidence was so clear in their performance. It is always rejuvenating and relieving to see a band in their prime, and Trivium is still at the height of their career, even when they choose to take a break for themselves, something that sadly is risky for bands to do in this era of social media where relevancy means constant content creation. Nonetheless, when Trivium returned, they made sure to make their comeback a loud one. At this moment, their set had reached its halfway point, and their medieval landscape disappeared and was replaced by a three-dimensional backdrop of their Ascendancy album cover, complete with a 25-foot inflatable mummified angel/demon that has become as easily recognizable as Heafy’s vocals in the last 20 years. Added in between “Bury Me With My Screams” and their latest single “Struck Dead” was Ascendancy’s “A Gunshot to the Head of Trepidation,” and the latter half of their setlist were also strengthened with “Dying in Your Arms” and “Pull Harder on the Strings of Your Martyr,” giving old-school fans a massive hit of nostalgia and giving Heafy the opportunity to thank all of Trivium’s fans, “whether you’ve been around for a year, two years, twenty years, twenty-five years,” and to promise more surprises up their sleeve coming in the next couple of years. The band of course signaled their curtain call with three of their most notable songs: “The Heart from Your Hate,” “Down from the Sky,” and “The Sin and the Sentence,” easily one of the most powerful closers to a metal show–the audience roared the lyrics back at Heafy just before the band took their final bow for the night, and it already felt as if the show ended too soon. Whatever is coming next for Trivium, it seems they have indicated they are ready to bring their best to their fans as they always do, both onstage and on the road. HERIOTJINJERTRIVIUMBy: Terrell Stewart I was excited to see Avatar again, It has been over two years since their last tour. This time they would take the stage at the Denver's Fillmore Auditorium which is twice the size than the venue they were at last tour. The capacity of the Fillmore is 3900. I arrived about 30 minutes before doors and the line was down a long block and around the corner. No surprise here! I always enjoy covering a show at the Fillmore, a beautiful venue with 2 rows of large chandeliers, a very roomy stage and generous room in the pit. Opening this evening was SpiritWorld from Las Vegas, Nevada. Lead singer Stu Folsom describes their music as, “death - western metal” with western themes and imagery. Three of the members wear the same outfits, yellow pants and sport coats with flowers and skulls lining the arms and legs. Lead Stu's outfit is black the same flowers and skulls. They opened their set with “Relic of Damnation“ from their 2022 album, Deathwestern and I was a bit surprised by their hardcore thrash sound. As they moved through their set, the audience was really getting into their sound as was I. With opening acts, their sets are shorter but the crowd but SpiritWorld made a great impression with the crowd and me. Again, I got turned on to a new band for me and I believe the same for many in the venue. A great opening set to start the night off. SpiritWorld members: Stu Folsom – vocals Randy Moore – lead guitar Nick Brundy – bass Preston Harper – drums Setlist: Relic of Damnation Waiting on the Reaper Moonlit Torture Lujuria Satánica Comancheria Unholy Passages No Vacancy in Heaven U L C E R SPIRITWORLDALIEN WEAPONRYWith a quick turnover on stage, New Zealand's own Alien Weaponry continued with their, metal, groove metal sound. The band was founded in 2010 by brothers, Henry de Jong and Lewis de Jong, and as of 2020, Tūranga Morgan-Edmonds. The three of them are of Māori ancestry. Māori are the indigenous people of New Zealand (Aotearoa), known for their rich culture, traditions, and language. This is interesting because some of their songs were sung in the Māori native language. They opened their set with “1000 Friends” from their latest 2025 album, Te Rā. Their music was easy to get into and listening to them singing in the Māori language, for me it made their sound that more interesting. It was very obvious the crowd was into them as well by their enthusiasm in Alien Weaponry’s music. Another short but fun and interesting set of music. And yes, another new band for me. I love discovering new bands seeing them live for the first time. Alien Weaponry members: Henry de Jong – drums, backing vocals (2010–present) Lewis de Jong – guitars, lead vocals (2010–present) Tūranga Morgan-Edmonds – bass, backing vocals (2020–present) Setlist: 1000 Friends Mau Moko Taniwha Rū Ana Te Whenua Kai Tangata Te Riri o Tāwhirimātea AVATARAs Avatar’s popularity has grown over the years and so has their stage production and what was witnessed this night was no exception! A stage filled with heavy fog, almost no lighting, a curtain opens and a platform slowly rolls out with the five members on it, all wearing hooded capes. Lead singer Johannes Eckerström held up a lighted lantern. As the platform moved closer to the front of the stage, lights from the back of the stage lit up. The closer they got, the more lights lit up. Reaching the front of the stage, each member stepped off and took their place while Johannes stayed on the platform. Opening the set with, “Silence in the Age of Apes” the back of the stage lit up with spot lights all across the back of the stage into the heavy fog. The venue was going crazy with their fans cheering, waving their arms and headbanging! The first song ended and drummer John Alfredsson on his own platform right behind Johannes was lit up with bright lights. He sat there looking around, then bright lights poured out from behind him as Johannes took his cape off and the band broke into, “The Eagle Has Landed” and the volume in the venue was unreal. Johannes stayed on the platform, wearing long black pants, black vest and arm length gloves. Along with his traditional face makeup he mesmerized the crowd with his amazing vocals, stage presence and some serious headbanging. (photo gallery) And, I’m not forgetting the amazing musicians throwing their hair and pouring out their awesome sounds, Jonas "Kungen" Jarlsby, Henrik Sandelin, Tim Öhrström. At the end of that song, drummer John Alfredsson's platform split in two to allow the main platform to return to behind the curtains. Then return together again. There was no slowing down Avatar and their fans loved it and let them know it after every song. And what a set list, “Bloody Angel” from 2014, “Colossus” 2020, “Legend of the King” 2018, “The Dirt I'm Buried” In 2023. I’ve said this before and I will say it again. To put on a tour like this and pour your hearts out every night for 25 dates, you have to take care of yourself! I knew it was coming and I couldn’t wait to hear the song that led me to become a concert photographer. 11+ years later, and for the 5th time, I am covering Avatar and this is the song, “Let It Burn”! I still get goose bumps listening to this song live. This high energy night was coming to a close and Avatar’s encore was 4 songs with the last one sending the crowd into a frenzy, 2014’s “Hail the Apocalypse”. With a deafening roar from their fans, Avatar said good night. This tour is only half over, it is a “MUST” see show! They never disappoint! Avatar members: John Alfredsson – drums (since 2001) Jonas "Kungen" Jarlsby – guitars (since 2001) Johannes Eckerström – lead vocals (since 2002), brass (since 2014), piano, keyboards (since 2021) Henrik Sandelin – bass, backing vocals (since 2003) Tim Öhrström – guitars, backing vocals (since 2011 Setlist: Silence in the Age of Apes The Eagle Has Landed In the Airwaves Bloody Angel 2014 Death and Glitz Blod Colossus 2020 Howling at the Waves Tower Glory to Our King Legend of the King 2018 Let It Burn 2012 The Dirt I'm Buried In 2023 Tonight We Must Be Warriors Encore Captain Goat Dance Devil Dance 2023 Smells Like a Freakshow 2012 Hail the Apocalypse 2014 Photos By: Holly Roy Photography Review By: Kat Gullage We caught the eighth stop of Trivium’s thirty four date tour. The tour was marketed here as “Ascend Above The Ashes Tour” but I saw another date calling it the “Struck Dead Tour”. Regardless, the hard blitzing line-up assaulted fans with heavy riffs and waves of metalcore. The British hardcore four-piece Heriot kicked off the night with a five-song set, three of them pulled from their studio LP Devoured by the Mouth of Hell. Guitarist and singer Debbie Gough asked “What the fuck is up Wallingford?!” midway through the first song “Foul Void”. “Let’s show em what rock and roll looks like! Make some fucking noise!” was the intro to “Demure”. “Yo what’s good?! Thank you so friggin much. Honor to be on tour with Jinjer and Trivium!” “I wanna see some movement down here! Are you ready to bang your heads?! We’re playin a new song tonight.” It was “Commander At Bay”. She tries to get a “Hey, Hey” chant going, but the crowd’s half-hearted response made me question if the show should’ve been in the venue’s smaller room, The Dome, rather than the main Theater. Heriot wrapped with “Mourn” and “At The Fortress Gate”. The audacious frontwoman was joined by Erhan Alman (guitar), Jack Packer (bass) and Julian Gage (drums). The mix leaned heavy on the bass, enough to muddy the rest of the music. However, I did appreciate their bare bones, raw, garage band vibe. Need a dose of new in your face metal? Keep an eye out for Heriot. As Heriot’s gear got swapped out for the Jinjer set, holy shit did the place fill up. At the first note of the not- loud-enough prerecorded intro, everyone got on their feet. The crowd welcomed each member individually with cheers and applause. Roman Ibramkhalilov (guitars), Eugene Abdukhanov (bass), Vladislav Ulasevich (drums) and frontwoman Tatiana Shmayluk on vocals. She looked like a fashionista ready to slay a runway with her vogue worthy threads and long ass ponytail. Jinjer has five studio albums but their nine song set pulled heavily from Duél, with six tracks. They opened with the title track before launching into “Green Serpent”. Tati’s rapid switch from melodic vocals to full-throated growls was nothing short of a magic trick. I saw it with my own eyes and it was still hard to believe. The singer addressed their adoring fans. “Are you doing good tonight? You people like some hardcore?” she teased. After a resonating roar back from the crowd, still on their feet, she added “Are you fucking sure?” She grinned before tearing into “Fast Draw” and “Hedonist”. The fans shouted their praises in between songs as the band dove into two from their EP Micro with “Teacher, Teacher!” and “Perennial”. “Can I see those beautiful hands? And now clap for me!” She commanded and the loyals obliged without hesitation. They serve up “Rogue” and “Someone’s Daughter”. “We’re gunna make you guys believe right now!” she hyped us up for the closer, “Pisces” (King Of Everything). Jinjer delivered an impactful performance, but the mix again leaned heavy on the bass. It didn’t ruin the set, but it wasn’t proportionate to the rest of the music. Tati wrapped with “You guys are so cool, thank you very much” then she tripped over her words “I cannot talk tonight! We’re glad to be here and on this tour!”. The flub just made her more endearing. Jinjer is a progressive metalcore band from Ukraine. They are raising awareness as they represent their war torn country while on tour. They have a devoted following, so give em a listen. Hailing from Orlando FL, Trivium has been thrashing for twenty-five years with no sign of slowing down. The word Trivium translates to “three ways” in Latin and appropriately describes their sound, a fusion of metalcore, melodeath and speed metal. The band has ten studio albums and their fourteen song career spanning set pulled from eight of them. Trivium opened with title track “In Waves” and the crowd sang it word for word. “Like Light To The Flies” (Ember To Inferno) and “Strife” (Vengeance Falls) were followed by two from Shogun with “Into The Mouth Of Hell We March” and “Throes Of Perdition”. Matt kept the energy high as he encouraged the fans to start a circle pit and one was attempted. Heafy was backed by Corey Beaulieu (guitar), Paolo Gregoletto (bass) and Alex Rudinger (drums). I’ve seen Trivium before and their guitar playing was a real stand out. This gig was no exception, their trademark precision was displayed. The sound mix was good. Loud, clear and punishing in all the right ways. “Thank you! How the fuck y’all doin tonight?” Matt shouted during one of his guitar swaps. “Everybody move some part of your body!!” The band launched into a spot on rendition of their most well known song, fan favorite, “When The World Goes Cold” (Silence In The Snow) and the theater, packed from pit to rafters, let em know it. A track from their new EP Struck Dead, kept the momentum with “Bury Me With My Screams” followed by “A Gunshot To The Head Of Trepidation” (What The Dead Men Say). Fans quieted and took a breath between songs but were met with “My friends, there ain’t no point during this set that you need to be quiet.” He talked a bit about going through a hard time. “Thank you for helping me as I wrote the lyrics to get out.” “Heads are bangin, fists are pumpin, let’s see some action down here (pit)!!” Finally a pit opened up and a lone crowd surfer rose above the chaos for title track “Struck Dead”. Heafy gets a strong “Hey!” chant going with the loyals before he announced “We’re gunna take you back twenty years. This is “Dying In Your Arms”. Another track from Ascendancy followed with “Pull Harder On The Strings Of Martyr”. Trivium’s commanding set wrapped with “The Heart From Your Hate” (The Sin And The Sentence), “Down From The Sky” (Shogun) and title track, “The Sin And The Sentence”. Need a shot of heavy metal with blazing guitars? Check out my boys from Orange County FL, Trivium, even though you’re more than twenty years late. We won’t hold it against you. HERIOTJINJERTRIVIUM |
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