Back in May, I Prevail announced a mutually parting of ways with founding member Brian Burkheiser. After a decade together, the band was moving on without one of their main vocalists. Roughly two months later, I was eager to see how the lineup change impacted their live performance.
From day one, I Prevail’s signature sound has revolved around a dual-vocal dynamic, featuring clean vocals by Burkheiser and dirty vocals from Eric Vanlerberghe. Intrigue set in as the band filed onto the stage. How exactly would they navigate the melodic portions of their catalog in this new chapter? We were all about to find out.
I Prevail threw down the gauntlet immediately by starting their set with a screamer like “Bow Down.” They weren’t there to play it safe or ease into this performance. Regardless of the changes to the band’s roster, the Michigan rockers were intent on delivering something special.
They kept the aggression level high with “Body Bag,” another fast-paced and aggressive banger. Vanlerberghe delivered his signature sound while he lurked in the shadows on stage. Rhythm guitarist Dylan Bowman provided additional vocals, admirably filling the void created by Burkheiser’s surprising departure. All of which occurred while pyro jets blasted into the air with each downbeat. The high energy and breakneck pace of the set was already both impressive and exhausting.
During “Violent Nature,” the band welcomed Kage Archer, a 12-year-old from Wichita, Kansas, onto the stage. The middle schooler had recently won the band’s $5,000 Violent Nature contest, and this was his time to shine. Anyone who mistakenly viewed the moment as a publicity stunt or a charity case quickly realized this kid was legit as he confidently roared alongside Eric with a raw, fearless and infectious energy that proved he belonged.
Before “Hurricane,” the band paused to honor Dave Shapiro, the prominent music agent who died in a plane crash earlier this year. In a heartfelt moment, they thanked him for believing in them and giving them a shot when they were in the early stages of establishing themselves as I Prevail. It was a very touching tribute to their former manager, agent and longtime friend.
The sprawling amphitheater was at full capacity as Killswitch Engage took the stage, greeted by a loud roar from the sold-out crowd. The Massachusetts metalcore veterans, known for their blend of crushing riffs, soaring melodies and emotional intensity, wasted no time diving head-first into their set.
The show opened with “Rose of Sharyn,” from the band’s 2004 The End of Heartache album. The recognizable guitar riff surged through the oversized speakers as fans sang along, nearly drowning out frontman Jesse Leach. It’s a passionate start with great energy that established the tone for the rest of the evening.
For more than 25 years, they’ve brought their special brand of kickass to the genre, which was on full display during “I Believe.” As the guitar kicked in and Leach bellowed out the opening lyrics, which double as the song’s title, circle pits quickly opened again. Up next was “Hate by Design,” with its socially conscious lyrics that appeared to resonate strongly with many in attendance.
When the opening chords of “My Curse” hit, the reaction was immediate and overwhelming. This song, one of Killswitch Engage’s most commercially successful singles, earned the night’s loudest ovation. The audience couldn’t wait to belt out the chorus while a sea of cell phones lit up across the venue to capture the moment. As the setlist got heavier and heavier, guitarist Adam Dutkiewicz’s infectious energy and unique brand of humor created an amusing juxtaposition — his “I’m with stupid” t-shirt, “Beer” headband and pizza-themed guitar clearly created a distinct vibe.
Finally, Killswitch Engage closed out the night with a cover of Dio’s “Holy Diver.” They’ve performed the track so well for so long, it wouldn’t be a surprise if many younger fans weren’t aware it was a cover song. Regardless of when and how fans were first introduced to it, thousands of voices had little trouble belting out the words, ending the set on an adrenaline high.
The humid Virginia air was thick with anticipation as the sun set, lights dimmed and headliners Parkway Drive appeared on stage. The Australian metalcore titans proved to be worthy of their main-event status, as they closed out the Summer of Loud festivities in emphatic fashion.
Because they don’t tour very often and hadn’t played in Virginia in more than seven years, many in attendance — myself included — were experiencing the powerhouse phenomenon for the first time. Fortunately for everyone involved, Parkway Drive absolutely lived up to the heightened expectations.
Immediate first impression: Frontman Winston McCall struck an imposing figure, stomping and stalking the stage as if he was a gladiator impatiently awaiting his next overmatched opponent. The stage erupted with strobes as the menacing McCall growled the opening notes of “Glitch” with ferocious energy, and we were officially underway.
The mood intensified once again as the band shifted into “Sacred,” a wrecking ball of an anthem that was highly enjoyable to experience in person. The sheer heaviness of the song translated perfectly in a live setting, and Winston encouraged the chaos, grinning as he watched the floor churn like a storm. It was at this exact moment I said to myself, “Parkway Drive has arrived and this place belongs to them.”
While their set had many memorable moments, “Crushed” easily stood out as the most transcendent moment of the evening. That’s because, when one of the premier live metal acts of the modern era breaks out a production spectacle that leaves fans completely speechless, you know you’re witnessing something special. To that end, Parkway Drive finished off the night with a spinning flaming drum cage that can best be described as a hamster wheel of death.
As the drum kit inverted, it was difficult to tell if Ben Gordon was playing the drums or training with NASA. When the cage was lit on fire, I began to suspect Gordon was preparing to be the first drummer in history to play on the sun. As a professional photographer who has been covering concerts for decades, it’s not often you see something so completely unique and different, but Parkway Drive absolutely created an epic visual to cap off a magnificent evening of live music.
To the uninitiated, a Ghost concert must be a surreal experience. The theater. The pageantry. The cathedral-like set. Countless fanatical black-clad concertgoers adorned in masks and/or face paint. Calling it a concert almost doesn’t do it justice, which is probably why their live shows are known as rituals.
Founded in 2006, Grammy-winning Swedish hard-rock band Ghost is comprised of individuals who prefer to maintain anonymity, known simply as Nameless Ghouls. The lone exception is the lead singer, Tobias Forge, who initially went by Papa Emeritus.
Two decades later, Ghost performs for dedicated and impassioned crowds while headlining arena tours around the globe. After returning from Europe, Ghost kicked off their massive 28-stop, North American “Skeletour” at CFG Bank Arena in Baltimore with a two-hour, 22-song set that spanned the band’s entire catalog.
Because each album signifies a new evolution of the band, and specifically its vocalist, the Baltimore ritual featured the debut of Forge’s latest persona, Papa V Perpetua. The frontman’s latest look features a metallic half-mask and leather suit jacket tailor made for any formal occasion. If previous incarnations invoked thoughts of a demonic pope, Forge now gives off serious G.I. Joe villain vibes.
After 18-minutes of somber organ music helped set the appropriate mood for the evening, the curtain dropped and the band materialized on stage, promptly diving into two of their newest offerings: “Peacefield” followed by “Lachryma.”
Beginning the show with two brand-new singles made sense because Ghost topped the Billboard 200 albums chart earlier this year with the release of their sixth-studio album, Skeletá. Not only was this the first time they’ve ever topped the Billboard 200, but it marked the first time any hard rock band topped the charts since 2020.
“Peacefield” begins with a choirboy singing while an organ accompanies with a gentle, soothing tune before a guitar riff straight out of a Journey anthem kicks things into high gear. And with that, we were officially underway. While “Peacefield” is a song about hope, “Lachryma” is more of an exorcism.
Moving on from a toxic relationship is much more palpable when it involves layered harmonies and deeply catchy guitar work, as is the case with “Lachryma.” For my money, this is the best track off the new album, and it provided an excellent opportunity for the Nameless Ghouls – skeletons dressed in top hats and habits – to shine while Forge sings of escaping from a painful experience.
Much about the band is shrouded in mystery, which is clearly no accident. Smoke, spirits and spooky backdrops – including a massive Grucifix (a glowing inverted cross with an embedded “G,” hovering overhead) – create a very Tim Burtonesque aesthetic. Add in a charismatic spiritual leader, hypnotic and melodic hooks to a sound inspired by 80s arena rock bands like Boston, Toto and Kansas, and it’s no surprise Ghost has amassed more than a billion streams.
Speaking of throwbacks to another era, “Majesty” was another standout performance of the evening. Odes to rotting carcasses and princes exiled to hell never sounded so good. Interestingly, for this tour it appears Ghost is leaning into their third-studio album, Meliora, more than their newest offering. On its 10th anniversary, six Meliora songs made the cut while only four Skeletá tracks were featured.
Boys and girls, what have we said about judging a book by its cover? Contrary to popular belief, “Satanized” is not about Satan at all. It’s about being in love. It was also another absolute highlight of the night, as Papa and the Nameless Ghouls commanded the stage, and their rabid followers sang along in approval.
Appropriately, the encore featured three of Ghost’s biggest hits: “Mary on a Cross,” “Dance Macabre” and “Square Hammer.” As confetti rained down on all in attendance, it became abundantly clear that the mystique combined with the immersive atmosphere and the entire spectacle of the evening had created an unforgettable experience during this ritual.
Before the night ended, Forge informed the sellout crowd that 14 years ago, Ghost played their first-ever U.S. concert – in Baltimore. So maybe it wasn’t exactly a coincidence that the band chose to kick off their North American “Skeletour” in Charm City. It’s also worth noting that CFG Bank Arena has officially established itself as a premier destination for performers of all genres. In the last year, major artists such as Tool, Keyshia Cole, Wu-Tang Clan and now Ghost have all kicked off their respective North American tours at the venue.
The RZA. The GZA. Ol’ Dirty Bastard. Inspectah Deck. Raekwon the Chef. U-God. Ghostface Killah. Masta Killa. And the Method Man.
Back in 1992, these nine luminaries formed the Wu-Tang Clan, the legendary hip-hop group out of Staten Island, New York, and changed the game forever.
Their debut album, Enter the Wu-Tang (36 Chambers), is arguably the greatest hip-hop albums of all time. When it dropped in ’93, it was revolutionary — introducing a completely new sound that blended complex lyrics and gritty street narratives with kung fu imagery.
Enter the Wu-Tang (36 Chambers) and their 1997 follow-up album, Wu-Tang Forever, are platinum-certified smash hits which enabled the Killa Bees to swarm the music scene. To date, they’ve sold more than 40 million albums worldwide.
More than three decades later, all surviving members — along with honorary member Cappadonna and Young Dirty Bastard, the son of Ol’ Dirty Bastard — reunited for their final tour, “Wu-Tang Forever: The Final Chamber” at CFG Bank Arena. As luck would have it, Charm City was the first stop for the iconic group, as they set out on a 27-city North American tour, alongside Run The Jewels.
There was definitely a buzz, pun intended, as the lights dimmed in the immediate moments before the group hit the stage. The volume continued to rise as images of bees swarming a hive and silhouettes of individuals practicing martial arts flashed on the screen. Those visuals were replaced by the iconic Wu-Tang logo, as the men of the hour strutted onto the stage and kicked into “Bring da Ruckus.” And with that, we were officially underway.
As loud as Baltimore was from the jump, the crowd managed to get even louder during “Da Mystery of Chessboxin’” when Young Dirty Bastard hit the stage in honor of his late father. Knowing Russell Jones died in 2004 made it a bit surreal seeing his son completely nail every minor detail as he bounced and flailed around the stage. The braids. The looks. The sound. The charisma. It was all on full display as the second generation of Dirty Bastard showed that talent continues to run deep in their household.
Baltimore was treated to a healthy dose of “tiger style” as RZA and friends reaffirmed that “Wu-Tang Clan Ain’t Nuthing ta F’ Wit.” Once again, the decibel level soared as Method Man finally joined the party on stage for his verse, and then followed it up with the self-titled track “Method Man.”
Up next, “Shame on a N****” brought Y.D.B. back to the stage, this time rocking a yellow Scrooge McDuck inspired sweatsuit. With nine performers on the stage, not to mention the band backing them, Young Dirty Bastard continually found a way to keep all eyes on him.
Mercifully, the second set slowed things down, allowing audience members time to catch their breath and pace themselves for the long evening. The talented Blue Raspberry joined the fun and added a little soul to the evening during tracks like “Can It Be All So Simple” and “Rainy Dayz.” She even filled in admirably for the one, the only Mary J. Blige during “All I Need” with Method Man. As the second act ended and the crowd continued to shower the performers with love and support, Method Man felt obliged to return the favor, yelling, “Baltimore, I love you!” as he jogged off stage.
One of the coolest aspects of the evening was that time was purposely carved out for each member to shine, which is no small feat when game planning for nine individuals.
The cerebral GZA was lethal during “Liquid Swords.” With violins providing the backing, RZA killed his verse on “Reunited.” Young Dirty Bastard was at his very best during “Shimmy Shimmy Ya.” Method Man didn’t hesitate to “Bring The Pain.” Raekwon’s well-earned reputation as a streetwise storyteller was on full display during “Incarcerated Scarfaces.” The intense Ghostface Killah served it up on “Ice Cream.” Inspectah Deck, the underrated technician, did his thing on “Hollow Bones.” Like your favorite bartender, and with his own beverage in hand, U-God delivered his verse on “Triumph.” Lyricist Masta Killa commanded all attention during “For Heavens Sake.”
For two full hours, Shaolin’s Finest treated their extended family to a celebration of 30 years of music. Their innovative approach to music is what set them apart over multiple decades and nights like this further cement their place as the most influential hip-hop group of all time.
The say greatness is forever, which is why Wu-Tang is forever.
Taylor Swift. Beyonce. Justin Bieber. Drake. Kanye West. DJ Khaled. Meek Mill. Gucci Mane. Nicki Minaj. Ozzy Osbourne. Noah Kahan. Swae Lee. 21 Savage. Doja Cat. Lorde. Chris Stapleton. Luke Combs. Blake Shelton. Morgan Wallen. Tim McGraw. Dolly Parton.
What does each artist on this incredibly diverse and eclectic list have in common? They’ve all collaborated with Post Malone.
With 18 Grammy Awards nominations, 11 Billboard Music Awards, three American Music Awards, seven iHeartRadio Music Awards and six MTV Video Music Awards to his name, rapper-turned-pop star-turned country musician Post Malone is enjoying his moment in the spotlight. The diamond-certified hitmaker rolled into Northwest Stadium, just up the road from our nation’s capital, during his “Big Ass Stadium Tour,” June 2.
Shortly after the sun set on a picturesque evening, Malone strutted out on stage with a red Solo cup in one hand, a lit cigarette in the other while donning a belt buckle the size of a modern SUV. As the audience of 50,000 or so stood and roared their approval, the opening notes of “Texas Tea” began to play through the stadium’s vastly improved sound system. Because the opening number was a mellow track, it enabled the 29-year-old artist to take a sip or a puff as momentum continued to slowly build before an explosion of fireworks brought the song to a conclusion and ultimately set the tone for the next two hours.
In his early days, Malone was viewed as a sort of underground novelty act. In less than a decade though, he’s quickly ascended to certified superstardom with six number one singles and an impressive 22 top-20 hits. If it feels to you like he’s come a long way in a short amount of time, well, you’re not alone.
“This is my first fucking stadium tour and I’m so fucking honored and so fucking grateful,” said Malone, while taking a step back to soak it all in. “I really appreciate it.”
“Been doing this quasi-professionally for about 10 years now. Thank you for giving me the courage to chase my dreams,” he added.
During “Wrong Ones,” an upbeat number featuring Tim McGraw, Malone sings: “I got fuck-you money. Girl, come on and get you some.” The Syracuse native is clearly speaking from personal experience. Don’t believe me? Back in 2023, Malone acquired a one-of-a-kind card from a Magic: The Gathering “Lord of the Rings”-themed set for $2 million.
One of the absolute highlights of the night involved two of the most loveable and tattooed individuals in music today, as Jelly Roll joined Malone on stage for “Losers.”
“I have never had more fun in my life,” said Jelly Roll, of touring with Malone. In response, Malone said hitting the road with such a quality human being like “The Son of a Sinner” makes him want to be a better person. These two admirable gentlemen clearly share a great affinity for one another, and it carries over into their respective performances.
A few songs later, Malone seemed on top of the world, asking the sellout crowd: “Are we still having fun tonight? Who’s got a cold beverage in their hand?” After a toast to the lively audience, he dove into “What Don’t Belong to Me.”
According to Spotify, Malone ranks in the top 20 most popular artist on the planet, with nearly 70 million monthly listeners. One of his most popular tracks, “Circles,” has been streamed nearly three billion times on the music service. As Malone sang the opening lyrics, 50,000 enthusiastic fans immediately joined in, as the entire venue performed the 2019 smash hit at full volume.
Like Donald Glover/Childish Gambino, artist Austin Richard Post was gifted his alter ego through a rap name generator. Another name he’s occasionally known as is “White Iverson,” the title of Malone’s quintuple-platinum single which he jokes most people believe it’s my only good one.”
Considering Malone already ranks among the 10 best-selling digital artists in history, it’s not a huge surprise that folks are expecting big things from F-1 Trillion, his fifth original LP in six years. For context, Malone’s 2016 debut album, Stoney, beat out Michael Jackson’s Thriller for most weeks in top 10 on the Top R&B/Hip-Hop Album chart. After dethroning the King of Pop, it would be foolish to bet against Posty at this point in his musical journey.
Honestly, the dude can’t miss. Girls love him. Guys want to drink a beer with him. He’s reached rarified air and still makes sure to vocalize his love and appreciation for everyone who helped him get to this point. It’s tough to think of a more deserving person to enjoy such massive success during their first stadium tour.
Linkin Park wasn’t always Linkin Park. In fact, in the early days, they were originally called Xero and later tried out Hybrid Theory, before eventually settling on Linkin Park.
Regardless of the name they ultimately chose, Chester Bennington (lead vocals), Mike Shinoda (lead and rap vocals), Brad Delson (lead guitar), Joseph Hahn (turntables), Dave “Phoenix” Farrell (bass) and Rob Bourdon (drums) had no idea they would eventually become one of the biggest rock bands of their generation.
In 2000, they released their first full-length album, Hybrid Theory, which is certified Diamond and became the bestselling debut album of the 21st century. Seven additional albums followed — Meteora, Collision Course, Minutes To Midnight, A Thousand Suns, Living Things, The Hunting Party and One More Light — as Linkin Park established themselves as heavyweights in the genre.
Let’s not forget Collision Course, a collaborative effort with legendary rapper Jay-Z, which sold more than 300,000 copies in its first week alone and became just the second ever EP to top the Billboard 200. In all, Linkin Park has earned multiple Grammy Awards, sold more than 100 million albums worldwide and notched five number one Billboard debuts.
After the tragic loss of Bennington in 2017, the band came to a devastating halt. Grief and unanswered questions obscured any thoughts of their future. Over time, in their words, friendships led the way. Shinoda, Delson, Hahn and Farrell began making music together again. They met Emily Armstrong (lead vocals) and Colin Brittain (drums). Jam sessions organically morphed into recording sessions, and Linkin Park quietly assembled a collection of new material “channeling the open-hearted spontaneity of starting over: From Zero.”
The latest evolution of Linkin Park was on full display in Baltimore, Maryland, during the fifth stop of the North American leg of their massive 59-show “From Zero” World Tour. The 13,000 fans who packed into CFG Bank Arena were rewarded with a two-hour, 27-song marathon performance that far exceeded any reasonable expectations.
The show kicked off with “Somewhere I Belong,” the band’s first single from their second studio album, Meteora. Picking such an iconic and well-known song to jumpstart the evening was clearly no accident, and only encouraged fans to sing along with the 2003 hit track. The next two songs — “Points of Authority” and “Crawling” — further invited those in attendance to accompany Armstrong, formerly of Dead Sara, in the singing of each chorus.
Even in an era where album sales have waned, Linkin Park became the first rock band to achieve more than one billion YouTube views. Fast forward to today, and they garner more than 48 million monthly streams on Spotify, which ranks them right around 50th overall on the platform.
The band’s new album, From Zero, dropped last November and was an immediate success — peaking at number one in 14 countries. “The Emptiness Machine” was the lead single of the album, so it’s only fitting that it was the first new song to be played live for Baltimore.
One of the biggest standout moments during the show was the performance of “Waiting for the End.” Those familiar with the lyrics know the song focuses on some heavy stuff, like denial of a broken relationship and/or the loss of a loved one. After Bennington’s death, a song like this carries heightened meaning for so many fans of the band, with lyrics like: “All I wanna do is trade this life for something new. Holding on to what I haven’t got.” More than a few fans in attendance were understandably emotional during this offering, wiping their eyes as they attempted to sing along.
A few songs later, “Two Faced” showed a completely different side of the band, one with an abundance of ruthless aggression. Armstrong’s primal screams kick off one of the standout tracks of the new album and rejuvenated the energy in the arena.
For the first time on tour, “One Step Closer” featured a special cameo by opener Grandson. This shouldn’t come as a massive surprise to anyone who has heard his cover of the song, but it was still a fun and enjoyable moment during the third act.
“What I‘ve Done” is a perfect example of how Linkin Park honors and respects the legacy of the original version of the band. Armstrong isn’t Bennington, and that’s okay. It’s different, but clearly it works. And it’s good. For two straight hours the crowd was more than happy to sing along and constantly roared their approval at songs old and new.
As the show concluded, I found myself legitimately blown away by how good Linkin Park sounds live. And, considering this was just the fifth stop on their first tour with this group, it’s noteworthy how everything already seems so polished and well oiled. The tour features captivating visuals, an impressive light show and, best of all, you can tell everyone on stage – and off it – is having a blast.
