Love be brave / No one will save you but me / And that has not yet been / The safest place for you to be
What will I do then? / Here comes a change over me / Something strange takes over me / I am brave and love is sweet / And silence speaks for him and me
I don’t recall the last time Friday the 13th fell before Valentine’s Day. I guess it hasn’t happened in the century, until today—seven times since 1970. I would say this weekend’s vibe is a mix bucket to say the least. It’s not like Valentine’s Day is always a garden of roses.
Valentine’s week is always a cool time to make a “mix tape.” Since the days of owning bars and restaurants, I’ve been more passionate about creating a V Day mix-up than going on a date after years of watching couples struggle through Valentine’s Day dinner.
It’s cold outside / And the paint’s peeling off of my walls / There’s a man outside / In a long coat, grey hat, smoking a cigarette
Now the light fades out / And I wonder what I’m doing in a room like this / There’s a knock on the door / And just for a second I thought I remembered you
So now I’m alone / Now I can think for myself / About little deals and S.U’s / And things that I just don’t understand / Like a white lie that night / Or a sly touch at times / I don’t think it meant anything to you
Finally, the dark days of winter have hit LA. Our floorboards are cold, but I guess we needed it. Our Jonah was home much of the week fighting the flu. Honestly, LA feels like a struggle right now, but all said, the sun is peaking out.
A few old songs to keep hope alive, mixed with a grip of new releases. After all the show…must…must…
WORDS AND IMAGES: MATT MARTINEZ | It had been two years since English pop rock band Don Broco had been back to the United States, but they decided to start the year with a short two-week tour, hitting the west side of the United States. Making a stop at The Wiltern in Los Angeles, fans were excited to rock out to the hard-hitting, uplifting songs that Don Broco has become known for. This was quite a show and one that I won’t soon forget—the perfect way to kick off 2026.
Don Broco picked two stellar bands to help open the show and get fans’ heartbeats pounding: Sace6 and Dropout Kings. Sace6, an alternative pop duo from New York, got the night started. Fronted by vocalist Sace, his high tenor vocals rang angelically in the ears of the fans. Guitarist Noah Thomas added a hard edge to Sace6’s sound with his distorted guitar tone and screaming vocals, which were layered with Sace. Sace6 even brought out guest vocalist, Showing Teeth, for “Said and Done,” which added a unique dimension to the show. Sace6 mixed melodic and scream vocals and instrumental melodies to give us a robust set that made many new fans in Los Angeles.
Dropout Kings took the stage next with the energy of a five-year-old who just ate too much candy. Co-vocalist William “Black Cat Bill” Lauderdale was as animated as an anime character—dancing, bouncing, and running across every inch of the stage. I’m surprised the man didn’t jump into the audience. Fellow co-vocalist Rob Sebastian worked the whole stage with a swagger like he owned the place, while guitarist Chucky Guzman was a bunny rabbit jumping around the stage, and a grin on his face that showed how much he loved performing for us. The sugar rush Dropout Kings gave us was a musical high I can’t wait to experience again.
It was then time for our headliner, with Don Broco taking the stage. Kicking their set off with “Cellophane,” this was a pulse-pounding way to start the show. Fans were singing, losing their minds, and jumping along with the beat of the song. If you were up on the balcony of the theatre, you could feel the balcony swaying with the force of the fans jumping. We had all instantly entered a musical high within moments and couldn’t be happier to be anywhere else than seeing Don Broco performing live again.
WORD AND IMAGES: DANIEL GRAY | Hall of Fames are an interesting proposition. Who deserves to be in? Who’s getting left out? Who’s making the decisions? It’s even trickier in music. There are so many genres and so many fan favorites. So, perhaps righting certain wrongs and bringing legends and players back into the spotlight is where the Metal Hall of Fame comes in.
The 2026 award show was fittingly on the Sunset Strip, where many of the evening’s performers and inductees left their mark. The celebrity-filled red carpet was at the Rainbow Bar and Grill, and the induction and performances were held at The Roxy Theatre. Overall, it was a fantastic spectacle highlighted by newly minted inductees Rikki Rocket, Tracii Guns, Chris Holmes, Warren DeMartini, and Gilby Clarke.
The evening got into full swing with two already inducted members of the Metal Hall of Fame, guitarist Chris Impellitteri and vocalist Graham Bonnett. They opened with the classic, “Since You’ve Been Gone,” and then did the title track from the Impellitteri album Stand In Line. The hosts, Eddie Trunk and Cathy Rankin, came out to salute metal, the inductees, and get the evening going. Guitarist Impellitteri returned, only this time with vocalist Dino Jelusick, bassist Jeff Pilson (who had to sit on a stool due to a torn meniscus, still very metal), keyboardist Ed Roth, and drummer Ken Mary for a “Crazy Train” tribute to Ozzy. The next performance was a Whitesnake tribute with superstar Doug Aldrich on guitar, Sean McNabb on bass, and Jelusick and Mary staying on.
The first induction of the night was Rikki Rocket. Rocket was actually listed as part of the 2025 ceremony, but couldn’t make it due to the fires in his area last year. His performance featured Britt Lightning on guitar for Poison’s “Look What the Cat Dragged In” and “Talk Dirty to Me.”
I’ve been waiting for hours / I’ve been through snowstorms and showers / Waiting for the lights to fade and your parents go to sleep / Then just like a randy cat into your bed I’ll creep.
Yes I remember your smell / Yes I remember, remember it well / Strange kind of animal music in the night / Crazy feeling, I just can’t explain it right.
Running around making the music industry scene for Grammy week? Does anyone care about the Grammys and the music business? Yes, apparently, there are many of us still “chasing the dream.”
In solidarity with my pals in the Twin Cities, I’ll let the music do the talking.
The House of Blues was buzzing with energy on Thursday night as Metal Allegiance stormed the stage with a lineup that felt like a who’s who of heavy metal and thrash. From the moment the lights dimmed and DJ Will appeared on the HOB stage, fans of all ages knew they were in—it was 100% insanity. What followed was simply brilliant—a 2+ hour masterclass in musicianship, highlighting the raw power of live music on us all. It was an incredible performance and the perfect way to kick off NAMM week here in Orange County.
For the uninitiated, Metal Allegiance is not just a band, it’s a movement. Formed in 2014 by bassist and songwriter Mark Menghi, he quickly reached out to metal heavyweights David Ellefson, Alex Skolnick, and Mike Portnoy, and a supergroup was formed. Today, MA is still alive and kicking, with its core, along with a rotating collective of musicians who come together a few times a year to celebrate the music they love with fans.
With a lineup that often includes members of bands like Testament, Megadeth, Anthrax, and more, Metal Allegiance is a living, breathing tribute to the power of collaboration and the unifying spirit of heavy metal. Their performances are as much about the music as they are about the community, creating an experience that feels both intimate and intense.
The evening kicked off with Lost Legacy, whose blend of melodic and thrash metal set the tone for the night. Their intricate guitar work and commanding stage presence had the early crowd nodding along, a testament to their ability to captivate even the most discerning metalheads. Next up was Red Reign, bringing a classic hard rock vibe with a modern edge. Their anthemic choruses and tight rhythm section had the audience singing along, proving that their sound is as timeless as it is electrifying.
Turn off your mind, relax and float downstream / It is not dying / It is not dying / Lay down all thoughts, surrender to the void / It is shining / It is shining / That you may see the meaning of within / It is being / It is being
That love is all and love is everyone / It is knowing / It is knowing / That ignorance and hate may mourn the dead / It is believing / It is believing / But listen to the color of your dreams / It is not living / It is not living
How do we transcend 2026? Dr. Google says John Lennon recommends meditation. So do I. I often take 15 to 20 minutes to sit in our canyon, lay down all thoughts and surrender to “the void.” If I’m having a cool day, I can “relax and float downstream.”
At the front of my desk are two excellent speakers. One has a post-it on it that reads, “It’s not gonna turn out like that.” The other has a fortune from cookie I got last week at Panda Express that reads, “MODIFY YOUR THINKING TO ADAPT TO NEW SITUATIONS.”
WORDS AND IMAGES: DANIEL GRAY | The Foo Fighters’ sold-out show at the Kia Forum was a benefit. It was a birthday party. It was a mini tribute. It was all of those things and more. The benefit was for Hope United, a pairing of the Foo Fighters and two of the leading providers of homeless services, Hope the Mission and LA Mission. The birthday party was for Dave Grohl, who turned 57 on Wednesday. And the mini tribute? Well, that was for guitarist Pat Smear. Regardless of reason, the Foo Fighters’ performance on Wednesday night was electric and one incredible way to kick off 2026.
Smear was absent from the show due to what’s being referred to in a very Spinal Tap-esque way as a “bizarre gardening accident.” A video of Smear on his couch, foot in a cast, started the show, wishing Grohl a happy birthday. But while Pat Smear may not have been playing, his presence was felt for the entire concert. The first song of the evening, “My Hero,” was dedicated to him, and his face was on the bass drum of Foo’s new drummer, Ilan Rubin, formerly of Nine Inch Nails.
After that, Dave Grohl and the band were off and running. Literally. The show was in the round, and even though the stage rotated 360° to face every part of the arena, Grohl still did lap after lap around the entire stage. He may be 57, but he could be the youngest 57 ever. The beard and hair may be graying a bit, but the gigantic smile is as youthful as ever.
He addressed his age by having the audience scream like a 57-year-old having the time of his life. The Forum absolutely exploded. Late in the show, after sprinting the stage, he said it wasn’t normal for a 57-year-old man to do that. He then grabbed his left arm and faked a heart attack. He also let the audience know that, about two hours into the show, he hadn’t gone to the bathroom.
Outside in the rain / Through the window in your mind / Out of temperature / That turns so cold / And you’re not there / Sweet lover of the day / Desert in your hands
And I wait in the sunlight / You’re everywhere and nowhere in the morning / And please stop me lying down here / Praying, praying for the rain / Waiting for the rain again / Waiting for your hands / To calmly take my eyes / Again
My friend / My friend
Hello, top of 2026. We’re in it! Rest assured, not every day will be warm and sunny, but today it’s relatively warm and sunny.
Still, the top of January has very few new song releases, so I’m gonna close my eyes and flip through a few crates to come up with a few records and a vibe.
The moment I wake up / Before I put on my makeup / I say a little prayer for you / While combing my hair now / And wondering what dress to wear now / I say a little prayer for you
Forever, forever, you’ll stay in my heart / And I will love you / Forever and ever, we never will part / Oh, how I’ll love you / Together, together, that’s how it must be / To live without you / Would only mean heartbreak for me
An old friend often says that the new year is like a blank slate.
Traditionally, the first week of January has very few new song releases. This said, there are a couple of note from Father John Misty and Dry Cleaning.
For the final days of 2025, I thought I’d dig through a cold garage and flip through the milk crates for some of my favorite covers to warm my soul.
PALM DESERT, CA | Under the desert stars in the Coachella Valley, Duran Duran transformed Acrisure Arena into a pulsating time machine, delivering a 2.5-hour spectacle that was equal parts nostalgia and cutting-edge artistry. From the moment the lights dimmed, the sold-out crowd knew they were in for one unforgettable night. The low desert energy was pegging at an 11 as Simon Le Bon, Nick Rhodes, John Taylor, and Roger Taylor took the stage. The arena immediately erupted into a sea of absolute ’80s bliss, signaling the beginning of one incredible performance that lifelong fans like me would not soon forget.
I’ve been a Duran Duran fan for as long as I can remember. Back in 1981, when I was just 11, my grandfather took me to Licorice Pizza in San Bernardino to buy my very first 45, “Planet Earth.” I played that single nonstop until the following year, when I discovered what would become my favorite Duran Duran album, Rio. My mom got me a super-sized poster of the band, which I proudly displayed on my bedroom wall, and from then on, I was hooked. Duran Duran became my gold standard for bands, and they single-handedly ignited my lifelong passion for music.
Before diving into my review of Duran Duran’s concert, let me set the stage. This was my first experience attending a live show at Acrisure Arena in Thousand Palms. As someone who usually photographs live music professionally, it was unusual for me to watch without being behind the lens. On top of that, this marked the tenth time I’d seen Duran Duran perform since my teenage years. Honestly, I had been anticipating this particular night for some time, knowing it would be my final show of 2025. But I couldn’t help but wonder how it would compare to the countless other bands I’ve seen over the year. Now, let’s see how things unfolded.
John Bush, best known as the frontman for veteran rock band Armored Saint, also spent time fronting thrash metal masters Anthrax from 1992 to 2005. He made four albums with the band during that time. When Bush left Anthrax, and Joey Belladonna rejoined, the Bush-era music has never really been played again, which is unfortunate, as the songs are heavy, catchy, and well worth continuing to be played and heard.
Bush was often asked about performing solo shows that focused on these Anthrax songs, and after many years of fans requesting it, it finally happened in 2025. Saturday night’s show, in front of a capacity crowd in West Hollywood, was simply incredible and highlighted why John Bush is so beloved by many around the world.
Bush announced three special shows earlier this year, playing songs from his era in Anthrax, taking place in Hollywood, New York, and St. Charles, IL. The first occurred at the world-famous Whisky A Go Go on Saturday night, December 13, to a sold-out crowd.
The night gave the fans a double dose of John Bush as his other band, Category 7, opened the show, and then Bush returned with his Category 7 bandmates backing him to play Anthrax songs from Sound Of White Noise, Stomp 442, Volume 8: The Threat Is Real, and We’ve Come For You All. The Whisky had fans packed in like sardines, and the anticipation was high to hear these songs, some of which had not been played in over 20 years.
I was (I was staring at the water) / I was staring at the water / I had one hand on my head between you and the water / I had one hand on my head in the water / I had my hand over my mouth / And I watched the moon over New Jersey / I had
You’re making me feel like a dollar in your hand / You’re making me feel like I’m a zero dollar man / You’re making me feel like a dollar in your hand / You’re making me feel like I’m a zero dollar man
God is real, God is real / I’m not kidding, God is actually real / I’m not kidding this time / I think God is actually for real / God is real, God is actually real / God is real, I wouldn’t joke about this / I’m not kidding this time
This second week of December finds us LA canyon dwellers basking in the beautiful morning sunshine. As I flip through my pile of fresh vinyl releases from 2025, what’s not to be grateful for? There’s plenty of diversity to choose from.
There’s a bunch of cool, male rock stars emerging,—and big thanks to Cameron Winter for being so fucking cool.
In the pulsating heart of Los Angeles’ underground music scene, where beats once echoed through warehouses and transformed nights into euphoric odysseys, Ron D. Core carved his legacy.
A trailblazer in the world of electronic music, Ron’s journey began in the early days of DJing, where his raw passion for sound collided with the burgeoning rave culture of the 1990s. As a pioneer of hardcore and techno, he didn’t just spin records—he shaped a movement, becoming a revered figure in a scene that redefined the boundaries of music and community.
But Ron’s influence didn’t stop at the turntables. As the owner of Dr. Freecloud’s Record Store, a haven for vinyl enthusiasts, he has been instrumental in preserving the soul of analog sound in an increasingly digital world. From the gritty warehouses of LA to the resurgence of vinyl as a cultural touchstone, Ron’s story is one of resilience, innovation, and an unwavering love for the tangible magic of records. Join us as we delve into his extraordinary journey, exploring the evolution of electronic music, the enduring allure of vinyl, and the insights of a man who continues to inspire generations of music lovers.
Can you take us back to the moment you first fell in love with music?
I was around 6 or 7 years old when I got my first records and actually started listening to music. Full credit really goes to my father who was a pretty big record collector back in the ’70s. His collection gave me exposure to so many different types of music. And then of course, there was this babysitter we used to have. She loved music and used to give me records to help me build my collection. Both of these experiences fueled my love for music and initial addiction to vinyl.
What drew you to electronic music specifically?
While in high school, I dabbled in a lot of music and found myself liking too many things. In my early years, I was more of a metalhead—I was really, really big into ’80s metal. Then towards my junior year, I started to hang out with a different group of friends that were more into industrial music.
My love of electronic music was a direct result of those industrial roots. I was really into industrial at the time, which wasn’t dance friendly, along with early techno and house. Those were essentially the three genres that were available to us in the ’80s. And many today probably would find it shocking that the dancing actually started with just small handful of genres.
But industrial eventually turned dance friendly, morphing into EBM—which is the acronym for Electronic Body Music. And that finally pushed me over the edge into all the electronic and dance stuff because they were starting to make really cool industrial sounds while simultaneously putting a dance beat behind it. The EBM and the danceable industrial stuff ultimately drew me into collecting 12-inch vinyl.
