Category: SHOWS

Beth Gibbons at The Orphuem: Outgrowing Your Own Creation

Rob Shepyer April 23, 2025

Beth Gibbons at The Orpheum Theatre was more than just a showcase of new music, it was a showcase of a new Beth Gibbons for all Los Angeles to enjoy. When you think Beth Gibbons and Portishead, you think of a specific sound. An elevated, urbanized jazz that pairs well with a Bond movie, maybe, or you think of the trip hop moniker developed by her band and other English groups like Massive Attack. Beth Gibbons’ solo work, and especially her 2024 album Lives Outgrown doesn’t so much as develop on the song she help originate and cultivate though, it outgrows it with a new evolution in her artistry that includes influences from folk, psychedelic, medieval, and world music sensibilities. Driving to the Orpheum theatre on a drowsy Thursday evening, her new album gave my trip a surreal feel, making each beat of time pass by with more meaningful reflection, and each tree outstretching over the freeway walls more tranquilizing with the nature-vibes captures on songs like “Floating on a Moment” or my favorite on the album, “Whispering Love”. Skimming through the tracklist now and looking back on the show, I see both as a statement on identity, lost and

Rose Tattoo at The Whisky, Rose-Tattoo-live-in-LA

Garage Rockers vs Skinheads vs Hardcore Kids: Rose Tattoo at the Whisky

Rob Shepyer April 16, 2025

The Whisky ’25: Rose Tattoo’s First US Show Since ’83 When Rose Tattoo announced their first American show since 1983, not only could I not believe it, but I made sure to procure tickets almost immediately. This show would then get cancelled, only for the prospect of Rose Tattoo playing Los Angeles to dissolve and become a big question mark. Would the legendary Australian band ever play in America again? This is a pure rock and roll band that didn’t just go on to inspire Guns and Roses but numerous scenes throughout Los Angeles, from skinheads to hardcore kids to garage rockers. It would otherwise be impossible to see these three scenes merge into one audience. Even for a megaband like The Misfits, these groups don’t come together to mingle in such close quarters. So, when Rose Tattoo announced two new shows in LA years later and then finally hit the stage at Whisky-a-Go-Go on March 6th and 7th, all those scenes were present and pounding their fists for what must’ve been an awfully cold day in hell. The set ran the gamut of a slew of Rose Tattoos classics such as “Nice Boys” and “Rock and Roll Outlaw,” with

T.Y. Ojai: Ty Segall at Ojai Valley Women’s Club

Rob Shepyer March 4, 2025

With MTV’s Unplugged catalogue hitting Paramount+ recently, I’ve been on a bit of an acoustic kick. When a popular artist goes acoustic, it’s a sign of a deeper appreciation and commitment to their fans and music than standard touring, writing, and recording cycle an artist goes through. Choosing to go on an acoustic tour, like the one Ty Segall and King Tuff are currently collaborating on throughout California, presents a challenge to a musician that really tests their artistry. It strips them of all the bells and whistles fans expect from their songs and live show, forcing the artist to compensate with pure charisma and sonic bravado. Both King Tuff and Ty Segall exhibited powerful charisma as acoustic artists, taking advantage of the silence between and around their songs to amplify the meaning of every lyric and note. The result of which is that audiences that were lucky enough to catch these shows may not have had their socks rocked off like they would in a Ty Segall and The Muggers show, or a Witch (King Tuff’s metal band) show, but we did experience the full fleshed out power and message of Ty’s songs like no other fans ever have.

Pentagram- Doom Ages Like Fine Wine At Ventura Music Hall

Rob Shepyer February 21, 2025

Something about old age injects more gravitas into a doom metal musician’s art. Perhaps its being closer to the great beyond, that dark place from which inspiration comes from that we all join at the end of our days. Perhaps something about graying hair and wrinkled skin makes the purveyor of doom metal all the more convincing to an audience. Doom metal, is of course a genre about bleakness and sorrow. A long life devoted to that style of music must have experienced everything the world has to offer, so to come away with singing “doom to world” instead of “Joy to world” gives fans the assurance that this artist is the real deal, and they’re not just playing a character in a gimmick. Then of course, there’s pace. Doom metal is slow metal. Slowness and sloth are what some equate with growing old. Dragging your feet, letting time pass you by because it makes no difference. All these ideas are second nature to doom metal’s mournful verses and tones. Bobby Liebling and the boys in Pentagram have been around since the inception of doom metal. Playing this genre of music before it had a name. To them, it was

Devastation on the Nation w/ I AM Morbid at Belasco

Rob Shepyer December 29, 2024

When someone tells me there’s a death metal show tonight, I usually ask them what kind of death metal. If they tell me Morbid Angel is playing, I’ll definitely think about going. If they tell me Morbid Angel was just replaced by I Am Morbid, David Vincent’s version of the band, I’ve already bought my ticket before they’ve completed their sentence. related content: Morbid Angel at The Regent: A Lesson in Death What differentiates the sort of Death metal that makes a show worth going to for me is often times the vocal. Newly attuned listeners of the genre may consider it splitting sonic hairs to parse between different styles of guttural vocals but if I can understand the lyrics a death metal band is screeching out, then I consider the band superior in some respects. Nothing against the demonic belching of numerous Deathcore and Death Metal bands like Suffocation, that shared the stage with I Am Morbid at this show, but because I was able to understand David Vincent’s gregorian chants from hell, I was able to feel the gravity of his music. It simply sounded and felt more evil, powerful, and scary because the words had meaning. Devastation

Tyler’s Camp Flog Gnaw Year 10 Intersects w/ Chromakopia Number 1

Aria Silva-Espinosa December 17, 2024

A long hike up the hills of Elysian Park is a small price to pay for the view from the top. Three massive stages situated in the parking lot of Dodger Stadium and boasting a wildly impressive hip-hop centric lineup, Camp Flog Gnaw celebrated its 10 year anniversary this past weekend and sold out well in advance, and the lineup wasn’t even announced until a month before the festival. related content: The Good, The Bad, And The Ugly: Camp Flog Gnaw 2019 From legendary acts to tributes, DJ sets and soulful serenades, Camp Flog Gnaw Carnival is a uniquely curated exhibition of mainstream and underground artists, youth culture and untethered creative expression. The fan engagement and level of commitment to the art is evident in the way the incoming fans have chosen to dress. It’s early November and we’re up on a hilltop so everyone is a bit bundled up knowing that once the sun goes down it’ll be about as cold as Los Angeles is willing to tolerate. Workwear, faux fur and puffer jackets are out which would make a New Yorker giggle to see how dramatic we are about the shift into cooler weather. Among the masses it’s

Boys Noize, IHEARTCOMIX founder Franki Chan, and The Dare with Yo Gabba Gabba shot by The Cobrasnake

Partying Like It’s 2004: IHEARTCOMIX 20th Anniversary

Danny Ryan October 29, 2024

IHEARTCOMIX have established themselves as one of the most forward-thinking and distinct promoters in recent LA history over the past two decades; dipping their toes into events celebrating nearly every form of art not limited to raves, parties, movie premieres, album release events, and interactive art exhibitions. Celebrating their 20th anniversary, IHEARTCOMIX threw an absolutely wild party with a complete hodgepodge of a lineup; Featuring The Dare, Boys Noize, Fcukers, Nation of Language, Chela, and even Yo Gabba Gabba blessing the night with their presence. Comedy legend Reggie Watts hosted the entire event, completely taking ownership of the evening’s vibes and making sure everybody in attendance had the most memorable night possible. Although the early 00’s where they started may be long over, IHEARTCOMIX went above and beyond in providing a futuristic lineup that still evoked a nostalgic feeling that celebrated their history in the most crafted way possible. As soon as I approached The Bellweather, it was instantly apparent that this was not the average club event with the eccentric and colorful outfits that everybody was decked out in. While it was a more formally dressed crowd, IHEARTCOMIX’s brand is entirely based on being as expressive and colorful as

Music for Trees: PJ Harvey at the Greek Theatre

Rob Shepyer October 25, 2024

PJ Harvey’s return to North America saw her playing songs off 2023’s I Inside The Old Year Dying, her most recent album, which for those expecting the heavy, knock around sound of Steve Albini-produced Rid of Me, were in for a softer, more ambient and touching treat. The album cover of this 2023 effort visual communicates the sound, a slender twig made whole by its shadow, the image is minimalist and fragile, similar to the music but the music has a fuller element, as if you’re riding a wave from start to finish of every song. Hearing this in the heart of Griffith Park, surrounded by giant trees on either side which create a force field so that the music is for only those in the theatre’s arms, gave the evening a sort of contact high we’d feel with every song. related: Dangerously Artsy- Geneva Jacuzzi at The Lodge Room You felt in these songs a primal connection to nature, which PJ Harvey embodied this night with her long white dress. For those that were itching to hear her more punk rock material, like myself, we had to wait a little bit but it was well worth it to hear

Dangerously Artsy: Geneva Jacuzzi at the Lodge Room

Rob Shepyer September 13, 2024

Geneva Jacuzzi‘s “Art is Dangerous” isn’t just the banger single from her most recent Dais Records full length album, Triple Fire, “Art is Dangerous” is both an affirmation of the intention to comfort the disturbed and disturb the comfortable (a sentiment lost among more and more corporatized and bubble-wrapped, cookie cutter artists) and it’s also a reference to a timeless debate that transcends culture. Is art dangerous? Were Tipper Gore and the PMRC right all along? Can you ingest as much devil worship, pornographic, sinful material as possible without having your soul tarnished one iota? Can you play endless hours of GTA, shooting up civilians without feeding a subliminal bloodlust, can you listen to Radiohead without feeling lonely or binge-stream Slayer without losing faith? Far too many people in the current state of the world are beginning to veer toward answering “yes”. That art, is in fact, dangerous. Even though Geneva Jacuzzi is affirming that danger, I have to wonder if she sees it dangerous in the same way as a certain sector of extreme believers who’s rhetoric makes you think they desire a modern bonfire of the vanities. I say this because Geneva Jacuzzi’s performance for her album release

Stone Age Swagger: Queens of the Stone Age at SB Bowl

Rob Shepyer June 7, 2024

This review is being written by a metalhead and punk. This review is not being written by a psych or stoner rocker. I was not a part of the Kyuss revelation. My history with Queens of the Stone Age mostly amounts to seeing “No One Knows”, “Go With The Flow” and “Little Sister” on MTV. There is one moment though, that Queens of the Stone Age changed my life. In 2007, along with three other college companions, I went on a drug fueled pilgrimage to Las Vegas for the shortly lived but deeply missed two-day rager known as Vegoose. The lineup for which featured Rage Against The Machine, The Stooges performing Funhouse, Daft Punk, and Queens of the Stone Age among a multitude of other great bands. related content: QOTSA and The Kills blow up the Forum on Halloween Night The four of us were on a mission that weekend to consume cocaine for the first time. A drug that seemed like an anachronism to us, a thing of the 80’s as extinct as the quaalude. However, at the most miraculous, uncanny moment that the festival could have produced, the drug magically came to us. During the Queens of the