Lovesong - The Cure Tribute

The 77 Experience

Congress The Band

I See Stars

Sebastian Bach

With an inimitable presence as loud as his instantly identifiable voice, SEBASTIAN BACH has left a San Andreas Fault-size imprint on music, theater, film, television, and culture. Moreover, his influence only continues to magnify. He has penned and voiced some of the most iconic anthems in rock history, crafting a catalog highlighted by generational hits such as “18 and Life,” “I Remember You,” “Youth Gone Wild,” “Slave To The Grind,” “Wasted Time,” and “Monkey Business,” to name a few. He has made history as “the first heavy metal singer on Broadway” with a now legendary turn in Jekyll & Hyde: The Musical in addition to leading roles in The Rocky Horror Picture Show and Jesus Christ Superstar. He has appeared in dozens of television series and films, ranging from “Trailer Park Boys” and “Robot Chicken” to “Spongebob Squarepants,” “The Masked Singer,” and “Hell’s Kitchen.” Speaking to his versatility, he’s the rare force of nature who can duet with Axl Rose and reprise a seven-season recurring role on “Gilmore Girls.” Most recently, SEBASTIAN released a powerful new single, “What Do I Got To Lose?” on December 7. Listen here and watch the video (directly by Jim Louvau and Tony Aguilera) here. The new track comes on the hells of BACH’s show-stopping appearances as “Tiki” on Fox’s “The Masked Singer,” which earned him a spot as a Group B Finalist in December 2023.

The Broken Hearts - Tom Petty Tribute

Everclear

Art Alexakis – Vocals, GuitarDave French – GuitarFreddy Herrera – BassBrian Nolan – Drums Considering Everclear has written and recorded some truly iconic ’90s alt-rock hits, it would be all too easy these days for the band to be a victim of its past successes, relegated to performing as a glorified jukebox, existing to satisfy the nostalgic cravings of Gen Xers everywhere. But singer-guitarist Art Alexakis isn’t about to start phoning it in now. Although the band hasn’t released a new studio album since 2015’s triumphant Black Is The New Black, Everclear continues to tour actively, in conjunction with a series of past-release anniversary dates and the annual Summerland Tour, which Alexakis created and has been running since 2012, featuring a rotating cast of ’90s alt rock favorites. And while it’s a virtual surety that no Everclear gig is complete without a rendition of “Santa Monica” and “Father of Mine,” lately the band has found that exploring the full range of past material—especially the “deep cuts”—not only gives fans a rare treat, it also injects new life into the band’s live dynamic. “By mixing it up and digging into the catalogue, it still makes it fun and relevant for us, and I think for the fans as well,” says Alexakis. “It’s still important to play the hits, but by playing those other songs as well, it makes it all seem more vibrant and real. Even though I recorded some of those songs 20 years ago, I haven’t played them in a long time, so it’s like reinventing the wheel. I’m having more fun now than I have in years. I think all of us are.” Formed by Alexakis in 1991 in Portland, Oregon, Everclear has enjoyed a lengthy career spanning 11 studio releases, numerous videos, thousands of shows and accolades that include a 1998 Grammy nomination. Like a true survivor, Alexakis has soldiered on through multiple lineup changes over the years: During the “classic” era, the band also included Craig Montoya on Bass and Greg Eklund on drums; the current touring lineup features longtime members Dave French (guitar) and Freddy Herrera (bass), as well as drummer Brian Nolan (also with American Hi-Fi), who has performed with Everclear on multiple past tours. This incarnation of the band will hit the road for the 2018 Summerland Tour. As in prior years, Everclear will headline the latest installment of the festival, this time supported by Marcy Playground and Local H, and also featuring a special DJ set Alexakis will contribute, which honors the ’90s in a refreshingly old-school way. “The Summerland Tours are all unique; they all have a different kind of feel to them,” says Alexakis. “I think this year will be really cool, because it’s usually guitar-based, but Marcy Playground is more acoustic-based, yet they still rock in their own way. Local H is just two guys, meanwhile, and they’re great, too. So, it’s just a different look at ’90s alternative this year…different facets of what it’s about. With Everclear, we’re going to play the hits we always play, but we’re also going to mix it up. Every night will be a little different; there’ll be a few surprises every show.” For Alexakis and Co., it’s a continuation of a hectic couple of years. Everclear spent May and June of 2017 touring in honor of the 20th anniversary of So Much For The Afterglow, the band’s massively successful sophomore major-label release. The 40-date run was an incredibly emotional and personally satisfying experience for Alexakis, who was able to perform obscure cuts from that time period for the first time in many years. Connecting with fans in that setting also reinforced the lasting impression the album has made. “The tour was phenomenal. It left me and the band stunned at how important that record was to so many people, and to be a part of that, both then and now,” says Alexakis. “The legacy of it is still vibrant for so many people. It was great just watching people react when we were playing not just the hits, but deeper songs on that record. I always liked the deeper songs—they were usually my favorite songs—and when the band would play those, it would be really exciting and important for me. That was fun, seeing that reaction, and just talking to people after the show.” Prior to that, Everclear experienced a career resurgence thanks to 2015’s Black Is The New Black, which not only proved the band could still rock, but also that Everclear remains creatively relevant, decades after their platinum years. As is common for many artists these days, Black didn’t set records for traditional album sales, but the release did see significant streaming activity and sparked a heightened social media presence, putting the group firmly back in the listening public’s mind. The band continues to ride this latest wave of interest. “I personally think [Black] is one of the best records Everclear has ever made,” Alexakis says. “It sounds like both old Everclear and new Everclear: It has a contemporary production sound, but it’s just old-school, angry rock songs. It’s kind of dark, very reminiscent of the early stuff. The sales weren’t great on it, but a lot of people streamed it. It got millions and millions of streams, so people were listening to it, and it resonated.” But when you’ve been a prolific band for more than a quarter-century, it’s all part of the journey. Right now, Alexakis is feeling a reflective pull for the 25th anniversary of World Of Noise, the band’s indie debut, which was recorded for $400 in a friend’s basement in Portland. Although no official commemorative tour dates are confirmed as of this writing, Alexakis says he’s considering playing some smaller, select shows this year as a tribute to the release. Much of the material rarely sees the light of day, but the 1993 album continues to enjoy a special place in Everclear history. “We’d just had a baby, I was on public assistance and was working part-time jobs, I was very frustrated and very angry and there were a lot of emotions going on,” Alexakis reflects. “I made that record for $400, because that’s all I had. I got this guy who had a basement studio to give me 40 hours’ worth of recording at $10 an hour. We had 10 or 11 songs, so we went in and recorded them in a week and mixed them, and that’s the album.…From there we just hit the ground running. I still haven’t stopped.” That rough and raw first attempt was just the nexus of the massive body of work Everclear and Alexakis have contributed since that humble beginning. When it comes to recording new material, at the moment Alexakis is focused primarily on writing and recording his first solo album, due out later this year. That precludes a new Everclear release…for now. “We might make another record in a couple years,” he says. “Maybe later on this year I’ll feel like it. I don’t know yet.” That said, the band’s live itinerary certainly makes up for its recent studio absence. As the group prepares for another Summerland run, as well as numerous other future dates, Alexakis is excited to revisit songs from fan favorite records like Afterglow, Sparkle and Fade and the double album Songs From The American Movie, but also compositions from more underrated collections, like 2012’s Invisible Stars. “There are people asking for songs, so we’ll just try and learn songs as we go,” Alexakis says. “If we get a lot of response from people to play a certain song, we’re going to learn it and go on the road and play it. You don’t think, ‘Wow, I can’t sing that high anymore.’ We’re not going to worry about it. We’re going to play some rock n’ roll, and just do it.”

Stephen Marley

8x GRAMMY® Award-winning singer/songwriter/producer, Stephen Marley just released his new album Old Soul on September 15, 2023 - his first full-length project since 2016. Featuring a stellar line-up of special guests including Bob Weir, Eric Clapton, Jack Johnson, Ziggy Marley, Damian “Jr. Gong” Marley, Buju Banton, and Slightly Stoopid, the 14-track acoustic-inspired album is now available on all digital platforms via Tuff Gong Collective/UMe/Ghetto Youths International.  Limited-edition double LP vinyl in translucent yellow and green, CD, 2LP standard black vinyl and merch bundles are available for pre-order at stephenmarleymusic.com.      Old Soul comes as a complete revelation. While grounded from the road during the COVID lockdown, Stephen set up a new studio on a remote family farm in the Florida countryside, holding nightly jam sessions in a converted garage. With a stripped-down ensemble comprising binghi drums, bass, acoustic guitar, and flute, Stephen played whatever he felt like — ranging from original compositions and reggae rarities with deep personal meaning to classics recorded by Ray Charles, Frank Sinatra, and The Beatles. “Irie vibration,” Stephen says of the sounds made together on the farm. The lion’s share of Old Soul was recorded during these “unplugged” jam sessions.     Even as the album showcases Ragga’s versatility, the message within his music remains consistent. “We come to free the people’s minds,” says Stephen. “Only way you can free your soul is to free your mind. My father say, ‘No chains on my feet, but I’m not free.’ And then he come say, ‘Emancipate yourselves from mental slavery.’ Anywhere the music calls us, we are going to be there to spread the message of love and unity.”     Old Soul explores a musical palette that spans a variety of cultures and genres alike, with hand-selected special guests furthering the spiritual journey that encompasses the album.     In celebration of the new album, Stephen has embarked on an ambitious Old Soul Tour Unplugged 2023 through the fall.

Sevendust

Sevendust never follow a linear path. Instead, they continue to bulldoze a lane of their own with a provenone-two punch of rumbling grooves, unpredictable riffing, and stirringly soulful vocals unlike anything elsein hard rock. As a result, their music connects straight to the heart as evidenced by their full-contact liveshows and diehard “family” of fans. It’s why they’ve been around since 1994, tallied global sales of sevenmillion, logged three gold-selling albums, delivered three Top 15 debuts on the Billboard 200, andgarnered a GRAMMY® Award nomination in the category of “Best Metal Performance.” They’re the rareforce of nature who not only graced the bills of Woodstock and OZZfest, but also Shiprocked! and SonicTemple and some of the largest stages around the globe. Along the way, they’ve notably collaborated witheveryone from members of Deftones, Daughtry, and Staind to Alter Bridge, Periphery, and Xzibit. 2020saw them deliver one of the most-acclaimed albums of their career with Blood & Stone, which MetalHammer christened “Sevendust’s best work in years” and Outburn dubbed “everything a Sevendust fancould want.” However, the Atlanta quintet—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals],John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—defyexpectations yet again on their fourteenth full-length and debut for Napalm Records, Truth Killer.“We really cared about the process,” notes Clint. “It’s never a straight line with Sevendust. We’ve alwaysmade left turns and dip into super heavy and very melodic sounds. We still try to do things a littledifferently. I think we recreated the magic on this one, and we overcommitted to making sure every songwas great.” In order to do so, the guys regrouped as friends first. Initially, they decamped to Lajon’s farmhouse. Overthe course of four days in 2022, they demoed out the bulk of the record, rekindling the spark that definedtheir seminal output. “We wanted to be friends again, shoot the shit, and become that garage band we were,” Clint goes on.“It set the tone for our relationship, and the creativity opened up. We got back together and made anotherfun record.” Once again, they recorded in Florida with producer Michael “Elvis” Baskette [Alter Bridge, Mammoth,Trivium]. This time around, they expanded the soundscape, incorporating programming by Clint andadding cinematic heft to their signature style. “We took our time on this record,” he goes on. “We pulled in a lot of electronic elements. In the past, Ihired outside programmers, but I did the programming myself. I tried to create a musical bed that madeit easy to sing cool vocal parts. We always set a goal to have a certain sound, and we followed throughwith it. We didn’t compromise.” As such, the album opens with perhaps the biggest departure, the slow-burning “I Might Let The DevilWin.” Piano pierces glitchy beat-craft as Lajon’s delivery borders on magnetic and manic as he confesses,“I want to give in, oh no, the devil won’t win.” If Trent Reznor produced The Weeknd, it might sound something like this…“When we agreed on the song, we realized we could do anything,” says Clint. “The vocal is really upfrontand in your face. It seems like he’s whispering the lyrics in your ear. You keep resisting temptations, butfinally you’re like, ‘It’s just who I am. I’m going to do it’.” On the other end of the spectrum, the first single and finale “Fence” goes right for the jugular withpummeling drums, a chugging riff, and guttural barks from Lajon. It crashes right into a hammering hookbefore spiraling into an incendiary solo. “It has the old school Sevendust vibes,” he smiles. “It was really a product of collaboration at thefarmhouse. Morgan was playing, and we all started jamming in the same room. I’m so glad we got a chanceto do a headhunter like ‘Fence’ for this album.” The title track “Truth Killer” fuses searing orchestration with a rush of distortion and powerhouse refrain.“Nobody wants to hear the real truth,” laments Clint. “They want things sugarcoated and watered-down,so they can feel better. It definitely spoke to the overall tone of the subject matter.”Then, there’s “Everything.” A jarring guitar melody underlines an affirmation on the catastrophicallycatchy chorus. “You’re basically saying, ‘I’ll be anything you need me to be, and I’ll be there for you in everyway possible’,” he elaborates. As if baptized in frustration, “Holy Water” snakes through an off-kilter bounce over incisive synths towardsa massive chant, “Someday I’ll see the light. I hope before I die.”“None of us are perfect, so there’s no reason to judge,” Clint observes. “We’re all trying to figure it out,but a lot of people will sling their holy water at you and act like they’re better than everyone. I have adefinite belief and relationship with God, but I’m not here to make anyone believe anything.”“Superficial Drug” intoxicates with a sinewy bass line and head-nodding groove as one of the record’smost melodic moments takes hold. “Everyone needs the ‘follows’ and ‘likes’,” he continues. “The social media world is very superficial for themost part. It’s part of the design, and I’m guilty of it too. So, the song says, ‘Go ahead and take yoursuperficial drug. I’m over it’. I want to be around people where there’s depth to the conversations. Wehave enough friends. We would die for our fans and the Sevendust family. That’s all we need.”In the end, Truth Killer reaffirms there’s only one Sevendust—and they’re here forever.“As a kid who used to wait in lines to see concerts, I want to deliver the artistic quality I was looking for asa fan,” Clint leaves off. “I want people to know we cared, took some chances, and still have the creativespark. I want them to know we have more to say and more to prove.”