Before he became one of the biggest names in pop music, Teddy Swims was just a guy with a few social media accounts. I first discovered Swims, whose real name is Jaten Dimsdale, during the pandemic, when he began posting videos of himself singing on Instagram and TikTok. Like me, countless people around the world couldn’t get enough of his smooth, soulful voice.
Before long, Swims was racking up millions of views and gaining a huge following. That’s when the music industry started to take notice and signed him to a record label. His debut single, “Night Off,” blew up on streaming platforms and the rest, as they say, is history.
Back in the day, the Conyers, Georgia, native started by singing in his church choir and competing in his school’s talent shows, refining his soulful, bluesy sound. It comes as little surprise to hear Swims cite legends like Ray Charles, Sam Cooke and Marvin Gaye as major inspirations.
Thanks to lyrics that delve into themes of love, loss and self-discovery, Swims has clearly tapped into a winning formula. His breakout single “Lose Control” has garnered an astounding 2.6 billion global streams while reaching number one on the Billboard Hot 100 chart and was inducted into Spotify’s “Billions Club.”
With more than 48 million monthly listeners on Spotify and a sold-out global headline tour on the horizon, the Grammy-nominated powerhouse came to the nation’s capital, performing at Nationals Park for the first time and lived up to the hype.
Swims had the ballpark hanging on his every note as delivered a captivating and melodic set that included hits such as “What More Can I Say,” “Some Things I’ll Never Know,” and “Apple Juice.” The 31-year-old then ended the night with “Lose Control” and “The Door,” ensuring that all those in attendance headed for the exits more than satisfied with the amazing performance.
With more than 200 live music venues packed into 280 square miles and internationally acclaimed events such as South by Southwest and the Austin City Limits Music Festivals, it’s easy to see why the capital of Texas is known as the Live Music Capital of the World.
Iconic artists such as Janis Joplin, Willie Nelson and Stevie Ray Vaughan put Austin on the map musically, and a new generation of performers carries the torch today. One of the most prominent faces of Austin’s vibrant music scene today is Gary Clark Jr.
Influenced by rock and roll pioneers like Vaughan and Jimi Hendrix as well as soul artists such as Curtis Mayfield and Marvin Gaye, Clark Jr.’s music defies categorization. The 40-year-old’s rock influences are prominent during collaborations with the Foo Fighters and Rage Against the Machine’s Tom Morello. Additional high-profile collaborations with The Roots, Childish Gambino, John Legend and Alicia Keys, as well as B.B. King, Eric Clapton, Sheryl Crow and John Mayer prove that Clark Jr. can seamlessly fit into practically any genre and/or style of music.
For this reason, Clark Jr.’s performance at Wolf Trap, in Vienna, Virginia, was nothing short of mesmerizing. The evening — part of a massive 25-date North American tour — was a perfect blend of raw blues, soulful ballads and electrifying rock, showcasing his versatility and a deep connection with his passionate fanbase.
The four-time Grammy Award winner began the evening with “Maktub,” the lead single off of his fourth studio album, JPEG RAW. Rolling Stone has already hailed the album, which dropped in March, as one of the best releases of 2024. In Arabic, Maktub means “it is written” — a song with plenty to say about how freedom is our destiny.
You can’t stop the message, uh Life’s for sale, pay attention This just is so suspicious Don’t wanna be another victim
Gary Clark Jr.
Following the opening track, Clark Jr. launched into “When My Train Pulls In,” a beloved staple in his repertoire. The extended guitar solos and heartfelt lyrics created a palpable connection with the audience. So much so that — as the track came to an end — Clark Jr. paused for a brief moment, allowing himself to soak in all of the admiration and appreciation from the roughly 6,000 in attendance.
While Clark Jr. has a well-earned reputation placing him among the best guitarists alive today, he’s clearly not one dimensional. “This Is Who We Are” is a standout track from JPEG RAW that best illustrates Clark Jr. takes to the stage each night with something to say. Before diving into “Bright Lights” near the end of his set, Clark Jr. fittingly asked for the house lights to be turned up so he could once more take in the enthusiastic audience that continued to hang on his every word and note. The hit track from his album, Blak and Blu, was easily a highlight of the night and worthy of the raucous ovation the performer received in response.
While those in attendance would have loved for the show to continue long into the night, the venue’s curfew limited Clark Jr. to just one additional song when the band returned to the stage. That said, the encore performance of “Funk Witch U” concluded the concert on an absolute high note.
On the heels of their critically-acclaimed album, Where Do We Go From Here?, Asking Alexandria hit the road with Memphis May Fire, The Word Alive and Nerv for their 27-stop, “All My Friends” North American tour. The U.K.-based band has been a staple of hard rock stations around the globe since 2008 and, with eight studio albums worth of material to choose from, has no shortage of options to play over the course of a 90-minute set.
When Asking Alexandria, which is comprised of singer Danny Worsnop, guitarist Cameron Liddell, bassist Sam Bettley and drummer James Cassells, performed at The Fillmore in Silver Spring, the setlist was an ideal blend of their biggest hits and newer material, with an acoustic gem or two sprinkled in for good measure.
The night kicked off with “Closure,” a heavy track that immediately set the tone for what was to come. The explosive energy of the song was palpable, and Worsnop’s powerful vocals drew the audience in from the start. “Alone Again,” from their 2021 album, See What’s On The Inside, continued to build on that momentum and before the sold-out crowd could even think about catching their breath, they were hit with a trio of hard-hitting tracks: “Bad Blood,” “Down to Hell,” and “Into the Fire.”
While each upbeat, fast-paced track built upon the last, “Into the Fire,” in particular, stood out with its anthemic chorus and searing guitar riffs, eliciting a fervent response from the crowd. After blasting through one of their newest hits, “Dark Void,” the band finally showed a hint of mercy and dove into a surprising acoustic segment. Armed with an acoustic guitar and a world-class voice, Worsnop performed an acoustic cover of the Backstreet Boys’ “I Want It That Way.” This, of course, delighted the audience, who happily sang along at full volume. The acoustic rendition of “Someone, Somewhere” brought a sense of intimacy to the large venue, followed by “Moving On,” which started with a delicate acoustic intro before transitioning into its full-band version.
The energy in the room ramped back up with “The Violence,” a blistering track that tackles themes of societal turmoil and personal struggle. As the concert neared its end, Asking Alexandria played “A Prophecy,” a song that has become a staple in their live shows. After a brief pause, the band returned for an encore, playing “Alone in a Room.” The fan favorite was a perfect choice to end the night thanks to its introspective lyrics and powerful delivery, which provided a sense of closure, bringing the concert full circle, and ensured everyone headed home happy.
After the release of Remade In Misery, Memphis May Fire’s seventh studio album, the band has spent much of the last two years touring extensively.
Whether it’s your first time seeing Memphis May Fire in concert, or you’ve seen them live countless times, it doesn’t take long to realize lead vocalist Matty Mullins brings a distinctive voice to the stage. His soulful, bluesy tones add a depth and emotion to the band’s music that sets it apart from others in the genre.
Mullins, along with lead guitarist Kellen McGregor, bassist Cory Elder and drummer Jake Garland, swung through The Fillmore, in Silver Spring, Maryland, in support of their friends in Asking Alexandria during a grueling 27-stop, “All My Friends” North American tour.
On this night, Memphis May Fire kicked things off with “Make Believe,” the seventh track from the band’s seventh studio album.
A welcome surprise during the show was the unveiling of their newest single, “Chaotic,” from their Shapeshifter album. This marked the first time I had heard the track, but it definitely won’t be the last.
Towards the end of their set, the Texas-based band played “Miles Away,” which has long been a favorite of mine from their catalog. Listening to the song, especially when performed live, will always make me think of the sacrifices made by soldiers deployed in service to their country. And that’s one of the defining hallmarks of Memphis May Fire — their music is relatable to people from all walks of life.
The final two tracks of the night were arguably the band’s two biggest singles to date, “Misery” and “Blood & Water.” With more than 50 million and 25 million listens on Spotify, both singles clearly resonate with audiences, and the sold-out crowd at The Fillmore was no different. If Mullins had suddenly lost his voice at any point during the final two songs, the band had hundreds of capable fill-ins to choose from, as the entire audience sang along at full volume.
Arrested more than 40 times. Never made it out of the ninth grade. In many ways, he was destined to serve as a cautionary tale — either dead or serving a lifetime sentence for choices made as a youth.
Fortunately, Jason DeFord isn’t just another sad statistic. He overcame a troubled upbringing and is now one of the biggest names in music today.
Much to the delight of the 22,000 fans who sold out Jiffy Lube Live, the man known simply as Jelly Roll arrived in town for his latest stop on his tour. The show was particularly noteworthy for the Nashville native, he said, because it marked the most tickets sold for any of the shows on his tour to date.
Backroad Baptism Tour show No. 10 of 44 kicked off with Struggle Jennings followed by Ashley McBryde before each made way for the night’s main attraction. As he took to the stage, Jelly Roll had a mile-wide smile plastered on his face and it remained throughout his entire set.
Anyone who has seen the incredibly-moving documentary on his life, fittingly called Save Me, knows DeFord has struggled with self-worth for much of his life. In his words, he’s been a drug addict, a loser and a stealer. He’s been in and out of jail his entire life. To go from such lows to where he is now, with tens of thousands of adoring fans singing passionately along to his tunes, is all too surreal for the 38-year-old.
“Who’d have thought I could help people? Fuck. I still need help,” he said during the documentary.
This is why Jelly Roll and his band members have embraced a new tour motto of EDM, which stands for “Everything’s different now.”
The self-proclaimed king of white trash kicked things off with “The Lost,” a perfect tone setter off of his latest album, Whitsitt Chapel. As he belted out “I’m better with the lost than the found,” DeFord further illustrated why he’s so beloved by so many. After everything he’s been through, the man has something to say and it clearly resonates with others who have had to deal with their own shit.
A night like this isn’t just a concert. It’s an opportunity for some emotional healing. It’s therapeutic for those who have dealt with more than their fair share of adversity. That’s why, when Jelly Roll dropped “Save Me” on YouTube during peak pandemic, it seemingly blew up overnight.
“I just looked up and it was at a million views,” he said during the documentary.
That moment legitimately changed the life of the man who has said, “If I wasn’t in music, I would be dead or in prison.”
Considering how rapidly his life has changed since then for the rapper-turned-rocker-turned-country-music-artist, no one can fault him for how brutally honest he is on tracks like “Halfway to Hell” and “Creature.” DeFord is there, flaws and all, for the world to see.
This year has been a series of unforgettable moment for Jelly Roll, who won three CMT awards in April: Male Video of the Year, Breakthrough Male Video of the Year and CMT Digital-First Performance of the year for his smash-hit “Son of a Sinner.”
A little later into the evening, DeFord treated the sellout amphitheater to his follow-up hit, “Need A Favor.” In June it became the first song to enter the top 10 on both the Country Airplay and Mainstream Rock Airplay charts. Additionally, it held the top spot of Billboard’s Emerging Artist Chart for a record-breaking 25 consecutive weeks.
To put an exclamation point on an already wonderful evening, Jelly Roll tore into “Simple Man” before closing things out with “Save Me,” the song that did just that for the larger-than-life personality.
Cellphones buzzed with alerts as the national capital region was told to shelter in place due to severe thunderstorms in the area. The National Weather Service warned of a severe weather outbreak, with widespread damaging winds, possible flooding and isolated tornadoes. The federal government even released employees early to ensure the workforce avoided getting caught in the bleak conditions.
And yet, as Washington, D.C., prepared for one of the worst storms the region had seen in more than a decade, tens of thousands of dedicated souls refused to budge — not until they had a chance to sing and dance the night away with the iconic Pink.
At Nationals Park, ominous skies, swirling winds and periodic flashes of lightning could not dampen the spirits of the fashion-forward faithful adorned in their best and brightest outfits — albeit underneath ponchos, trash bags and anything else capable of protecting against the elements.
Welcome to one of the most sought-after tickets of the calendar year — Pink’s Summer Carnival Tour. Good weather sold separately.
While the date had been circled for months for many in the area, the evening did not get off to the best of starts, with alt rockers Grouplove cancelled entirely and Rock and Roll Hall of Famers Pat Benatar + Neil Giraldo forced to perform an abbreviated 30-minute set due to the weather. That said, Benatar, accompanied by husband Giraldo on piano and guitar, sounded amazing and made the most of her limited time on stage. By accelerating through the opening acts, the artist formerly known as Alecia Beth Moore was able to take to the stage a little after 9 p.m. and perform her entire breathtaking show.
The main event began with a Max Headroom-style version of Pink appearing on giant video screens, which instantly energized the packed venue. Armed with a harness and bungee cord, Pink herself made an acrobatic grand introduction high above the crowd — and stage — at Nationals Park to officially “Get The Party Started.” The track proved the ideal selection to jumpstart the festivities, not that the packed baseball park needed any encouragement, as they roared their approval while the Doylestown, Pennsylvania native bounced, bungeed and flipped her way down to the actual stage.
The Grammy Award-winning singer-songwriter kept the good vibes going with “Raise Your Glass,” as the stage filled with backup dancers, disco balls and even giant pink flamingos. During “Who Knew” interpretive dancers joined the fun, performing on the catwalk while Pink belted out the chorus on the main stage. Every song was its own spectacle and each built upon the last. With so much action and excitement on (and above) the stage, all you could do was buckle up and enjoy the exhilarating ride.
Over the course of two captivating hours, Pink dazzled the rain-soaked masses with an adrenaline-fueled, 23-song set spanning her impressive and illustrious career. Having released her ninth album, TRUSTFALL, earlier this year, Pink had more than enough material to pull from throughout the night. Whether performing smash hits like “What About Us,” “Try” and “Just Give Me a Reason” or newer numbers such as “TRUSTFALL” and “Never Gonna Not Dance Again,” the 43-year-old showed why more than 35 million people stream her music each and every month.
Nats Park was treated to a special moment midway through the evening, when Pink brought out her 12-year-old daughter Willow Sage Hart for “Cover Me in Sunshine,” a heartwarming mother and daughter duet.
The entire evening was a series of incredible performances that simply could not be contained by a mere stage, as evident by Pink’s willingness to soar high above the stage and floor seats, gliding to the further corners of the ballpark during the encore performance of “So What.” The impressive aerial display involved with the final number presented Pink with a well-earned victory lap around the entire venue.
Marquee television shows. Massive video game franchises. Hollywood blockbusters. Sold-out sporting events. Professional wrestling and mixed martial arts pay per views from around the globe. For nearly three decades, basically any form of entertainment worth acknowledging has embraced and utilized the high-energy, high-octane musical offerings of Godsmack.
Over an illustrious 28 years, Godsmack has released eight studio albums, one EP (The Other Side), four DVDs, one compilation album (Good Times, Bad Times… Ten Years of Godsmack) and one live album (Live & Inspired). Sadly, earlier this year, the legendary quartet announced that their latest offering, Lighting Up the Sky, will be the final album of their storied careers.
While hard rock fans won’t be thrilled with that news, the fact that lead singer Sully Erna, guitarist Tony Rombola, bassist Robbie Merrill and drummer Shannon Larkin are currently touring in the United States for the first time since 2019 will hopefully soften the blow.
The “Best Of Times World Tour” swung through Bristow, Virginia recently and, while the band might be done creating new albums, I’m happy to report they still deliver their signature sound and an engaging live performance.
“Godsmack has been gone away for a while,” Erna said during the early stages of the evening. “The world’s gone crazy. Everyone’s all political.
“I think we need to take this back to what rock shows were in the 80s, when it was all about the music,” he added. “Let’s turn this into a fucking rock show.”
And that they did, opening the show with “When Legends Rise,” “Cryin’ Like a Bitch!!” and “1000hp” to sufficiently prepare the sellout crowd for what was to come. The band even added a generous helping of pyro and exploding bursts of flames as an exclamation point to the evening’s festivities. As Erna began strumming the intro to “Something Different,” he had some words for the packed house.
“Get these girls up on your shoulders tonight so Godsmack can see what Virginia has to offer!” he shouted.
Erna then requested all stage and front of house lights be turned off. With no lights and no production the cavernous venue would have looked completely abandoned, if not for the thousands of cell phones illuminating the amphitheater. Once the band tore into “Something Different,” all the stage lights came back on and the show continued at a full-throttle pace.
“I forgot how fun it was to be back on stage playing music for people,” Erna said. “It could be the tequila. I’m not going to lie. But I’m feeling the love tonight.”
By this point the banter was free flowing and Sully was feeling no pain. After “What About Me” the band needed to pause for a brief moment to allow a tech to repair Erna’s microphone stand after the frontman got a little too aggressive with it. To fill the time, Sully randomly decided to share that he’s been using the Cindy Crawford beauty treatment from late-night infomercials for the last two years. He enthusiastically informed the packed house that the product works and he has no wrinkles on his neck or face.
Someone please get this man some more tequila. Microphone stands be damned.
“Awake” was clearly a crowd favorite. Fog rose from the stage. Pulsating lights flickered as the strip club anthem blared to an approving audience. Welcome to Jiffy Lube Live After Dark. Please keep your hands to yourself, gentlemen.
After “Voodoo,” Larkin’s drum kit moved to center stage and a second set of drums emerged. That’s when I realized we were in for a heavyweight bout as Larkin and Erna squared off during the band’s iconic “Batalla De Los Tambores.” For the next 10 minutes or so, Shannon and Sully dueled, collaborated and rocked the hell out in what felt like an extended jam session with nods to AC/DC, Aerosmith, Metallica and more others.
The stamina, endurance and technical proficiency required to pull off something like “Batalla De Los Tambores” is clearly through the roof, which is why everyone in attendance roared their approval as the track came to a close. It was easily one of the most enjoyable moments of the night and had the band walked off the stage right then and there, no one would have complained.
And yet, Godsmack not only continued the show, but did so with arguably four of their biggest songs to date.
“Whatever” and “Surrender,” followed by an encore performance of “Under Your Scars” and “I Stand Alone” proved a fitting conclusion to the concert for a band with a mind-numbing 27 top-10 singles (Mainstream Rock Airplay) and 12 number-one hits.
