Everybody’s looking at me / Feeling paranoid inside / When I step outside I’ll feel free / Think I’ll find a place to hide
Tell me people, am I going insane, insane? / Tell me people, am I going insane, insane?
Today I’m in a pretty good summer mood, hanging in my canyon garage office listening to cool new bands and old favorites. I was cool to see my Instagram feed fill up with old friends on stage at Ozzy’s farewell show in Birmingham.
I’ve lived a lifetime listening to Sabbath. Last Saturday, I paid my respects by listening to Sabbath Bloody Sabbath and Sabotage back to back.
It brought me back to staying up late as a kid to watch Cal Jam on ABC’s In Concert. Even at the age of 13, I realized this group was for me. And so were rainbows and California!
The Summer of Loud Tour roared into Irvine’s Great Park on July 5, delivering a seismic showcase of metal’s finest with a rotating roster of powerhouse headliners. Killswitch Engage set a fierce standard with their razor-sharp precision and anthems that demanded every fist in the air, while Parkway Drive’s cinematic intensity turned the stage into a coliseum of metalcore grandeur. I Prevail’s blend of crushing riffs and melodic hooks brought a dynamic energy that had the crowd roaring back every lyric, and Beartooth’s unrelenting charisma provided the perfect, high-octane finale.
Each band brought its unique brand of chaos and catharsis, creating an unforgettable experience that pushed fans to the limit. With its relentless energy and unparalleled diversity, the Summer of Loud Tour was a masterclass in the sheer power and passion of live music, leaving every attendee at Great Park Irving screaming for more.
Kicking off Summer of Loud beneath a golden Californian sun, Kingdom of Giants seized the stage with a six-song set that instantly electrified Irvine. Every thunderous riff and razor-sharp vocal from Dana Willax radiated both precision and anguish, captivating the ever-growing crowd.
Tracks like “Bleach” and “Wayfinder” balanced hard-hitting aggression with surprising emotional depth, while Willax’s unstoppable energy surged through growing mosh pits on the left and right of the stage. As the set ended, the audience wasn’t merely warmed up; they were awakened, fully primed for a day of metal madness that promised to reverberate long after the lights dimmed.
When Alphawolf exploded onto the stage, the day’s intensity reached new, dizzying heights. With an unrelenting ferocity, the Tasmanian wrecking crew tore into anthems like “Akudama” and “Creep”, transforming Great Park into a swirling cauldron of chaos. Lochie Keogh prowled the stage with a magnetic presence, his guttural roars sparking a tidal wave of movement in the pit, where bodies collided in perfect, anarchic harmony.
Time for livin’, time for givin’ / No time for makin’ up a monster to share / Time for livin’, time for givin’ / No time for breakin’ our own fairytale
Ain’t, ain’t, ain’t nobody’s got to spell it for me / Ooh, ain’t nobody got to yell, I can see / Ain’t nobody got to think, I can hear / But if I have to, I will yell in your ear / Aah, ooh
Where did June go? Did summer jump the gun?
Most of you know I became hooked on rock ‘n’ roll at a young age. Along the way, I’ve experienced several “magical moments.”
To be “astonished” has kept me on my journey. Like this moment, I reposted on Facebook.
I remember as a kid in NYC when twenty thousand people and I simultaneously realized we were in a room with The Rolling Stones on stage playing “Honky Tonk Woman.” Reflecting on that moment, that feeling of shared group adulation, brought tears to my eyes.
Kiss me hard before you go / Summertime sadness / I just wanted you to know / That, baby, you the best
I got my red dress on tonight / Dancin’ in the dark, in the pale moonlight / Done my hair up real big, beauty queen style / High heels off, I’m feelin’ alive
Oh my God, I feel it in the air / Telephone wires above are sizzlin’ like a snare / Honey, I’m on fire, I feel it everywhere / Nothin’ scares me anymore (one, two, three, four)
As a New Yorker, I first came to California for college. I showed up with a green duffle bag and a banged-up surfboard I bought in East Hampton. I grew up spending my summers on the beaches of eastern Long Island and returned there for summer break my first few years of college. At the end of my senior year, I stayed in LA. That was 40 years ago. My first California summer was “endless.”
Like a midsummer’s night dream, I guess? All said, there’s no doubt that we change our listening habits with the change of the seasons. There are songs about summertime and summertime hits. On the eve of the solstice, I felt like listening to artists and songs that reek of summer.
Amid the sprawling energy of Cali Vibes 2025, the Boomyard carved out its own soulful and electrifying sanctuary within Marina Green Park. While the festival’s main stages boomed with headliners and massive crowds, Boomyard offered something entirely different. Its essence lay in its vibrance and intimacy, creating a haven where reggae, dancehall, and Caribbean rhythms were celebrated in their purest form. Pulsing beats, swirling colors, and a tight-knit community of music lovers left attendees not just dancing but feeling wholly connected to the culture.
The Boomyard’s lineup was nothing short of stellar, starting with standout performances on the Vibes stage on both Saturday and Sunday. Mystic Marley delivered a set steeped in tranquility yet filled with power, her soulful voice weaving threads of her family’s legendary lineage into the present. Her performance was a beautiful reflection of what modern reggae can be, blending thought-provoking lyricism with melodies that spoke to the heart.
BLVK H3RO, meanwhile, charged onto the stage with a bold and uplifting energy that was impossible to resist. With a captivating presence, he seamlessly mixed modern dancehall with traditional reggae roots, offering songs that were as infectious as they were inspiring. His performance felt deeply rooted in positivity, and fans left his set as if walking on air.
Beyond the headliners, Boomyard ensured its authenticity with an eclectic range of artists and DJs who brought their own flavor to this haven. Blakkamore & Yungg Trip had the crowd entranced early on, blending smooth rhythms with rhythmic storytelling, creating a set that felt both nostalgic and fresh. Chi Ching Ching brought a high-energy party vibe, with his crowd-pumping anthems sparking endless waves of dancing and sing-alongs.
Sunny skies kissed by ocean breezes, reggae beats floating through the air, and an electrifying vibe set the scene for an epic weekend as Cali Vibes took over Marina Green Park in Long Beach, CA, on June 6th and 7th. Nearly 50,000 fans gathered by the shore to witness show-stopping performances from headliners like Kid Cudi, Stick Figure, Rebelution, and Dirty Heads, while legends like Cypress Hill, Pepper, and Fortunate Youth ignited the crowd with their unmatched energy. The grooves didn’t stop there—with the soulful rhythms of Boomyard courtesy of BLVK H3RO and Mystic Marley, Cali Vibes delivered magic at every turn, cementing its place as the West Coast’s unrivaled reggae-rock festival.
The opening day of Cali Vibes ignited Long Beach with an unstoppable energy, thanks to powerhouse performances by Stick Figure and Dirty Heads. Dirty Heads paid homage to their Huntington Beach roots with a high-octane set that had the crowd jumping, swaying, and belting out every word to hits like “Medusa” and “Vacation.” The air buzzed with unity as fans danced under the stars, turning the night into a joyous celebration of music and connection.
Stick Figure kept the momentum soaring, delivering a soul-stirring performance that blended reggae grooves with a modern edge. Scott Woodruff’s magnetic stage presence mirrored the crowd’s chilled-out vibe, creating an effortless bond between artist and audience. Highlights of the set included the unforgettable “Choice is Yours” and “World on Fire,” but the true show-stealer was Cocoa the Tour Dog, whose cameos sent waves of delight rippling through the audience. It was a night that epitomized the spirit of Cali Vibes—music, movement, and moments to remember.
Day two of Cali Vibes brought the heat with Kid Cudi and Rebelution delivering performances that were nothing short of spectacular. Rebelution kicked things off by guiding the crowd through a vibrant mix of beloved classics and fresh new tunes, their polished yet playful energy setting the perfect tone for the weekend vibes.
I once had a life, or rather / Life had me / I was one among many / Or at least I seemed to be / Well, I read an old quotation in a book just yesterday / Said, “gonna reap just what you sow / The debts you make you have to pay” / Can you get to that? / Can you get (I want to know)
Friday the 13th or Father’s Day—call it what you will, but it’s a weekend, and a wild one at that. The vibe in our canyon is like many June weekends: a bit of gloom in the morning and roasting by 3PM.
This weekend, however, has a dark, dark cloud hanging over us Angelenos. The feds are fucking with our Chicano community and therefore us all. I’m on top of the hill and I even feel infringed. This week has made me realize how ethnically special our city is.
The golden age of rock and roll will never die / As long as the children feel the need to laugh and cry / Don’t wanna wreck, just recreation / Don’t wanna fight but if you turn us down / We’re gonna turn you ’round / Don’t mess with the sound / The show’s gotta move everybody groove / There ain’t no trouble on the streets now / So if the going gets rough don’t you blame us
Oh oh oh gotta stay young you can never grow old / Oh oh the golden age of rock and roll
It’s no secret that I’m a highly emotional and over sentimental rock ‘n’ roller. As my 15 year old son Jonah barks at me, “Dad, you old hippie. What, you gonna cry? Fucking pussy.” He’s not far off, ha ha! It’s my DNA make-up and it’s become clear that songs have the ability to transport my emotional state to a time and a place.
These last couple of weeks I’ve been triggered by a playlist I compiled of favorite albums from 1974. It’s totally insane, surreal and frightening that I’m recounting summers past in the late 1970s, but it’s the first week in June. Final exams have been taken, books, pencils, and computers tossed to the side. There is an exhale of relief… and then joy. The joy of possibility. The freedom of youth. I feel it, like voices on the wind.
In America you get food to eat / Won’t have to run through the jungle / And scuff up your feet / You just sing about Jesus and drink wine all day / It’s great to be an American
Ain’t no lion or tiger, ain’t no mamba snake / Just the sweet watermelon and the buckwheat cake / Ev’rybody is as happy as a man can be / Climb aboard, little wog, sail away with me / Sail away, sail away
Rolling into June with Idelic muses. Ronny, my fishing buddy, sent me a photo from a trip we took a dozen years ago. We caught big fish and had such big smiles—waking up, far out at sea, carefree on a sunny morning. It’s just a special feeling. It has to be said, it’s not always calm and sunny. As I dug through crates, I came across a Morrissey song, “Seasick, Yet Still Docked,” and I thought.
Ooooo, I’ve been there too. The fact is, we encounter dilemmas that are not always cool. So with the high seas in mind, I head into June. Everything is just as it should be. In fact, yesterday I had a good “hair day.”
You give me the reason, you give me control / I gave you my purity, my purity you stole / Did you think I wouldn’t recognize this compromise? / Am I just too stupid to realize? / Stale incense, old sweat / And lies, lies, lies
It comes down to this / Your kiss, your fist / And your strain, it gets under my skin / Within, take in / The extent of my sin
I’m still on a roll with Idelic muses. This week I saw an article in The New York Times featuring photos by Clayton Patterson, who documented NYC’s Lower East Side in the ’80s. Images of “heroin-bags,” the riots in Thompson Square Park in the summer of ’88, and the front door of LES’s notorious street gang, Satan’s Sinners Nomads.
All the songs of sin and sainthood, and I almost forgot. It was twenty years ago that I ran into Susan at Target and asked her out. I had never been to a Target before, but she said yes, and we’ve been together ever since!
On Saturday afternoon, the Cruel World Festival returned to Brookside at the Rose Bowl, bringing together an extraordinary mix of legends for a rainy day of dark, nostalgic delight. Headliners New Order, Nick Cave & the Bad Seeds, and The Go-Go’s were what first drew the crowds, but from the moment gates opened, it was clear this festival was about so much more than just its top billing.
Fans endured steady showers to bask in the glow of unforgettable performances, from synthpop powerhouses to gothic rock kings and everything in between. It was a show for the ages and one I’m glad I get to experience every May here in Southern California.
The undeniable crown jewel of the day was Orchestral Manoeuvres in the Dark (OMD), whose set exemplified why they’re considered synthpop pioneers. Andy McCluskey was unstoppable, twirling and thrusting with contagious energy that had even the dampest attendees moving. Whether it was the rarely played “Joan of Arc (Maid of Orleans)” or fan-favorite “Electricity,” the band’s live sound was both nostalgic and refreshingly alive.
And when Paul Humphreys took center stage to sing “(Forever) Live and Die”, well, that was was pure magic. But it was the show-closing “Enola Gay” that solidified their place as the best set of the day. Rain or no rain, the estimated 50,000 fans erupted in synchronicity as the iconic synth riff echoed against the gray skies of Pasadena. It was an emphatic reminder of why OMD remains so loved by fans all around the world.
Blue / Songs are like tattoos / You know I’ve been to sea before / Crown and anchor me / Or let me sail away
Hey, blue / There is a song for you / Ink on a pin / Underneath the skin / An empty space to fill in
Well, there’s so many sinking now / You gotta keep thinking / You can make it through these waves / Acid, booze, and ass / Needles, guns, and grass / Lots of laughs / Lots of laughs
Everybody’s saying that / Hell’s the hippest way to go / Well, I don’t think so / But I’m gonna take a look around it, though / Blue, I love you
I guess I’m on a roll with Idelic muses. This week, it’s my enchanting daughter, Zoe Blue. Her mother always told her (and Joni) she was named after the title track from the Mitchell classic. I claim to be the first punk rocker obsessed with Joni, and honestly, the words could not be more fitting.
This said, Zoe was named after Blue, a tough, skinny kid from the schoolyards of New York City. Dude was kinda like a mini George Girvin on the asphalt playgrounds of 1970s NYC hoop lore.
WORDS AND IMAGES: DANIEL GRAY| The beginning of May means it’s time to hit the beach—Redondo Beach, that is—for the annual BeachLife Festival, a three-day celebration of music, art, and beach life culture. The 6th annual BeachLife Festival took over Redondo Beach from May 2–4, 2025, delivering a first-class festival experience under the warm California sun. As one of the premier festivals in the country, BeachLife once again exceeded expectations with a spectacular lineup and unforgettable vibes.
Day three of BeachLife Festival started a bit gloomy and overcast weather-wise. But that in no way affected the performances or the crowd’s enjoyment. Kicking things off at noon on the Hightide stage was Lily Meola. The Maui-native brought her own sunshine and being the opening act didn’t stop her from walking through the center ramp and interacting with the crowd.
Next, it was the Lowtide stage for Big Head Todd and the Monsters. This veteran band out of Colorado was a great contrast to Meola. Namesake Todd Park Mohr provided ripping guitar work, and Jeremy Lawton on lap steel guitar made sure the audience was awake and moving.
Marcus King continued the guitar work at 2:20. Hailing from South Carolina, King’s soulful voice and soaring guitar playing, combined with Drew Smithers’ incredible slide guitar, brought more and more people to the Hidetidestage. More than one audience member walked away in awe of what they heard and saw, and more than a few were still talking about the performance at the end of the evening.
WORDS AND IMAGES: CHRIS LOOMIS | The beginning of May means it’s time to hit the beach—Redondo Beach, that is—for the annual BeachLife Festival, a three-day celebration of music, art, and beach life culture. The 6th annual BeachLife Festival took over Redondo Beach from May 2-4, 2025, delivering a first-class festival experience under the warm California sun. As one of the premier festivals in the country, BeachLife once again exceeded expectations with a spectacular lineup and unforgettable vibes.
The 2025 edition of BeachLife featured headlining sets from Lenny Kravitz, Sublime, and Alanis Morissette, as well as performances from Aloe Blacc, Train, The Pretenders, Jackson Browne, The Beach Boys, and many more. The festival curates an eclectic lineup spanning rock, indie pop, country, new wave, punk, reggae, and everything in between, making it one of Southern California’s premier music events.
The festival grounds were set up with four stages strategically placed to maximize the experience. The Hightide and Lowtide stages hosted the larger, well-known acts, while the Speakeasy stage offered intimate acoustic performances from punk legends and indie artists. The Riptide stage mixed established artists with up-and-coming acts. What sets BeachLife apart is that the Hightide and Lowtide stages never overlap performances, and each artist gets a full 60 minutes on stage, eliminating the tough decisions of choosing between acts.
Gates opened at 11:30 AM on Saturday, and Tomorrow’s Bad Seeds kicked off the day at noon to a light crowd. By 2:00 PM, when Sugar Ray hit the Hightide stage, the area was already jam-packed. Frontman Mark McGrath knows how to work a crowd, and the band, decked out in all-white suits, opened with a cover of Ginuwine’s “Pony.” Their set was full of hits, including “Fly,” “Someday,” and “Every Morning.” Hailing from nearby Newport Beach, Sugar Ray is the only band to have played every BeachLife Festival since its inception.
WORDS AND IMAGES: CHRIS LOOMIS| The beginning of May means it’s time to hit the beach—Redondo Beach, that is—for the annual BeachLife Festival, a three-day celebration of music, art, and beach life culture. The 6th annual BeachLife Festival took over Redondo Beach from May 2-4, 2025, delivering a first-class festival experience under the warm California sun. As one of the premier festivals in the country, BeachLife once again exceeded expectations with a spectacular lineup and unforgettable vibes.
The 2025 edition of BeachLife featured headlining sets from Lenny Kravitz, Sublime, and Alanis Morissette, as well as performances from Aloe Blacc, Train, The Pretenders, Jackson Browne, The Beach Boys, and many more. The festival curates an eclectic lineup spanning rock, indie pop, country, new wave, punk, reggae, and everything in between, making it one of Southern California’s premier music events.
The festival grounds were set up with four stages strategically placed to maximize the experience. The Hightide and Lowtide stages hosted the larger, well-known acts, while the Speakeasy stage offered intimate acoustic performances from punk legends and indie artists. The Riptide stage mixed established artists with up-and-coming acts. What sets BeachLife apart is that the Hightide and Lowtide stages never overlap performances, and each artist gets a full 60 minutes on stage, eliminating the tough decisions of choosing between acts.
Gates opened at 1:30 PM on Friday, and husband-and-wife folk duo Shovels & Rope kicked off the music at 2:20 PM with a low-key set of folk-infused rock and roll with a country flair. Over on the Speakeasy stage, Phantom Planet delivered the first up-close, intimate performance of the weekend. Meanwhile, old-school hip-hop trio Digable Planets brought the funk to the Lowtide stage, with Butter Fly, Doodlebug, and Ladybug Mecca trading rhymes. Their set closed with the Grammy-winning single “Rebirth of Slick (Cool Like Dat).”
