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Live music addicts, blogging about their addiction.

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Don't Go In The Forest Tour Featuring Avatar, Fleshgod Apocalypse & Frozen Soul

When Avatar first dropped their tour dates back in January, the stop in Buffalo felt like a lifetime away. But after a solid run of shows at Buffalo Riverworks this year, the wait is finally over. We’ve got a massive triple-threat hitting the stage: the theatrical chaos of Avatar, the absolute destruction of Frozen Soul, and the symphonic brutality of Fleshgod Apocalypse. It has been 9 years since I have seen Avatar perform. The day was rainy and gloomy before the show began, and it finally cleared up as I got closer to the venue. As I walked up to the venue, the line of fans was quickly forming. This show was less than 100 tickets from selling out. Buffalo was the city to be at, if you weren’t at Buffalo Riverworks, hopefully you got a chance to catch In Flames, Thrown, and Distant at the Town Ballroom.

First up is Frozen Soul, a band that needs no introduction to the Buffalo metal scene. We last caught their electrifying performance when they toured with Killswitch Engage, Kublai Khan, and Fit For A King. Originating from Dallas, Texas, this five-piece quickly made their mark with a relentless death metal sound. Since our last encounter, Frozen Soul has dropped a new album, No Place Of Warmth, featuring 11 crushing tracks and guest appearances by Machine Head, Gerard Way of My Chemical Romance, and Sanguisugabogg. Frozen Soul set the tone for the night ahead, starting off strong with “Skinned By The Wind.” During song 2, “Beat to Dust,” singer Chad offered to give out free merch to anyone in the crowd during that song because the band enjoys giving away merch. Frozen Soul did not have to be there that night. Chad’s dad unfortunately passed away the night before. Even though he said he didn’t have a great relationship with his dad, he knew that the show must go on, and his dad would have wanted him to finish out the store. The whole band was excited to be back in Buffalo. During the 4th song, “Absolute Zero,” Chad threw on a helmet with metal wings and spikes on it. I would say these guys are a band you don’t want to miss, if rip your face off metal is your style, check out Frozen Soul.

Fleshgod Apocalypse stormed the stage next. Hailing from Italy, this symphonic death metal powerhouse boasts six albums in its discography. True to their distinctive name, Fleshgod Apocalypse fuses classical music theatrics with the epic brutality of death and symphonic metal—a combination that defines their unmistakable sound. Fleshgod Apocalypse wasn’t exactly my usual style, but they delivered an outstanding performance. Their sound was remarkably creative, blending intense screaming with operatic vocals. Francesco Ferrini (piano) even sang during the second song, “I Can Never Die.” The band’s elaborate outfits perfectly matched the dramatic music. At one point, the drummer came to the front to help energize the crowd. You could truly feel their passion, especially in the expressions on their faces.

Since forming in Mölndal back in 2001, Avatar has evolved from a Swedish melodic death metal outfit into a global heavy metal circus. With ten studio albums under their belt, including their most recent descent into the dark, Don’t Go in the Forest, released this past Halloween. The band has proven they aren't afraid to take the long road to success. That patience paid off in 2023 when “The Dirt I’m Buried In” climbed to number one on US rock radio, marking the longest climb to the top of the charts in two decades. “The Dirt I’m Buried In” is the most listened to on Avatar’s Spotify. It's a testament to a band that has spent twenty-five years mastering the art of the slow burn. Avatar took the stage next. As the room went dark, cheers erupted while the drum kit slowly split in two, and a mysterious platform rolled onto the stage—members cloaked, with singer Johannes Eckerström holding a lantern.

Each band member took their place to launch into “Captain Goat,” and every fan in the crowd seemed to be singing along. Over the course of the night, Avatar played an impressive 17-song set (including the encore), featuring “Death and Glitz,” “Colossus,” and, naturally, “The Dirt I’m Buried In.” Their performance was meticulously choreographed—like a finely tuned circus, but with a metal edge. The energy was electric, with fans crowd surfing, jumping, and demanding more. I especially enjoyed the dramatic costume changes, such as the Pierrot clown outfit for the slower tracks. As the night drew to a close, the crowd’s energy never waned. Avatar capped the show with three special encore songs: “Don’t Go in the Forest,” “Smells Like a Freakshow,” and “Hail the Apocalypse.” And, fittingly for a circus-like spectacle, confetti showered the audience at the finale.

And that’s a wrap on this one, but trust us, 2026 is only getting started! The Concerthopper crew is just warming up, and we have so much more incredible coverage, mind-blowing photography, and live music chaos in store for you this year. You absolutely do not want to miss a single beat of what’s coming next. Want to stay ahead of the crowd? Smash the “like” and “follow” over on Facebook and Instagram and join the community! We'll see you in the pit!

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The Godless IV 2026 Tour

Polish black metal gods Behemoth announced their triumphant return to North America with a massive spring tour earlier this year via their social media accounts. The Godless IV 2026 Tour began April 14, 2026, in San Diego, California, at The Observatory Northpark. And will conclude May 21, 2026, in Los Angeles, California, at the Hollywood Palladium. Joining Behemoth on the Godless IV 2026 Tour would be death metal legends Deicide, Greece’s very own Rotting Christ, and the New York metal gods Immolation.  

Behemoth was quoted as saying that this tour “… is a rite, forged in decades of defiance, conviction, and sonic blasphemy... This is the extreme metal underground standing tall, unbroken, and merciless.” Near the back end of this tour, a trip to Atlanta’s very own The Masquerade was scheduled, and I was there to cover this momentous occasion for Concerthopper. I knew that I could not miss this event, and I hope you enjoy reliving this evening through my camera lens.   

Immolation is a death metal band from Yonkers, New York, that has been active since 1986. Originally, Immolation was known as Rigor Mortis (1986-1988). Immolation consists of Robert Vigna (lead guitar), Alex Bouks (rhythm guitar), Ross Dolan (bass/vocals), and Steve Shalaty (drums). Immolation has released twelve (12) LPs, two (2) EPs, one (1) compilation, one (1) DVD, and one (1) book. Immolation’s latest release is entitled Descent and was released on April 10, 2026, via Nuclear Blast Records.  

Immolation started off the evening with the song “These Vengeful Winds,” which is off their latest album, Descent. This was my first time seeing Immolation perform live, so I was hoping to hear a few of my favorite songs like “Bend Towards the Dark” and “Attrition” off their new album, Descent. I was thrilled to hear the song “Immolation” from their debut album Dawn of Possession, which was performed near the end of the set. Between Dolan’s brooding death metal vocals and Vigna’s crushing guitar riffs, Immolation was the perfect choice to kick off this evening’s festivities.  

Check out Immolation’s brutal setlist from this evening’s performance at The Masquerade below: 

“These Vengeful Winds” 

“The Ephemeral Curse” 

“Swarm of Terror” 

“Attrition” 

“An Act of God” 

“Adversary” 

“Immolation” 

“Bend Towards the Dark” 

 Rotting Christ is a melodic black metal/gothic metal band from Athens, Greece, founded in 1987. Originally, Rotting Christ was a grindcore band, but later developed the melodic black metal sound they are known for with albums such as Theogonia (2007) and Rituals (2016). Currently, the band consists of Sakis Tolis (vocals/guitars), Themis Tolis (drums), Kostas “Spades” Heliotis (bass/backing vocals), and Kostis Foukarakis (guitar/backing vocals). They have released fourteen (14) LPs, one (1) EP, two (2) live albums, and numerous demos/compilations/DVDs over their historic musical career. 

Rotting Christ was next up on stage at The Masquerade, which is a venue that they have known very well over the years. Rotting Christ is the only band performing this evening that I have had the privilege to see perform live, and to be honest, I cannot get enough of my fellow Greek brothers’ live shows. From the first time seeing Rotting Christ opening for the legendary Mayhem in Heaven at the original Masquerade location back in 2015. Or this most recent experience touring with Behemoth, Rotting Christ commands the stage from start to finish with their savage performances.   

I was eager to hear what songs would make this evening’s setlist. I had a feeling that “Kata Ton Daimona Eaytoy,” and “dub-sag-ta-ke" would make the cut. Well, I was pleasantly surprised to find out that “Grandis Spiritus Diavolos” from Rotting Christ’s eleventh studio album, Kata Ton Daimona Eaytoy was added to the setlist. Rotting Christ even performed a brilliant cover of Thou Art Lord’s song, “Societas Satanas,” which was initially available through their 2009 live record, Live in Hellas (also known as Lucifer over Athens).  

You can view my previous reviews featuring Rotting Christ by following this link: Under Our Black Cult: North American Tour 2023 – Rotting Christ Returns to The Masquerade! Or Devastation on the Nation Tour ’22: Rotting Christ, Borknagar, Abigail Williams, Ghost Bath, Vale of Pnath, & Stormruler Invade The Masquerade! You can also view Rotting Christ’s career-spanning setlist from this Atlanta date below: 

“Dies Irae” 

“Demonon Vrosis” 

“Kata Ton Daimona Eaytoy” 

“Elthe Kyrie” 

“dub-sag-ta-ke” 

“Societas Satanas” (Thou Art Lord cover) 

“Grandis Spiritus Diavolos” 

 Deicide is a death metal band from Tampa, Florida, that has been active since 1987. Originally, Deicide was known as Carnage (1987) and Amon (1987-1989). Deicide consists of Glenn Benton (bass/vocals), Steve Asheim (drums), Jadran “Conan” Gonzalez (guitars/backing vocals), and Taylor Nordberg (guitars/backing vocals). Deicide has released thirteen (13) LPs, one (1) live album, two (2) video albums, two (2) compilation albums, and eight (8) music videos.  

Deicide took the stage after two crushing and unforgettable performances by Immolation and Rotting Christ. But I knew Deicide would not disappoint the fans with their upcoming set. I remember first listening to Deicide when their debut album, Deicide (1990), was released when I was in middle school. Songs like “Dead by Dawn”, “Sacrificial Suicide”, “Deicide”, “Mephistopheles” and “Crucifixation” were songs on that record that really stood out to my ears. Since this was my first time seeing Deicide, I was hoping they would dig deep into their extensive catalog, and play some songs from this album, and Once Upon the Cross (1994).  

Deicide has always been one of those death metal bands that did not care what others thought about their music or art/imagery. Deicide has consistently pushed the boundaries with album covers like Serpents of the Light, Once Upon the Cross, Scars of the Crucifix, and The Stench of Redemption to name a few. Deicide kicked off their set with a savage performance of “When Satan Rules His World” from the aforementioned album Once Upon the Cross. What a start to an unbelievable set from the masters of death metal. Coming up next was a classic song (and a personal favorite of mine) from their fourth studio album, Serpents of the Light (1997), “Bastard of Christ.” 

 Near the end of the set, Deicide performed “Dead by Dawn” which is a track from their debut album that has been a crowd favorite for many years. You could see the crowd get pumped when this song began, and the pit opened even more as Glenn belted out the lyrics “Book of the dead, pages bound in human flesh/Feasting the beast from the blood the words were said/I am unseen, dreamt the sacred passage aloud/Trapped in a dream of the Necronomicon...” 

You can view Deicide’s career-spanning setlist from this evening below: 

“When Satan Rules His World” 

“Bastard of Christ” 

“Behead the Prophet (No Lord Shall Live)” 

“Once Upon the Cross” 

“Sacrificial Suicide” 

“Serpents of the Light” 

“Forever Hate You” 

“They Are the Children of the Underworld” 

“Scars of the Crucifix” 

“Dead by Dawn” 

“Homage for Satan” 

Behemoth is a blackened death metal band from Gdansk, Poland that has been active since 1991. Behemoth consists of Adam “Nergal” Darski (lead guitar/lead vocals), Tomasz “Orion” Wroblewski (bass/backing vocals), Zbigniew “Inferno” Prominski (drums), and Patryk “Seth” Sztyber (rhythm guitar/backing vocals). Behemoth has released thirteen (13) LPs, ten (10) EPs, four (4) live albums, three (3) video albums, two (2) compilations, twenty-nine (29) music videos, four (4) demos, and one (1) split.  

The mighty Behemoth was called to the stage to begin their rites of passage under the blackened sky that had gathered since the start of this evening. This would be my first time seeing Behemoth perform live, and I was very excited about this tour stop in Atlanta. And getting to see Behemoth perform live at The Masquerade was a bonus in my opinion. Behemoth is a huge draw at metal-themed festivals across the globe, so getting the chance to see them perform in Heaven is a “can’t miss” opportunity. Behemoth started their set with the opening track from their latest album, The Shit Ov God (2025), entitled “The Shadow Elite.” Later in the set, Behemoth would treat the fans and play the self-titled song from their new album, “The Shit Ov God.” I know I heard a few fans throughout the night constantly singing this song out loud in preparation for Behemoth’s set that evening.  

Behemoth also treated the fans to a newly released song, “The Return of Darkness and Evil,” which is a Bathory cover that I have always liked from the Swedish black metal pioneers. Some other notable songs performed this evening that I was happy to finally see live were “Ecclesia Diabolica Catholica” from their eleventh studio album, I Loved You at Your Darkest. And “Ora Pro Nobis Lucifer”, “Blow Your Trumpets Gabriel”, and a killer encore of “O Father O Satan O Sun!” from their tenth studio album, The Satanist (2014). 

Check out this massive setlist from Behemoth’s performance below: 

“The Shadow Elite” 

“Ora Pro Nobis Lucifer” 

“Thy Becoming Eternal” 

“Conquer All” 

“The Shit Ov God” 

“Ecclesia Diabolica Catholica” 

“Blow Your Trumpets Gabriel” 

“Nomen Barbarvm” 

“Bartzabel” 

“The Return of Darkness and Evil” (Bathory cover) 

“Ov Fire and the Void” 

“The Deathless Sun” 

“Chant For Ezkaton 2000 E.V.” 

ENCORE: 

“O Father O Satan O Sun!”  

The last date of the Godless IV Tour is tonight, so make sure you go check out this tour before it ends: 

May 21 Thu 

THE GODLESS IV 2026 @ 5:30 PM 

Deicide 

Immolation 

Rotting Christ 

Hollywood Palladium, Los Angeles, CA, United States 

Tickets VIP RSVP 

 Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram for all music-related events/festivals in 2026, such as Newnan PorchFest 2026, This is Our War: Coheed and Cambria Live at Buffalo Riverworks (Buffalo), AmericanaFest 2026, Monolord + Khemmis Live at The Garden Club (Atlanta), Elder Live at The Masquerade (Atlanta), Acid Bath with Crowbar, EyeHateGod, and Whores. Live at The Eastern (Atlanta), Godless IV 2026: Behemoth Live @ The Masquerade (Atlanta), Memphis May Fire: Live at Anthology (Rochester), Fit For A King: Live @ Anthology (Rochester), Tomahawk: Live at Buckhead Theatre (Atlanta), Claypool Gold ’26: Live @ Chastain Park (Atlanta), Dance Gavin Dance: Live at Buffalo RIverworks (Buffalo),  Cradle of Filth: Live @ The Masquerade (Atlanta), Camp Screamo Tour: Silverstein and Story of the Year Live at Outer Harbor (Buffalo), North America Tour 2026: Hanabie. Live at Buckhead Theatre (Atlanta), Five Finger Death Punch: 20th Anniversary Tour Live @ Empower Federal Credit Union Amphitheater (Syracuse), Taking Back Sunday Live at Outer Harbor (Buffalo), Amyl and the Sniffers Live at Coca-Cola Roxy (Atlanta), and Rob Zombie & Marilyn Manson w. The Hu & Orgy: Live @ Ameris Bank Amphitheatre (Alpharetta) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram. You can also follow my concert hopping on Facebook and Instagram. 

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Majestic in Death Tour 2026

Driving from Augusta to Atlanta has become a joy at this point. I get to think about the excitement and anticipation during the ride. It’s never stressful anymore. The trip is always smooth, parking at Underground Atlanta is convenient, and getting to The Masquerade is never a hassle. It’s only $20 to park, and a 2-minute walk to the venue. Parking is safe and secure. I always make a point to mention this for awareness. Some people sometimes get the wrong picture of Atlanta when it comes to these things and don’t want to take the time to enjoy themselves outside the norms. Walking into the venue reminded me why it’s one of my favorites. The complex-style layout, split into four unique spaces: Altar, Purgatory, Heaven, and Hell, gives the place a character and atmosphere that stands out from other venues. Tonight’s concert took place in Heaven, and the excitement was already building long before the doors opened. While waiting in line, I ended up talking with other fans and even made a few new friends, all of us eager for the Majestic in Death Tour. One of my favorite things to do is, in fact, looking at all the cool, very large posters for the upcoming shows and planning what’s next. My first stop was the bar for a Coca-Cola. I only drink one, and then it’s water for the rest of the night.

Cultus Black - Opening with Chaos

Cultus Black took the stage to a level of anticipation that felt like it had been building for a while. Before anything really started, a sample of “Gangsta’s Paradise” played through the speakers just enough to get people looking around and reacting before the band kicked in. Once they did, there wasn’t much of a slow build. The floor opened up almost immediately, with a mosh pit forming across the crowd within the first minute or two. The set leaned heavily on groove and timing, with thick riffs and layered percussion driving most of the momentum. It didn’t feel loose at all. Everything was pretty locked in, but it also didn’t come across as overly mechanical. There was still enough movement in the sound to keep it from feeling stiff, especially once the crowd got fully involved. Visually, the band sticks to a very unified look. The percussionist, backup vocalist, drummer, guitarist, and bassist were all masked in black cloth with matching dark, coverall-style outfits. No one really stands out individually, which seems intentional. The focus stays on the group as a whole rather than any one member. Frontman “L” acts as the center point, with body paint and a more expressive stage presence that gives the crowd something to lock onto. He doesn’t overdo it, but he doesn’t fade into the background either.

It’s a good balance that fits what the band is going for. They don’t make a big deal about who’s in the band, and there’s not much out there about individual members, but the way they play makes it pretty obvious they’ve all been doing this for a while. The transitions were clean, nothing dragged, and they kept things moving without a lot of downtime between songs. By the end of the set, the crowd was fully in it. People were still catching their breath, talking about the pits, and trying to process everything that just happened. It wasn’t one of those sets where you stand still and take it in—it was constant movement from the start, and it stayed that way until they walked off. By the end of the set, I was drenched in sweat myself from navigating through the crowd without being knocked over. I had to immediately go out and cool off while I prepared my camera for the next band.

Ghostbath - Loud, Heavy, Go!

Ghost Bath didn’t waste time easing into anything. No intro track, no buildup, just straight into it. A wall of sound that felt like it hit the room all at once. Up front, you’ve got Dennis Mikula hunkered down on vocals and guitar, with Tim Church, John Olivier, and Josh Jaye filling layering the stage behind him. On paper, it’s a straightforward lineup, but live, it feels way bigger than that, like there’s more sound coming off that stage than there should be. Their style leans atmospheric on record, almost distant at times, but live, it hits different. The guitars come in thick and layered, not muddy, just constant. Mikula’s vocals don’t sit on top of everything so much as they drift through it, like they’re fighting to stay above the noise and then just giving in. What I didn’t expect was how hard the crowd would go. First song in, and the pit was already moving. Not a slow build, either, just immediate chaos. It didn’t stop. Every song is the same thing. People crashing into each other, circling, getting pulled back in. It almost didn’t match what you think Ghost Bath would be if you’ve only heard them on record. That more isolated, internal feeling? Live, it turns outward. It becomes something shared, and honestly, a little volatile.

After leaving the photo pit, I tried to stick it out up front, but that didn’t last long. A couple of songs in, and I was already getting knocked around enough to call it. Had to move back just to actually watch the set without constantly bracing for impact. From the back, it’s a different experience. You catch more of the detail—the way the melodies sit underneath everything, the way songs kind of bleed into each other without clean breaks. They don’t rush anything either. They’ll sit in a passage longer than you expect, let it stretch out, and somehow that just pulls you in further. It ends up feeling less like a setlist and more like one continuous piece. No real reset points. Just a steady climb that never really drops off. Even from the back, you could still feel the pit pushing forward, like the energy didn’t stay contained to one part of the room. It kept spilling out. Ghost Bath isn’t a band that demands attention in an obvious way. They’re not up there hyping the crowd or trying to control the room. They just build something, and if you’re there, you’re stuck inside it for however long they decide. On a lineup that stacked, it would’ve been easy for a band like this to get overshadowed. Instead, they ended up shifting the whole mood of the night. Not louder, not flashier, just heavier in a way that sticks with you a little longer after it’s over. I definitely needed a break after this one before preparing for what was about to be. Don’t forget to go check out Cultus Black over on Bandcamp: https://cultusblack.bandcamp.com/

Suffocation - Round 3, Brutal Assault to your ears

Some bands ease you into a set, let things develop, give you a moment to catch up. Suffocation does none of that. I had never heard Suffocation before tonight. No intro, no slow burn—just straight into it. Loud, fast, and completely unforgiving from the first note. Where other bands on the lineup leaned into mood or presentation, Suffocation stripped everything down to impact. It felt less like a performance and more like a direct hit. At the center of it all is Terrance Hobbs, still driving the band forward with the same precision and weight that’s defined their sound for decades. Alongside him, Derek Boyer locks in the low end, with Charlie Errigo adding another layer of rawness. On vocals, Ricky Myers brings a raw, direct presence that fits the band perfectly, no theatrics, just intensity. Behind the drum throne for this run, John Longstreth stepped in following recent lineup changes, delivering a performance that didn’t feel like a fill-in role at all. If anything, it pushed the band even harder. Suffocation has gone through more than a few lineup changes over the years, and even recently, but none of that shows on stage. If you didn’t know, you wouldn’t guess. Everything felt locked in tight, aggressive, and completely dialed. The set itself was relentless. Riffs came in waves, each one heavier than the last, stacked on top of blast beats that didn’t let up long enough for you to fully process what just hit you. When they dropped into a breakdown, it wasn’t just a change in pace; it was a trigger.

The crowd responded instantly. Every time the tempo shifted, the pit exploded. Not a slow build, not a gradual push, just immediate impact. Bodies moving, colliding, resetting, and then doing it all over again seconds later. It was controlled chaos, but just barely. There’s something about seeing a band like this in a smaller venue that makes it hit even harder. No distance, no buffer. You’re right there with it, feeling every kick drum and every shift in rhythm. It’s physical in a way that doesn’t really translate outside the room. Suffocation doesn’t waste time trying to shape the experience. There’s minimal talking between songs. No long pauses. No attempts to guide the crowd. They just move from one track to the next, keeping the pressure on the entire time. It works. By the end of the set, it didn’t feel like you’d watched a performance—it felt like you’d been put through something. In the best way possible. On a tour stacked with heavy bands, Suffocation didn’t try to stand out by doing something different. They stood out by doing exactly what they’ve always done, only louder, tighter, and with zero compromise. In the end, I was a big fan. They reminded me of old school Cannibal Corpse, honestly. They are one of my favorites now, and I won’t miss the next time they are nearby.

Cradle of Filth - Final Boss, Dark and Majestic

There are bands you discover, and then there are bands that shape you. For me, Cradle of Filth falls squarely into the latter. I’ve been listening to them for over 20 years, building this almost mythic expectation in my head of what seeing them live would be like. Last weekend in Atlanta, I finally got my answer, and it didn’t disappoint. They opened the set with a long intro of them from the 1987 movie HELLRAISER. Doug Bradley, who plays Pinhead in that movie, is actually featured on one of the hit songs, “ Her Ghost in the Fog by Cradle of Filth. The moment Dani Filth stepped onto the stage, it was clear this wasn’t just another metal set. His presence is theatrical in a way that feels earned, not forced, every shriek, every gesture dialed in like he’s conducting something bigger than just a band. And behind him, that signature Cradle wall of sound hit exactly how it should: layered, gothic, and just a little bit overwhelming in the best way. One thing that stood out immediately was how tight the current lineup feels. With all the changes the band has gone through over the years, you never quite know what version you’re going to get, but this one is locked in. The addition of new guitarist Joff Bailey brings a fresh kind of energy. His playing is sharp and aggressive, but still fits perfectly within the band’s dense, symphonic chaos. You can tell he’s not just filling a role, he’s contributing to it. Previous guitarist Marek Smerda was let go in late 2025 shortly after the departure of his wife and keyboardist Zoe Federoff.

The element that’s always pulled me deeper into Cradle’s music: the atmosphere. The keyboards and backing vocals add that eerie, almost cinematic layer that separates them from a lot of their peers. Kelsey Peters absolutely shines in this role live. Her presence balances out the brutality with something haunting and melodic, giving the songs that extra dimension. She meshes well with Dani Filth for sure. The set itself was relentless. No wasted time, no filler. For a first-time live experience, it felt like getting dropped right into the deep end of everything that makes this band great. The sound was full without being muddy, and every layer—from blast beats to orchestral flourishes—came through with clarity. What surprised me most, though, was how personal the whole thing felt. After two decades of listening, seeing these songs performed live wasn’t just entertaining—it was surreal. It is like finally stepping inside something you’ve only experienced through headphones and car speakers for years. Cradle of Filth has always existed in its own lane, somewhere between black metal, gothic horror, and theatrical spectacle. Seeing them live confirmed what I’ve always believed: no one really does what they do. Now that I’ve finally seen it firsthand, I can say it was worth the wait. As soon as the set was over, I ran to grab a last-minute merch tour shirt. I couldn’t come home empty-handed.

End of the night - Ready to go

By the end of the night, I was sweaty, tired, and feeling bruised. I wasn’t paying attention to what was happening around me during Cradle of Filth and got knocked into pretty hard, being on the outskirts of the pit. My back was sore for quite a while. Oh well, it was well worth what I had just experienced. I grabbed a bite to eat and hit the road. Made it about 100 miles and slept in my car for the rest of the night. I would do this every weekend if I could. Until next time.

Bradley Durham

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The Decibel Tour Invades The Masquerade in Atlanta!

Earlier this year, in January, The Decibel Tour announced a huge tour update for the 13th edition of their annual tour across North America with some huge names in the metal industry. Headlining this year’s Decibel Tour would be Montreal’s very own death metal legends Cryptopsy. Cryptopsy would also take this time to celebrate the 30th anniversary of their classic album None So Vile. Joining Cryptopsy on this stacked bill would be the Bay Area death metal titans Necrot, Austin heavy metal gods Spirit Adrift, and Washington D.C. death dealers Blood Monolith.

Originally, Italy’s Fulci was set to perform, but when visa issues arose, Spirit Adrift was tasked with filling the empty void left by Fulci. What makes this addition of Spirit Adrift even more special is that this is the “last hurrah” for Spirit Adrift as a band, according to Nate Garrett. Fresh off the release of their last studio album, Infinite Illumination, Nate was quoted as saying, “Since we announced the end of Spirit Adrift, a lot of y’all have been clamoring for a farewell tour, so here you go.” Honestly, I was on the fence covering this tour because it was a week day show, but once Nate and the homies in Spirit Adrift was added, it was a full send. I knew I had to cover what is possibly the last concert for Spirit Adrift in Atlanta. I know that I am thankful that I was able to experience the, albeit brief, reign of Spirit Adrift in the metal community.

Blood Monolith is a death metal/grindcore band from Washington, D.C. that has been active since 2023. Blood Monolith has released one (1) LP, The Calling of Fire, in 2025 via Profound Lore Records. Blood Monolith consists of Tommy Wall (guitars), Shelby Lermo (vocals/guitar), Nadia Tydings-Lynch (drums), and Nola (bass). Blood Monolith features members of Ulthar, Undeath, Nails, Genocide Pact, and many more metal bands.

Blood Monolith kicked off the Atlanta edition of The Decibel Tour with “Trepanation Worm,” which is the opening track to their debut album, The Calling of Fire, which was released May 16, 2025. Getting the opportunity to see Blood Monolith open the evening was a real treat since this was my first time seeing them perform live. I really enjoyed hearing “Prayer to Crom” and “Cleansing” live since those are a few of my favorite songs from their debut album. If you ever get the opportunity to see Blood Monolith perform, I suggest that you buy the ticket and go see them.

Check out Blood Monolith’s setlist from their opening set at The Masquerade below:

·         “Trepanation Worm”

·         “The Owl in Daylight”

·         “Prayer to Crom”

·         “Viscera Vobiscum”

·         “Apparatus”

·         “Cleaning”

·         “Slaughter Garden”

·         “Pyroklesis”

You can check out Blood Monolith’s music via their Bandcamp page today. Follow this link and show them some support!

Spirit Adrift is a heavy metal/doom metal band from Austin, Texas that has been active since 2015. Spirit Adrift started as a side project by Nate Garrett and, over time, became something much more. Spirit Adrift has released six (6) LPs, three (3) EPs, one (1) live album, two (2) compilations, one (1) split with Khemmis, and one (1) single. Spirit Adrift’s touring band consists of Nate Garrett (vocals/guitar), Sonny Decarlo (bass), Jason Dahlke (guitars), and Mike Arellano (drums). Spirit Adrift is fresh off the release of their sixth (and FINAL) album, Infinite Illumination (2026), via 20 Buck Spin Records. You can grab a digital or physical copy of Infinite Illumination via 20 Buck Spin Records’ Bandcamp page today.

Spirit Adrift started off their set in Atlanta with the opening track from their 2022 EP, released by Century Media Records, 20 Centuries Gone, “Sorcerer’s Fate”. This is a fantastic song to open their last set ever in Atlanta, especially since the band has so many superb songs to choose from. Knowing this was the last time I would get to see Spirit Adrift perform, I was eager to hear what other classic songs made this evening’s setlist. It was fitting that Nate would choose some older songs to start off the set, such as “Spectral Savior” from their second album, Curse of Conception (2017).

And one of my favorite tracks from their third album, Divided by Darkness, “Hear Her”, which was also dedicated to his wife Nicole, who was diagnosed with stomach cancer in July 2025. A GoFundMe page was set up to help Nate and Nicole with the cost of her treatments. Follow this link to the GoFundMe page to help Nicole beat cancer.

In honor of the release of Infinite Illumination, Nate added three new songs to the setlist, which were played for the first (and, albeit for the last time) in Atlanta. I was thrilled to hear that the last song of the night would be one of my favorite tracks off the new album, “Window Within.”

Check out Spirit Adrift’s setlist from The Decibel Tour at The Masquerade in Atlanta:

·         “Sorcerer’s Fate”

·         “Spectral Savior”

·         “Divided by Darkness”

·         “Hear Her”

·         “Born in a Bad Way”

·         “Buried in the Shadow of the Cross”

·         “Window Within”

Show Nate and the homies some love today. Head over to Spirit Adrift’s Bandcamp page and listen to their music. You can also preorder Spirit Adrift’s new (and last) album via 20 Buck Spin’s Bandcamp page.

Necrot is a death metal band from Oakland, CA. that has been on the metal scene since 2011. Necrot consists of Chad Gailey (drums), Sonny Reinhardt (guitars), and Luca Indrio (guitars/bass/vocals). Necrot has released three (3) demos, one (1) compilation, two (2) singles, and three (3) LPs since 2012. Necrot is currently signed to Metal Blade Records, and their latest release is entitled Lifeless Birth (2024).

Necrot took the stage to a pumped-up crowd of fans at The Masquerade after some blistering sets from both Blood Monolith and Spirit Adrift. I knew that I was not the only fan happy to hear Necrot start off their set with “Empty Hands” off their first studio album, Blood Offerings. And then to follow that song up with the title track from their most recent release, “Lifeless Birth.” One of my favorite albums from Necrot is Mortal (2020), so I was very pleased to hear a few songs from that album, which included closing out their brutal set with “Sinister Will.” Since this was my first time seeing Necrot perform live, I thoroughly enjoyed seeing the dudes from Oakland rip through some vicious tracks from their discography.

You can listen to Necrot’s music via their Bandcamp page today. Head over to their page and show them some support. Check out Necrot’s setlist from this evening below:

·         “Empty Hands”

·         “Lifeless Birth”

·         “Stench of Decay”

·         “The Blade”

·         “Into the Labyrinth”

·         “Rebirth in Chaos”

·         “Drill the Skull”

·         “Sinister Will”

 Cryptopsy is a technical death metal/brutal death metal band from Montreal, Quebec, Canada that has been active since 1998. Cryptopsy consists of Flo Mounier (drums/backing vocals), Olivier Pinard (bass), Matt McGachy (lead vocals), and Christian Donaldson (guitars). Cryptopsy has released nine (9) LPs, two (2) EPs, one (1) live album, one (1) compilation, and one (1) demo. To celebrate the 30th anniversary of their second album, None So Vile (1996), Cryptopsy assumed the headlining duties for The Decibel Tour in North America. Earlier in 2025, Cryptopsy re-released their debut album, Blasphemy Made Flesh (1994), with a surprise guest appearance from none other than Billy Strings. Yes, you read that correctly. Billy Strings appeared as part of a new medley with a sick guitar solo on the reissue of their debut album. Strings, who is a self-proclaimed fan of Cryptopsy, has also played with other metal bands like Groove Tongue, To Once Darkened Skies, and the Grand Rapids band Flesh and Blood Robot.

It was finally time for Cryptopsy to take the stage at Hell in The Masquerade in downtown Atlanta, Georgia. Cryptopsy is another band that I have never seen live before this evening, so I was eager to see one of the vilest death metal bands around do their thing on stage. And for a bonus, as mentioned before, Cryptopsy was performing None So Vile in its entirety. When this album was released, there were a few tracks from that album that were so intense and ferocious that I wondered how Cryptopsy could follow up with such a perfect album. I was very excited to hear “Slit Your Guts,” “Dead and Dripping,” “Benedictine Convulsions,” and “Orgiastic Disembowelment.”

From start to finish, Cryptopsy took control of the stage and controlled the crowd as they seamlessly played through songs from None So Vile. For an album to be on its 30th anniversary, the songs from None So Vile sounded great performed live, and the crowd let Cryptopsy know, in between songs, how thrilled they were to be a part of this momentous tour. I know there are more dates left of The Decibel Tour, and I encourage you to check out the remaining dates below to see if they are playing near your town.

Follow this link to Cryptopsy’s Bandcamp page and check them out today! You can see Cryptopsy’s setlist from their Atlanta performance below:

·         “Crown of Horns”

·         “Slit Your Guts”

·         “Graves of the Fathers”

·         “Dead and Dripping”

·         “Benedictine Convulsions”

·         “Phobophile”

·         “Lichmsitress”

·         “Orgiastic Disembowelment”

 Here are the remaining dates left for The Decibel Magazine Tour. Don’t miss out on this behemoth of a tour:

The Decibel Magazine Tour 2026 dates: May 12: Los Angeles, CA • The Belasco May 13: San Diego, CA • Brick By Brick May 14: Berkeley, CA • Cornerstone May 16: Portland, OR • Hawthorne Theater May 17: Seattle, WA • El Corazon May 20: Denver, CO • Oriental Theater May 22: Minneapolis, MN • Fine Line Music Cafe May 23: Chicago, IL • Bottom Lounge May 24: Detroit, MI • Crofoot Ballroom May 25: Cleveland, OH • The Grog Shop May 26: Pittsburgh, PA • Preserving Underground May 27: Toronto, ON • Lee’s
 May 28: Montreal, QC • Fairmount Theatre

For more ticketing information, visit decibelmagazine.com/events/tour

Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram for all music-related events/festivals in 2026, such as AmericanaFest 2026, Acid Bath with Crowbar, EyeHateGod, and Whores. Live at The Eastern (Atlanta), Godless IV 2026: Behemoth Live @ The Masquerade (Atlanta), Fit For A King: Live @ Anthology (Rochester), Claypool Gold ’26: Live @ Chastain Park (Atlanta), The Pale Moonlight Tour: Dayseeker Live at Buffalo Riverworks (Buffalo), Cradle of Filth: Live @ The Masquerade (Atlanta), Camp Screamo Tour: Silverstein and Story of the Year Live at Outer Harbor (Buffalo), North America Tour 2026: Hanabie. Live at Buckhead Theatre (Atlanta), Lorna Shore: Live @ Buffalo RiverWorks (Buffalo), Five Finger Death Punch: 20th Anniversary Tour Live @ Empower Federal Credit Union Amphitheater (Syracuse), Taking Back Sunday Live at Outer Harbor (Buffalo), Rob Zombie & Marilyn Manson w. The Hu & Orgy: Live @ Ameris Bank Amphitheatre (Alpharetta), and The Devil Wears Prada: Live at The Masquerade (Atlanta) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram. You can also follow my concert hopping on Facebook and Instagram.

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Dayseeker: The Pale Moonlight Tour 2026

Buffalo RiverWorks is one of Buffalo’s biggest live music venues. A popular stop for bands hitting some pretty big tours, Dayseeker was no exception to this. The Pale Moonlight Tour brought a lineup of opening acts such as Northlane, Wind Walkers, and Sace6. A pretty stacked lineup for an already very anticipated tour. It’s very clear throughout the past couple of years that Buffalo loves Dayseeker. Selling out the last couple of stops here, Tuesday night at Riverworks was no exception. With a sold-out crowd filling the venue’s 5,000-6,000-person capacity, the atmosphere of fans brought the venue to life. Riverworks is known for its industrial Buffalo-style, restored silos, and warehouse-style layout. With a huge first-floor layout and an upstairs viewing area, fans had plenty of options to find the best view. With the album Creature In the Black Night still fresh from its 2025 release, Dayseeker was anticipated to come ready with a setlist full of fan favorites. Half an hour before the doors opened, fans were already lined up down the street, anxious to get in and claim a spot.

Sace6 kicked off the night with a surprisingly strong set and crowd response. The general admission floor was packed with people before the first song even hit your ears. Being new to this band, my attention was immediately drawn to the stage. The duo, formed in 2004, blends clean sounds of pop, R&B, and metal. Crushing breakdowns and a blend of electronic textures had the floor moving instantly. The lighting featured an almost dark and moody energy, with warm yellow/orange tones. Throughout the set, Sace6 brought a cool, low-toned melodic vibe which quickly amped up into a more whimsical display of chaotic chaos. Microphone swings, guitar jumps, and dream-like vocals were fully present that night and most certainly got the crowd moving. At one point, fans had their cellphone lights up, swaying back and forth as the venue lit up with strong emotional intensity. With their debut album, Brutalist, releasing on May 8th, 2026, the 11-track project gives fans a blend of beautifully crafted songs.

Wind Walkers exploded onto the stage next. Not wasting a minute was lead singer Trevor Borg, pacing back and forth, demanding the crowd’s attention. The band’s melodic hooks instantly connected with the Buffalo crowd, pumping energy into the air. The post-hardcore grit of the band’s sound, along with high-energy and versatile genre-blending, makes it easy to see why they are a fan favorite. Fans wasted no time shouting lyrics alongside the band and matching their energy. A lot of the band’s songs focus on focusing on mental health and other deeply personal aspects of life. Truly, the type of music relating to all ages shows why live music can be so important. With heavy metalcore breakdowns and electronic elements, you can see why fans have such an intense connection to the lyrics. The crowd responded heavily to the heavy, visceral screams and smooth vocals of songs off their newest album, What If I Break?, and other favorites. Wind Walkers proves again why you should never miss the openers.

Australian metalcore veterans Northlane took the stage next. Having seen Northlane before, I knew that their set was going to be an amazing addition to this already loaded lineup. Even the fans who came primarily for Dayseeker weren’t safe from the energy of this band. Marus Bridge packed some vocal heat, switching between soaring vocals and guttural screams. The venue was filled with cybernetic sound that perfectly blended with captivating visuals and strobes. A Northlane show is almost that of a rave-like experience. Their cyberpunk style truly makes them unique and stands out. Guitarist Jonathon Deiley sported haunting red glasses that glowed and made for a visually cool pairing to the band’s set. Josh Smith wasn’t shy, exploding into multiple mid-air jumps throughout the set and getting fans moving. If the crowd wasn’t warmed up already, they were now. The live performance of this band is truly unmatched, and it’s clear to see why. With circle pits forming and crowd surfers starting to make their way towards the barricade, Northlane was giving a co-headliner type of performance. “Carbonized,” “Talking Heads,” and “Clockwork” were among the fan favorites that were played. Bridge interacted heavily with the crowd, encouraging them to sing along to the lyrics as fans pushed closer. Northlane fans made their presence known, and by the end of the set, you could barely move.

Headliners Dayseeker were finally up next, and this crowd was ready. My favorite part of a Dayseeker show, besides the absolute electric energy, is their stage setup. Dayseeker always has the most beautifully visual and darkly intimate setup, and tonight was no different. Florals were scattered among the stage alongside a coffin centered in the middle. A large LED screen flashed lyrics from the song “Dance with the Devil, slave till the end.” Blue and purple lights gave just the right touch without being too much, and the dream-like stage of the setup was absolutely stunning to witness. Emerging from the thick fog on stage, Rory Rodriguez effortlessly drew the crowd’s attention. The setlist was balanced with songs new and old that kept fans’ attention throughout the entire night. Most of the songs throughout the night spun off their album Creature in the Black Night, released in 2025. “Bloodlust”, “ Shapeshift,” and my personal favorite, “ Crawl Back to My Coffin,” drew the loudest reaction from the crowd. With “ Creature in the Black Night”, “ Homesick”, and a cover of “The Ghost of You” by My Chemical Romance also making the cut. Crowd surfers poured effortlessly across the GA pit towards the stage, and the emotion of fans at the barricade showed just how much they related to the band’s lyrics. Rory’s crowd interaction with fans was unforgettable, stopping the show at one point to thank the crowd for their support and show the band’s overall appreciation to their fans. After some heart-to-heart conversation, the band exploded back into the next song. Rory’s raw vulnerability and charismatic energy can be heard in each song. His voice is truly unique, and the transition of clean soft vocals to heavier screams is nothing short of impressive. The blend of haunting vocals pairs perfectly with the band’s violent breakdowns and heavier cuts, and energy didn’t stop the entire night.

As the lights came back on, the crowd still buzzed with excitement as fans made their way to the crowded parking lot. People gathered in the back of the venue to pick up some last-minute merch, and fans throughout the venue enthusiastically showed off caught guitar picks and setlists. The crowd was buzzing with talk about how awesome the show was and recapping their favorite moments. If you want to check out Dayseeker on The Pale Moonlight Tour, make sure to grab your tickets now. With venues selling out, you don’t want to miss this show!

Dayseeker Setlist:

Pale Moonlight

Shapeshift

Dreamstate

Burial Plot

Crawl Back to My Coffin

Homesick

The Ghost of You ( MCR cover)

Forgotten Ghost

Bloodlust

Without Me

Crying While You’re Dancing

Nocturnal Remedy

The Living Dead

Creature in the Black Night

Sleeptalk

Neon Grave (ENCORE)

[concerthopperblog]

Review: Whitehorse- 'All I Want Is All of It'

Whitehorse has been one of the more mercurial bands on the roots music scene. Over eight albums, the husband and wife duo of Luke Doucet and Melissa McClelland have shown respectable range. So what happens when you take such an experimental duo and stick them in a 19th-century farmhouse studio to make a new album? All I Want Is All of It, an album that is, in some ways, a back-to-basics return to their early folk rock romanticism and in others an experimental delve into folk rock's hidden backroads.

Doucet and McClelland certainly took inspiration from their rural setting. Known for their intricate live looping that lets two sound like a full band, Whitehorse took a more DIY approach on All I Want Is All of It. Running with first takes rather than editing in “perfection.” Leaving in organic environmental sounds rather than overdubbing. It certainly didn't help that they brought together a crack band to flesh out the sound organically. The band for the album includes Jimmy Bowskill on bass, John Obercian and Fred Eltringham on drums, Vincent Jones on keys, and Melissa and Luke's son Jimi on Wurlitzer and Hammond organs.

Musically, the album hits right out of the gate with its best track, “2155.” A lick-heavy venture into a future that is both tragic (“are the maples carbon fiber? / your blue eyes holographic”) and satisfying (“conspiracies crumble / the ballots never rigged”, “the refugees fly first class / never wash up on the shore”). In addition to Doucet's excellent guitar work, this is his best vocal performance on the album, though McClelland gives him a run with some soaring, almost screaming harmonies.

Another feat of guitar heroics by Doucet is “Fire.” The tale of a woman who is “hotter than Hamilton steel,” Doucet's guitar almost “sings” the chorus during the solos. “I may be a thief / but I ain't no liar,” Doucet wails. “Girl from where I stand / you're fire.”

Don't let that make you think McClelland doesn't get her time to shine on All I Want Is All of It. Another highlight track, “Bullet in the Chamber,” shows off her considerable vocal skills. There's a bitterness in the song's lyrics that McClelland nails perfectly in her delivery. When she growls “'cause you don't like me / like you want her/you'd take a bullet / just to haunt her,” all of the pain of that line is present in every syllable.

Another McClelland showpiece is “Lighthouse.” It's the song that most fits the simplicity the band was going for in their 19th-century farmhouse. A gentle guitar strum accompanies McClelland as she croons in a voice that lulls you.

Of course, when you call your album All I Want Is All of It, you've got to have a little bit of greed and avarice in there somewhere, and that is brought forth on “I Want the Milk.” A deceivingly understated duet vocal makes the greed on display almost like a secret, something to be hidden. You can certainly see signs of the modern billionaire class when they sing “I want the milk / the money from the milk / and the milkmaid” later bragging “as I say / not as I do/eat your cake / and have it too.”

If this is what happens when Whitehorse goes to ground, here's hoping they do it again, although that seems unlikely from a band prone to reinventing itself on every album. Whatever their next step may be, today we're left with a wholly satisfying addition to their catalog in All I Want Is All of It.

[concerthopperblog]

Review Roundup 5/1/26: Taj Mahal and A Different Thread

This week is a bounty week for roots music, as I have not one but two albums to tell you about. The two come from different ends of the vast roots music landscape. The first, A Different Thread, comes from a duo working in the folk traditions of two continents. The other, Taj Mahal & the Phantom Blues Band, is the latest from a genre-defying legend.

Taj Mahal and the Phantom Blues Band- Time

What is there to say about Taj Mahal that hasn't been said before? Best known as a legendary bluesman, he has branched out into so many different genres as to practically be a genre within himself. On his new album Time, Taj Mahal and his longtime collaborators The Phantom Blues Band cross genres throughout the album, and sometimes within the same song, but the unifying thread throughout is Taj Mahal's unique voice.

One song that's getting a lot of attention, and for good reason, is the album's title track, “Time.” It's a previously unreleased track, almost lost to time, by the great Bill Withers.  Found and brought to Taj by producer Steve Berkowitz, the song pays appropriate tribute to Withers' genius while having Taj Mahal's signature stamp all over it.

Another highlight of the album is a cover of Bob Marley's classic “Talkin' Blues.” Again, Taj Mahal makes the song his own but connects the thread through a guest vocal by Bob's son Ziggy Marley. Reggae, like so many things, sounds at home with Taj Mahal as the blues.

“Rowdy Blues” is another song that will likely find a regular home in Taj Mahal's concert setlists. A pure Delta blues rolls; it finds Taj Mahal making sure no one forgets his blues roots. The song also features some fine piano work from the great Jon Cleary.

At 84 years old, any new work from Taj Mahal should be treasured, and this album sounds like the work of a man who has no intention of slowing down anytime soon. Thank goodness for that. The roots music world needs Taj Mahal, and Time stands up well alongside his career output. There's only one Taj Mahal and, with albums like Time, one is enough.

A Different Thread- Over Again

The duo of Alicia Best and Robert Jackson, collectively known as A Different Thread, met while busking the streets of Dublin and discovered both musical and personal harmony. The best comes from the Appalachian folk traditions of North Carolina while Jackson is rooted in British folk. Together, it makes for an intriguing mixture of styles that blend to make something unique. Their latest album, Over Again, continues with their trans-continental folk styling with a socially conscious core.

The album's standout single is “Prophet.” A protest against those companies that put greed over climate action and couch their arguments in religious dogma is a timely (and one could, unfortunately, say evergreen) topic that the pair handle deftly. By conflating “prophet” with “profit”, they cleverly find the cracks in both facades and expose them to the world. “It's not me who needs saving / It's the Earth we're living on / Doesn't matter who your god is / after all of us are gone,” sings Best while Jackson harmonizes.

Another topical track is “Columbine.” A call to action to prevent gun violence, it calls back to the first school shooting most of us remember at a time when we thought “this will never be repeated.” But of course, it has been many times over the decades since that tragedy. The song intros with a somber violin that carries throughout while a fingerpicked guitar lick weaves in and out.

But don't think the whole album is somber. The title track is a call to join the pair in finding the best in the ordinary. “Sorrow Brings Me Joy” finds a ray of light in the darkest moments.

Over Again is a good starter for those new to A Different Thread while bringing new nuances for fans of their previous work.

[concerthopperblog]

Six Must-See Acts from the Initial AMERICANAFEST 2026 Lineup

The first round of artists for the 2026 Americana Music Festival and Conference (aka AMERICANAFEST) has been released as the festival dropped a poster with over 50 of the showcasing artists. Taking over dozens of venues across Nashville, AMERICANAFEST runs the roots music gamut, from Rock and Roll Hall of Famers to underground artists who should be on everybody's radar. While it's impossible to break down the entire list of artists, here are some that we're excited to see.

Rock Hall Royalty

Benmont Tench Mike Campbell & the Dirty Knobs AMERICANAFEST has been known to slip a Rock and Roll Hall of Famer into the lineup on occasion, but it's a rare year when we get two, especially two who got in from the same band. Benmont Tench is best known as the keyboardist for Tom Petty's backing band, The Heartbreakers. While I admit to not knowing nearly enough about his solo output, I look forward to seeing and hearing what this megastar has to offer.

In the same vein, but more familiar to me, is Mike Campbell & the Dirty Knobs. Campbell is, of course, the lead guitarist for The Heartbreakers and, since that band's end, a mainstay of the Americana scene. He's collaborated with numerous Americana artists alongside his top-notch blues rock outfit, The Dirty Knobs. It isn't Campbell's first AMERICANAFEST, but I haven't gotten to see him live yet, and I'm hoping to change that at this year's fest. I expect a lot of sit-ins on this one.

Hey, Isn't That...

Tyler Ramsey and Carl Broemel Tyler Ramsey and Carl Broemel may not ring a bell with many AMERICANAFEST attendees, but the bands they're best known for will. Ramsey, in addition to being an accomplished solo artist, is also known for his decade-long stint in Southern rockers Band of Horses. Broemel is best known as a guitarist for genre-defying festival favorites My Morning Jacket. Together, they've released one album, the mostly instrumental Celestun, to critical acclaim. While both might be known for their electric guitar heroics in their other bands, the acoustic performances on Celestun prove they're just as adept unplugged.

Nashville Favorite

Tim Easton

Tim Easton hails from Ohio, but he's been enough of a mainstay on the Nashville local music scene for so long that he's now very much known as a local. We reviewed his latest album fIREHORSE, and I've seen Easton live on more than one occasion at past AMERICANAFESTs. He's not an artist to be missed. Not only is he one of the genre's most literate songwriters, but he's also a great storyteller in the vein of Todd Snider, with a quick wit and an easy humor that's endearing.

Rising Stars

Michaela Anne

Kyle Tuttle Featuring Darol Anger

One of the best things about AMERICANAFEST is discovering young talent. In the case of Michaela Anne, I've caught a couple of her 15-30 minute daytime sets, but never a full official showcase. I'm hoping the stars align and that changes this year. Anne's voice is otherworldly, and her songwriting is top-notch as well.

Kyle Tuttle, featuring Darol Anger, is really more of “rising star meets legend”, but I'll count it because Tuttle is one of the most talented youngsters in roots music today. Tuttle is best known for his stint in Molly Tuttle's (no relation) Golden Highway. Since that band dissolved, Tuttle has showcased himself as a solo artist and, most recently, begun working with the founding fiddler for the Dave Grisman Quintet, Darol Anger. They don't have any official materials out yet, but there are plenty of fancams available on YouTube to see just how strong the pair is together.

Tickets to the Americana Music Festival and Conference are on sale now. The festival will take place September 15-19 in venues across Nashville.

[concerthopperblog]

The Triumphant Return of Acid Bath to Atlanta!

Back from the swampy bayous of Louisiana, Cajun sludge metal titans Acid Bath made their triumphant return to perform at a sold-out show in Atlanta, Georgia, at The Eastern on April 17th. For this tour stop in Atlanta, Acid Bath brought with them a few close friends from Louisiana for opening support, Crowbar and EyeHateGod, plus Atlanta’s very own Whores. This would be my first time getting the opportunity to photograph two out of the four bands scheduled to perform, so needless to say, I was excited as I drove up to Atlanta for this once-in-a-lifetime show.

Whores. is a noise rock/sludge metal band from Atlanta, Georgia that has been active since 2010. Whores consists of founding member Christian Lembach (vocals/guitar), Casey Maxwell (bass), and Douglas Jennings Barrett (drums). Whores have released two (2) LPs, two (2) EPs, and five (5) singles since their debut EP, Ruiner, in 2011. Their latest release, War (2024), was released through Brutal Panda Records. It has been quite a few years since I last saw Whores. perform live, so I was excited when they were added to this already stacked lineup after the announcement.

Whores. have always performed an intense show for their fans filled with crunchy, dominating riffs and Christian’s legendary vitriolic growl. Knowing that Whores. would be performing a hometown show supporting these behemoths of metal, I knew Whores. was ready to lay waste to the stage at the Eastern during their 6:30 pm sharp start time.

Whores. took the stage to the roar of the crowd; many fans had shown up early to support the hometown’s dudes, and you could see the joy in the band’s faces as they walked out onto the stage. Whores. began their fiery set with the first track off their debut EP, Ruiner, entitled “Daddy’s Money.” In my opinion, this was a fantastic start for one of the best bands in Atlanta, Georgia, and I was stoked that they were added to this evening’s festivities. Whores. career-spanning set was chock full of bangers from their discography like “Hostage Therapy”, “Imposter Syndrome”, and “I Am an Amateur at Everything.”

What was supposed to be the final song of the night for Whores. became a lesson for all soundboard engineers. Some bands just perform much louder than others, and unfortunately, both Christian’s guitar and Casey’s bass amps cut off during the latter part of “I Am Not a Goal-Oriented Person”, thus causing their set to end earlier than expected, much to the crowd’s dismay.

Check out Whores. opening set from Friday’s sold-out show at The Eastern below:

·         “Daddy’s Money”

·         “Baby Bird”

·         “Charlie Chaplin Routine”

·         “Hostage Therapy”

·         “Participation Trophy”

·         “Imposter Syndrome”

·         “I Am an Amateur at Everything”

·         “I Am Not a Goal-Oriented Person” – (Unfinished – all the guitar and bass amps cut off during the latter part of the song)

If you are a fan of Whores., check out “Red Fang, Torche, & Whores: Live at The Masquerade” from 2016 by following this link to Concerthopper.

EyeHateGod is a sludge metal band that is also from New Orleans, Louisiana, and has been performing since 1988. EyeHateGod consists of Mike Williams (vocals), Jimmy Bower (rhythm guitar), Gary Mader (bass), and Aaron Hill (drums). EyeHateGod has released nine (9) LPs, five (5) splits, one (1) EP, two (2) singles, two (2) DVDs, and five (5) music videos since their debut LP, In the Name of Suffering, in 1990. Over the years, I have seen EyeHateGod tour with many bands like Black Label Society, Corrosion of Conformity, Crowbar, Goatwhore, and BL’AST! to name a few.

EyeHateGod was summoned to the stage after an unforgettable performance from Whores., and the crowd let them know they were ready for the NOLA portion of the night. EyeHateGod started their set off with a B-Side track from Southern Discomfort, “Blank / Shoplift”, which is a favorite of mine from this demos/rarities release from 2000. It is always great seeing EyeHateGod roll through Atlanta, because the Atlanta metal scene always comes out in full force to show these dudes some love and support.

Other notable songs from EyeHateGod’s opening set included “New Orleans Is the New Vietnam”, “High Risk Trigger”, and “Masters of Legalized Confusion.” EyeHateGod’s last studio album, A History of Nomadic Behavior (2021), has some incredible songs on it, so I was thrilled to finally hear some of these songs performed live, such as the song “High Risk Trigger” and the final song of the night, “Every Thing, Every Day.”

You can view EyeHateGod’s epic set from The Eastern below:

·         “Blank / Shoplift”

·         “Sisterfuck (Part 1)”

·         “Medicine Noose”

·         “New Orleans Is the New Vietnam”

·         “Agitation! Propaganda!”

·         “High Risk Trigger”

·         “Masters of Legalized Confusion”

·         “Every Thing, Every Day”

If you are a fan of EyeHateGod, check out “EyeHateGod, Cro-Mags, & Dead Oath: Sold Out at The Earl!” from 2018 by following this link.

Crowbar is a sludge/doom metal band from New Orleans, Louisiana, that has been together since 1990. Crowbar currently consists of founding member Kirk Windstein (vocals/guitars), Tommy Buckley (drums), Matt Brunson (guitar), and Pat Bruders (bass). Other notable former members of Crowbar include EyeHateGod’s Jimmy Bower (drums) and Acid Bath’s Sammy Duet (guitar/backing vocals). Crowbar has released eleven (11) LPs, one (1) live album, two (2) demos, two (2) DVDs, and several music videos since their debut LP, Obedience thru Suffering, in 1991. Crowbar’s latest release, Zero and Below (2022), was released through MNRK Heavy and received critical acclaim from many metal fans across the world. The last time I saw Crowbar was at the 40 Watt Club in Athens, Georgia, with the homies Spirit Adrift a few years back.  

This would be my first opportunity to photograph Crowbar live, so I was just as eager to get to work with them as I was with Acid Bath. I remember the first time I heard “Embracing Emptiness” from Time Heals Nothing (1995) when my friend Matt played the CD for me in his car during a lunch break. You could feel the heaviness of Kirk’s vocals weighing down on your body like a ton of bricks.

Even before seeing Crowbar perform live, I knew they were a force to be reckoned with in the metal community with Kirk’s sludgy vocal style and the band’s crushing riffs. Sammy Pierre Duet from Acid Bath even came out on stage during the performance of “Planets Collide” and joined Kirk singing the refrain during this song. Nothing could prepare the crowd for what would be the final song of the night from Crowbar, “All I Had (I Gave)” from their self-titled second album, Crowbar (1993). The crowd instantly went into a fury as the pit opened wider, and many crowd surfers took to surf the sea of hands gathered around them in the crowd.

You can view Crowbar’s setlist from their opening support of Acid Bath at The Eastern below:

·         “… And Suffer as One”

·         “The Lasting Dose”

·         “I Feel the Burning Sun”

·         “To Build a Mountain”

·         “The Cemetery Angels”

·         “Repulsive in Its Splendid Beauty”

·         “Planets Collide” (with Sammy Pierre Duet)

·         “Existence is Pain”

·         “All I Had (I Gave)”

Acid Bath is a sludge metal band from Houma, Louisiana that has been active from 1991 to 1997 and 2024-present. Acid Bath currently consists of Dax Riggs (vocals), Sammy “Pierre” Duet (guitars/backing vocals), Mike Sanchez (guitars), Shane Wesley (bass), and Zack Simmons (drums) round out the lineup. Acid Bath has released two (2) LPs, three (3) videos, and nine (9) demos since forming back in 1991. When the Kite String Pops (1994) by the sludge metal band Acid Bath is considered by many to be one of the early examples of the sludge metal genre.

What is currently recognized as an underground classic in the heavy metal world, When the Kite String Pops, was my first introduction to the band Acid Bath in 1996 when a friend happened to have this CD in his collection. I remember noticing the cover of this CD had a strangely familiar picture of a clown staring at some balloons. After looking into this artwork, I was reminded that this was an actual self-portrait painting entitled “Pogo the Clown” by John Wayne Gacy while he was on death row awaiting execution for his deviant crimes. On January 23, 1997, tragedy struck Acid Bath and all of those around the band. Acid Bath bassist Audie Pitre was tragically killed alongside his parents when a drunk driver drove through a stop sign. This heartbreaking loss was a pivotal moment in the band’s history, as it proved to be the nail in Acid Bath’s proverbial coffin for the time being. Consequently, Acid Bath mutually decided they could not see themselves carrying on without Audie on bass.

Years later, rumors of Acid Bath’s return to performing live started swirling around the internet in 2014, but were later debunked by the band themselves. It was clear that the surviving members did not want to continue without Audie. The band cited in an interview with Loudwire in 2014 that the surviving members of Acid Bath, “… Jimmy, Mike, and myself – have been considering the possibility of doing some shows in the future, as an Acid Bath tribute band, but nothing has been set in stone, and it is still just an idea.”

Despite taking this hiatus between 1997-2024, Acid Bath’s following in the metal community grew stronger. This growth of popularity during the band’s hiatus gathered enough steam that the band decided to play some shows in 2024 to see how it felt to get back on stage. Flash forward to the present, Acid Bath has now performed several shows since reuniting, including The Caverns in Pelham, Tennessee, a few months back. Now, the metal scene in Atlanta was in the middle of one of the most anticipated concerts of 2026 with the reunited Acid Bath.

Acid Bath took the stage at The Eastern, and you could feel the crowd breathe a collective sigh of relief that this moment had finally come. One would think that quite a few people in attendance were finally seeing Acid Bath performing live for the first time. Starting off their much-anticipated set with the second track off their debut album, When The Kite String Pops, “Tranquilized” drove the crowd into a frenzy of excitement. Crowd surfers kicked it in high gear from the start of Avid Bath’s set and started surfing the wave of hands, guiding them safely to the rail for the Security guards to scoop them out of the sea of fans.  

For their second song of the night, Acid Bath gave the fans the second song from their sophomore album, Paegan Terrorism Tactics, “Bleed Me an Ocean.” This was one of my favorite tracks off that album, and I could see the crowd also enjoying this song as Dax belted out “Bleed me an ocean / As the blossom eats the butterfly / Can you feel the cold death that rides along your spine?” What transpired next was something I was not expecting, but I was not surprised at all.

The next song of the night was “Venus Blue”, also from Paegan Terrorism Tactics, and was dedicated to their former bassist Audie Pitre. It was a touching moment during their set for their fallen brother. As the band played through their set, I walked around the venue paying close attention to the vibe that permeated throughout The Eastern. You could see so many happy faces as Acid Bath performed a good selection of songs from their studio albums. I was thrilled to watch Acid Bath perform a few of my favorite songs for the final three songs of the night: “Graveflower” > “Paegan Love Song” > “The Blue.” It’s been so long since we were fortunate enough to watch Acid Bath perform live in concert; now that we can, I implore you to do so before they go back into a deep hibernation.

In case you missed this evening’s performance, you can check out Acid Bath’s setlist from The Eastern below:

·         “Tranquilized”

·         “Bleed Me an Ocean”

·         “Venus Blue” (Dedicated to Audie Pitre)

·         “The Bones of Baby Dolls”

·         “Dead Girls” (Agents of Oblivion version)

·         “The Mortician’s Flame”

·         “New Death Sensation”

·         “Graveflower”

·         “Paegan Love Song”

·         “The Blue”

You still have a few chances to see Acid Bath stateside at Sick New World Las Vegas 2026, Milwaukee Metal Fest 2026, and a few tour dates stateside before they travel to Europe for the Summer.

Apr. 25, 2026

Las Vegas, NV

Sick New World Las Vegas 2026

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                          tickets

May 8, 2026

Phoenix, AZ

The Van Buren

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May 30, 2026

Boston, MA

Roadrunner

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Jun. 5 - 7, 2026

Milwaukee, WI

ACID BATH at MILWAUKEE METAL FEST 2026

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Jun. 21, 2026

Clisson, France

Hellfest 2026

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Jun. 25, 2026

Manchester, United Kingdom

Manchester Academy

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Jun. 29, 2026

Stockholm, Sweden

Strawberry Arena

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Jul. 2, 2026

Paris, France

Stade de France

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Jul. 4, 2026

Paris, France

Stade de France

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Jul. 6, 2026

Milano, Italy

Ippodromo Snai La Maura

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Jul. 8, 2026

Berlin, Germany

Olympiastadion Berlin

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Jul. 10, 2026

Düsseldorf, Germany

OPEN AIR PARK DÜSSELDORF

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Jul. 13, 2026

London, United Kingdom

Tottenham Hotspur Stadium

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Jul. 15, 2026

London, United Kingdom

Tottenham Hotspur Stadium

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Jul. 18, 2026

Warszawa, Poland

PGE Narodowy

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Jul. 19, 2026

Warszawa, Poland

PGE Narodowy

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 Curious about Concerthopper? You can find more music-related articles, interviews, various photo galleries, indie music reviews, our ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram for all music-related events/festivals in 2026 such as Acid Bath with Crowbar, EyeHateGod, and Whores. Live at The Eastern (Atlanta),  Godless IV 2026: Behemoth Live @ The Masquerade (Atlanta), Fit For A King: Live @ Anthology (Rochester), Claypool Gold ’26: Live @ Chastain Park (Atlanta), Chet Faker: Live at The Masquerade (Atlanta), The Pale Moonlight Tour: Dayseeker Live at Buffalo Riverworks (Buffalo), Cradle of Filth: Live @ The Masquerade (Atlanta), North America Tour 2026: Hanabie. Live at Buckhead Theatre (Atlanta), Lorna Shore: Live @ Buffalo RiverWorks (Buffalo), Five Finger Death Punch: 20th Anniversary Tour Live @ Empower Federal Credit Union Amphitheater (Syracuse), Rob Zombie & Marilyn Manson w. The Hu & Orgy: Live @ Ameris Bank Amphitheatre (Alpharetta), and The Devil Wears Prada: Live at The Masquerade (Atlanta) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram. You can also follow my concert hopping on Facebook and Instagram.

[concerthopperblog]

Review: I'm With Her 'Sing Me Alive'

When I tallied up the roots and Americana releases of 2025, I'm With Her's Wild and Clear and Blue came out as my favorite. So I was excited to find that the trio planned to release a live album taken from their 2025 tour in support of that album. The album, Sing Me Alive, is a great representation of why this is such a great band. The songs on Sing Me Alive were taken from eight different shows on the tour and range widely across their two albums and some cover songs.

The first thing you notice when listening to Sing Me Alive is how remarkable the production and engineering work is. Depending on the mix, live albums can sometimes feel a little muddy, but the mix on this album is crystal clear, and the balance of voices and instruments perfectly shows off the skills of the artists.

There are plenty of highlights across the album's twenty tracks, but the two biggest ones come from Sara Watkins lead vocal turns. Every roots music album needs a good traveling song, with bonus points if there's a train involved. Enter “Overland.” Told from the perspective of someone during the 19th Century who is leaving Chicago for San Francisco because “If it isn't one thing / then it's one thing more / If it isn't a fever that shows you the door / It's the air, or the water / or the goddamn war.” Watkins' voice is in perfect form here, and the harmony vocals by Sarah Jarosz and Aoife O'Donovan meld seamlessly. Jarosz's melancholy banjo licks punctuate the song's balance of desperation and hope.

Another stunner on Sing Me Alive is “Sisters of the Night Watch.” It's easily the most challenging vocal take from Wild and Clear and Blue and one that I wondered how they'd pull off live. I needn't have worried. Watkins' voice is up to the task, ramping up in intensity and volume until she's practically screaming into the microphone. It's a take that is highly faithful to the album cut but manages to be more raw, more searing, and more intense live.

One of the album's covers is another must for any good roots album, the bluegrass gospel cut. In this case, it's the traditional “Lord, Lead Me On.” It's a song that's been covered by everyone from Bill Monroe to The Gaither Family Band to The Chuck Wagon Gang. But never has it been more successfully covered than here. Here Jarosz takes the vocal lead, though the others spend enough time harmonizing that there is no real clear “lead” vocalist here. It also gives each member a chance to showcase their considerable instrumental talents: Jarosz on the mandolin, Watkins on the fiddle, and O'Donovan on guitar.

Elsewhere, you get the Grammy and Americana Award-winning song “Ancient Light”, the title track from their debut album See You Around, an Aoife O'Donovan showcase on “Different Rocks, Different Hills”, the rambling beauty of “Rhododendron,” and a cover of John Hartford's “Crossing Muddy Waters.” There's plenty more to recommend, but it's easiest just to advise you to go and buy the album. There isn't a skip track across the album's 80-minute runtime. I'm With Her is consistently producing some of the best roots music in the world right now, and Sing Me Alive proves that it isn't just a studio effort. A good live album enhances the studio effort. A great album brings the songs to vivid life. That's what makes this album's title so appropriate. The songs here aren't live, they're alive.

[concerthopperblog]

Review Roundup: Joe Troop & The Truth Machine and Charley Crockett 'Age of the Ram'

This week, we've got a roundup of two albums that skew toward the more traditionalist side of the roots music spectrum. The first is a bluegrass/old-time EP from Joe Troop & the Truth Machine, and the second is the latest from country neo-traditionalist Charlie Crockett.

Joe Troop & the Truth Machine- Joe Troop & the Truth Machine I rarely review EP because there just isn't enough meat on the bone to warrant a full review when an album is only 20 minutes long. But I've been following Joe Troop's career for several years, from the genre-bending international Che Apalache to his solo work to his Americanafest 2025 performance as Larry & Joe. So when I heard about his new bluegrass band The Truth Machine, I knew I had to give it a listen. I wasn't disappointed. Despite its brevity (clocking in at just over 18 minutes), Troop and crew hit on some heavy topics across the album's five tracks, albeit sometimes with tongue very firmly in cheek.

The album's highlight track is album opener “Billionaires.” A humorous look at an apologist for the rich, the song is hilariously overboard, with lyrics like “Billionaires will set us free / They're sent from God / To save a wretch like me.” It just gets sillier from there as Troop hits on everything from trickle down economics to prosperity gospel, all in a mockingly devoted tone. You also have to give credit where it's due. When a songwriter can rhyme “green new deal,” “Stop the Steal,” and “baby, drill drill drill” all in one verse you've got some talent on your hands.

On the other side is the soberingly haunting album closer “Mercy for Migrants.” While not a surprising take from an artist who has always had an international bent to his music, Troop manages to take a topic that has been done a lot over the last decade or so and give it new life with a slow banjo roll, a gospel-like delivery, and simple declarations like “Why aren't we there for each other / Mercy is for everyone.”

Look, I don't do “important” in album reviews. An album can deftly tackle tough political subjects and I'll give it its props, but in the end, there has to be some entertainment value to bring me back to it enough to review. Joe Troop & the Truth Machine finds that balance.

Charley Crockett- Age of the Ram Charley Crockett is nothing if not prolific. His Sagebrush Trilogy, of which Age of the Ram is the conclusion, all came out in just a few days North of one year. The trilogy's first album, Lonesome Drifter, came out in March of 2025, followed by the Grammy nominated Dollar a Day in August. Now, on April 3, comes Age of the Ram.

Concept albums aren't exactly unknown in roots music circles, but they're not exactly common either. But a concept trilogy? Now that's typically the province of prog rockers and jam bands. But Crockett has shown remarkable songwriting skill in holding the plot together across the Sagebrush Trilogy. Where Lonesome Drifter introduced his protagonist as The Drifter, picking up on Dollar a Day with The Outlaw, and finally on Age of the Ram, we meet Billy McClane, The Rustler.

The album already has two singles dropped, album standout “Fastest Gun Alive” and “Kentucky Too Long.” But there are plenty more single-worthy cuts on this massive 20 song missive. “Me and Shooter” is a fast-paced romp soaked with lyrics about girls who “you ain't really lived until you seen her face,” and bars where it's “always Saturday night.” “I Shot Jesse James” tells the tale of another outlaw whose story crosses Billy McClane's, Jesse James' famed killer Robert Ford. And, while less than a minute long, the George Jones-esque “Powder River” reminds you why Charley Crockett is among the best doing neo-traditional country today.

Not only is the songwriting strong here, the production is as well. Crockett co-produced the album with Shooter Jennings, who knows a thing or two about country traditions. Jennings and Crockett co-produced the first two albums in the trilogy as well, which helps tie them together.

It takes some guts to put out not one but three concept albums in a year, a decidedly non-traditional decision by the man being hailed as the “savior of traditional country music.” But one gets the feeling that Crockett, while certainly honoring traditions, cares less about that moniker than about taking him where his muse draws him. On Age of the Ram, he's followed that muse to a satisfying conclusion to an ultimately satisfying trio of albums.

[concerthopperblog]

Spring 2026 North American Tour: Hanabie. with Nekrogoblikon and Enterprise Earth Live at Buckhead Theatre

This one feels a little unfamiliar in the best way. Not something I’ve spent years sitting with or circling back to, but more like walking into a story already in progress and trying to figure out where I fit in. I’m not going to lie, I’m not overly familiar with Hanabie., Nekrogoblikon, or Enterprise Earth, in any deep sense, so this feels less like revisiting something and more like feeling it out in real time. But the feeling of being drawn to this can’t escape me. My attraction to bright-colored motion, gnarly splintered goblin faces, and an overall combined 3-ton sound that these bands seem to put out will always push me towards them like meat to a grinder.

Hanabie. is probably the one I’m most curious about going in. They came out of Shinjuku, starting as a Maximum the Hormone cover band before gradually shaping their own sound into what it is now. Having researched and heard about the previously mentioned group, as well as sifting through Hanabie’s discography, I can identify where the influence originated and where you can differentiate their original sound from similarities to their heroes. From the outside, it feels like a lot is happening at once: color, aggression, melody, noise.

 I can’t quite tell if it’s supposed to feel disorienting or if it all locks together once you’re standing in front of it. Maybe it’s one of those things that only makes sense at full volume, in a crowded room. I can only anticipate (or dread) that the live show will induce a seizure of the senses in every aspect. I’m hoping for chaos, turmoil, and a hell of a good time.

Nekrogoblikon, on the other hand, feels like stepping into someone else’s inside joke and deciding whether you’re in on it. The whole presence of John Goblikon is something I’m still trying to wrap my head around—not just the goblin persona, but the idea that he sees himself as the normal one, and everyone else as the “goblins.” I feel that everyone can relate to that perspective at some point in their life. And there’s something kind of funny about flipping it like that. It makes me wonder how much of their set leans into that perspective, and whether it pulls you in or keeps you at a distance until you give in to it a little. Musically, Nekrogoblikon feels like it balances that same idea—rooted in melodic death metal, but with a playful edge. The riffs are tight and fast, but they’re offset by big, catchy moments and flashes of brightness that you don’t always expect from the genre. It doesn’t feel like a joke as much as it feels like they’re stretching the sound in a different direction, and I’m curious how that translates once I witness them live.

And then there’s Enterprise Earth. From what I can gather, they might be the piece that feels the most familiar to me sonically—something a little more grounded, a little more direct. Musically, it seems rooted in that dense, heavy deathcore sound: low-end weight, sharp turns, and a kind of controlled intensity that doesn’t wander too far off course from predecessors that came before them. It feels like something I can latch onto, even without much history with them. But even then, I don’t really know how it all fits together across a night like this. Maybe they anchor it, or maybe they shift how everything else around them lands. This much I know is true, though; I’m aiming to find out. Every band is visually diverse, which should be a feast for the eyes, and, if left at that, it should add up to a highly fulfilling evening.

All of this is unfolding at the Buckhead Theatre, which, for me, carries its own strange sense of distance. I can’t even remember the last time I stepped into that room—outside of seeing Rob Zombie and Mastodon there back in 2005. That feels like a completely different lifetime now. A different version of me, a different way of experiencing all of this. So, I’m curious how it’ll feel walking back in, with all the years in between, and a lineup that’s entirely new to me.

I’m walking into this one without a clear picture of what it’s going to be, and I think that's why I keep coming back to shows like this. Challenges like this. But sometimes it’s less about knowing exactly what you’re stepping into, and more about giving something unfamiliar to the space to meet you halfway and grow into someone newer than you were the day before. Keeping your ear to the ground and your mind open to experiencing new things and finding out more about yourself in the process. There’s always been this undercurrent in heavy music—the idea that you have to earn your place in it. That there’s some invisible checklist of bands you’re supposed to know, sounds you’re supposed to prefer, or eras you’re supposed to swear allegiance to before you’re taken seriously. And I get where that instinct comes from. Metal, for a lot of people, feels like something protected. Something personal. Something carved out by outsiders, for outsiders. But somewhere along the way, that protectiveness started to calcify into something else, something a little more pessimistic, a little more closed off, and honestly, a little out of step with what metal is supposed to do for people.

Bands like Hanabie., or Babymetal (to name just a few) seem to challenge that head-on. They don’t ask for permission, and they don’t really fit into the boxes that gatekeeping culture tries to build. They’re loud, they’re heavy, they’re weird, they’re fun—and for some people, that’s exactly the problem. But for others, it’s the entry point. It’s the thing that says, you can be here too, even if you didn’t come up the “right” way or listen to the “right” records growing up. For many, this group is someone’s Slayer. Someone’s Motorhead. Someone’s Napalm Death. It doesn’t matter where you get started, or when. It’s about handing down the chalice to the next generation that will keep what I, and so many others, hold so close and near to their hearts.

To me, that’s the part that matters. Metal isn’t about being the same. Never was. It’s about that shared release, that feeling of standing in a room with strangers and realizing you’re all there for the same reason, even if you got there by completely different paths. Gatekeeping turns that into something small and rigid. And in a culture that’s always prided itself on being loud, heavy, and a little bit raunchy, shutting people out feels like missing the point entirely.

If anything, the scene feels stronger when it’s a little unpredictable—when something new or unfamiliar pushes its way in and makes people react. Not everyone has to like everything, but there’s a difference between not connecting with something and deciding it doesn’t belong. Because at the end of the day, this whole thing works a lot better when it’s about being together, not being identical.

Upon walking into Buckhead Theatre, it hit me quickly just how long it had been since I’d last stepped inside. There was still something familiar about it—the layout, the feel of the room—but it’s clearly changed in place, especially since the Live Nation Entertainment takeover. The staff still carried that same personable, easygoing energy, even if the drink prices and added food options felt a little more… intentional in what they were after.

With some time to spare before the music started, I made my way around the venue, taking it all in. It didn’t take long to notice how mixed the crowd was—grizzled metalheads, anime fans, goths, teens, even a few kids—all different kinds of people filtering into the same space for their own reasons, but all there for the same thing. It’s always fun to see who shows up, spotting different but familiar faces, and noticing the new ones finding their way in. And apparently, it goes both ways. Over the course of that hour, a few people came up to me asking if they’d seen me at other shows and had recognized my photos online. It caught me off guard a bit—in a good way—and left me with that kind of quiet, slightly embarrassed smile you don’t really know what to do with.

Before long, the room filled in, conversations softened into anticipation, and attention naturally turned toward the stage. I made my way to the photo pit and brought out my camera, ready to get to work. Enterprise Earth did exactly what they’re supposed to do in a lineup like this—they set the tone. As the opener on this tour, their role is less about spectacle and more about establishing weight. One of the staff members I spoke to before the set was eager to see them once again, having seen them 5 times prior. Hailing from Spokane, WA, and a veteran band of 10 or so years, the controlled impact they unleashed on the audience hit like the impact of a 10-pound sledge driving stakes into a train track as if to say, “We have your attention now.” The guitars had that thick, low-end chug you’d expect, and good pace. Sections of songs seemed to part ways just enough to let the audience breathe before dropping back into something heavier and continuing to bludgeon them into submission. Shrill screams and squeals beckoned from lead vocalist, Travis Worland, as he conducted and coerced the crowd into circle pits and crowd surfs. Travis, whom I’ve discovered recently stepped in for co-founding member Dan Watson, having departed from the band due to medical reasons. Guitarist and bassist, respectively, Gabe Mangold and Dakota Johnson chugged the chaos-ridden choo-choo along as drummer, Aron Hetsko, fed the engine coal with immense and calculated strikes as he sat perched behind his sprawling and equipped drum set.

Before the start of the second set, a larger-than-life goblin head inflated front and center on the stage—impossible to ignore, almost daring the room not to react. Phones rose in the air to capture the spectacle that felt equal parts ridiculous and impressive. But, fun if nothing else. Beneath that spectacle, Nekrogoblikon’s current lineup—Alex Alereza on lead guitar, Joe Nelson on rhythm guitar, Aaron Minich on keys, Eric W. Brown on drums, and Dickie Allen handling harsh vocals—operated with a kind of precision that contrasted everything happening on the surface. The guitars weren’t just fast, they were deliberate—intricate runs snapping into place against a rhythm section that felt locked and unshakable. Minich’s keys added an unexpected lift, giving certain passages a strange sense of scale, while Allen’s vocals tore through it all with a sharp, almost surgical intensity.

And then there’s John Goblikon, who isn’t just a mascot but a full presence, moving through the set like a ringmaster summoned from Middle-earth itself. Providing hype and the ear soothing harmonies that are the perfect accompaniment to Allen’s from-beyond-the-grave bellows. The crowd doesn’t just watch—they get absorbed into it, whether that’s moshing, shouting along, or just trying to keep pace with the constant shifts in tone. It feels like the kind of show where the absurdity is the entry point, but the musicianship is what holds your attention once you’re in. Between Goblikon’s crude humor and off-the-wall commentary, the band delivered a whirlwind of rapid-fire riffing, soaring melodic breaks, and punishing vocal bursts—something that could’ve easily collapsed under its own weight, but instead held together with surprising force.

Before the final act, the room seemed to expand in a way that had nothing to do with square footage. More photographers crowded the pit, more faces filled in, and there was a noticeable lift in energy. One by one, the members of Hanabie. ran onto the stage, each taking a moment to acknowledge the crowd before settling into place—Chika behind the kit, Matsuri on lead guitar, Hettsu on bass, and Yukina at the front, already radiating movement before a note was even played.

What followed wasn’t just loud, it was layered. Like a cake concealing a metal file. It was a glimpse of the present and future of metal and what’s to come for future generations as the crowds grow younger and more diverse. A collision of electronic pulses and crushing guitars would create a perfect juxtaposition as those who would believe “bubble gum and hardened steel” could never stick together, but instead feel unique, stylistic, and lasting. Chika’s drumming drove everything forward with speed and control, while Matsuri’s guitar work cut through the layer cake with the brutality of a chainsaw in the hands of a master craftsman. Hettsu held down the low end with a steady presence that kept everything chained to the ground, even as the songs pivoted rapidly between styles. And Yukina—constantly in motion—shifted between tones with a kind of elasticity that kept the crowd beckoning for more. The room moved with them, flipping from bouncing, almost playful energy into full-on pits and back again without hesitation.

What stood out most was how natural those transitions felt. The “Harajuku-core” identity wasn’t just something you saw in the bright, expressive outfits—it was demonstrated in the sound itself. Sweetness and aggression weren’t competing forces; they fed into each other, creating something that felt both immediate and unpredictable. And somehow, through all of it, the band never lost control. They carried that intensity the entire set, meeting the crowd at every turn and leaving very little space for anything but full participation.

By the time everything wound down at Buckhead Theatre, I found myself standing there for a minute, not in any rush to leave, just letting it all settle. Three bands I didn’t really have a history with, three completely different approaches to the same idea of “heavy,” and somehow it all made sense by the end of it. Enterprise Earth gave it weight, Nekrogoblikon gave it character, and Hanabie. gave it something unpredictable that I didn’t know I was missing. I didn’t walk out with everything neatly defined or suddenly converted into a superfan of any one thing—but I did walk out understanding it a little more. Maybe that’s enough. Maybe that’s the point. Not every show has to change your life, but sometimes just being there, staying open to it, and leaving something unfamiliar to land where it lands is its own kind of reward.

[concerthopperblog]

Orbit Culture: Death Above Life Tour

Electric City in Buffalo, NY was the place to be on Saturday, March 7th. Swedish metal powerhouse Orbit Culture was bringing their Death Above Life Tour to the Buffalo, NY area in a big way. With support from acts Atlas and Ov Sulfur, there was no denying this night was going to be packed with some hard-hitting metal greatness. Located on Pearl Street in downtown Buffalo, the scene was packed with metalheads of all ages. This tour was going to prove to be a great example of the band’s latest material and expansion of their growing reputation. The intimate setting of the venue placed fans right in the middle of the action and provided a variety of places to experience this heavy and high-energy night. Buffalo is known for bringing the energy to the metal scene, and this night was no exception. Fans sporting Orbit Culture shirts littered the venue and lined the barricades well before the first act even went on. My favorite thing about this venue it its ability to deliver a solid presentation of any tour that rolls through. With lighting and sound on point and a raised floor plan, Electric City was just that, electric.

While many fans came for the headliner, Atlas immediately proved they were far from an “opening act.” The atmospheric elements of the band’s opening song already radiated throughout the venue. Their performance was raw and had an almost underground scene feel to it. Many members are sporting mesh articles of clothing along with a gothic type vibe. Atlas is a 5-piece modern metal band originating from Tampere, Finland. Their ‘Northcore’ sound, mixed with heavy riffs and atmospheric sound were mostly inspired by Finnish mythology. They were energetic the entire set, blending deathcore along with melodic elements into their set. Playing songs from their latest album, Sunder, they had the crowd hooked. “Salt and Sulfur” was clearly a crowd favorite among the fans.

Ov Sulfur was next up to take the stage. Having listened to them briefly, I had no idea what to expect from this band in terms of stage presence. I can honestly say that they immediately got and held my attention throughout their entire set. The vocal range of singer Ricky Hoover was absolutely insane. The most guttural and deep growls threatened to bring down the venue. The band’s brutal deathcore and symphonic black metal influences clearly shone throughout the night. Pushing anti-religious themes and pairing them with dark, haunting lyrics makes the band truly unique.

The lighting was dim, with powerful red lights that added to the sense of darkness. Hoover commanded the crowd the entire set with ease, along with the band’s laser-sharp instrumental delivery. Songs like “Behind the Hand the Hand of God” and “Stained in Rot” were incredible to witness firsthand. Each track they played led to the band's momentum of mixing tension and devastating heaviness. Of course, a wall of death was present to get the crowd even more hyped up for what was to come.

From their first song, “The Storm”, Orbit Culture immediately erupted into chaos onstage. With lead singer Niklas Karlsson sporting a Buffalo Sabres jersey, the band immediately won over the fans of Buffalo. The Swedish quartet wasted no time unleashing their signature blend of groove metal, melodic death metal, and crazy intense riffs. The stage was set with a cinematic creation of haunting lighting and lasers. Paired with their signature OC symbol, the mood throughout the set was nothing short of mesmerizing. This Buffalo crowd echoed back lyric after lyric as the band’s tight instrumentation and sound radiated among Electric City’s walls. Not one fan sat during the entirety of the set, and phones were scattered throughout the crowd, capturing video and pictures of what was to be a night to remember. The appeal of Orbit Culture seemed to be their polished sound of modern edge, along with an aggressively vast lyrical dynamic.

Between songs, Karlsson interacted with the audience, thanking the crowd for the warm reception and encouraging them to carry on the energy throughout the night. I enjoyed their more popular songs, “Ninja” and “Descent”. Both songs had the crowd hanging on every lyric. Mosh pits erupted in the center of the venue as fans two-stepped their way from one end of the venue to the other. The breakdowns were plentiful and intense, meshing well with the solid breakdown of drums. These guys were gaining momentum with their fan base, and the crowd that showed up Saturday proved just that.

As the night came to a close, the merch table that lined the back wall was packed. Members of the supporting bands stopped to chat and take pics with fans. Talking about music, life, and just creating some core memories all music fans crave. The lineup proved to be a triple threat of solid metal intensity, and not once was the floor of the venue empty. Buffalo was sure to give these guys a true Buffalonian welcome, and it’s safe to say we hope they will be back! The Death Above Life Tour runs through April 10th, 2026! Make sure to grab your tickets when they roll through your town! Also, make sure to follow ConcertHopper on all social media platforms for the latest in show reviews and all things music!

Orbit Culture setlist:

The Storm

Tales of War

North Star of Nija

Saw

From the Inside

Bloodhound

The Shadowing

Open Eye

While We Serve

Hydra

Vulture of North

[concerthopperblog]

Review: Chicago Farmer- 'Homeaid'

I first saw Chicago Farmer, the moniker for Cody Diekhoff, opening up for Todd Snider. I came away impressed, not in small part because of Snider's endorsement of his music later in the show, where he joked that he and Chicago Farmer made “Americana music,” which used to just be called “unsuccessful country.” But success is in the eye of the beholder, and on his new album Homeaid, Chicago finds a lot of success in experimenting with his signature sound.

For his fourth album, Chicago Farmer moved away from the Arlo Guthrie/Todd Snider-esque folk of his previous three and into a fuller band sound. Working with Hard Working Americans' Chad Staehly as producer, Chicago Farmer also brought his touring band, The Fieldnotes, into the studio with him. The easy camaraderie of the band brought about a musical tightness that might not have existed otherwise.

One of the album's standout tracks, and the best indicator of a more rocking tone, is its first single, “Peshtigo.” Telling the story of a horrifying Wisconsin fire that didn't get much news coverage due to happening at the same time as the Great Chicago Fire of 1871, it features a driving bassline that anchors Jaik Willis wailing guitars, as well as a surprisingly strident set of pipes from Diekhoff.

Album opener “Tina Hart's Mustang” is also a highlight. An ode to unbridled teenage excesses, it tells the story of a girl whose car is the fastest drag racer in her town. Or is it? When a rival racer buys the car, he finds it lacking in power, prompting Diekhoff to muse, “It wasn't Tina Hart's Mustang, it was always Tina Hart.”

“Sorry You're Sick” is a track about aging, and about caring for your loved ones, even if that caring isn't always the most productive. Addressing his unwell companion, Diekhoff helpfully asks, “What do you want from the liquor store? / Something sour? Something sweet?/ I'll buy you all your belly can hold / You can be sure you won't suffer no more.”

“The Twenty Dollar Bill” is the closest Homeaid has to Chicago Farmer's familiar folkie storyteller persona from his previous three albums. In it, Diekhoff celebrates his grandparents' unconditional love and the caring for others he saw in their lives. A simple emergency twenty from his grandmother is the vehicle Diekhoff uses to illustrate his grandmother's caring. “I'll keep you in my heart / and your twenty in my shoe,” Diekhoff sings before the song takes a darker turn with an attempted robbery foiled by a gift of “grandpa's knife.”

While it's a more rocking turn from Chicago Farmer, I don't think fans of his more folksy output will be unhappy with Homeaid. The intricately woven stories and fully developed characters that made people like Todd Snider (and, somewhat less impressively, myself) fans remain intact. I keep a running list of favorite Americana albums to help me sort the pile for my mid- and end-year lists and, while it's early in the year, Chicago Farmer is very much on the list of my favorites so far..

[concerthopperblog]

Review: Tim Easton- 'fIREHORSE'

Tim Easton is one of Nashville's best-kept secrets, a songwriter's songwriter whose almost 30-year career has been marked by one strong album after another. This time, on fIREHORSE, Easton is calling on some of his Music City pals to help him with a 10-song collection that ranges widely across the Americana landscape.

Recorded along with producer Kevin Nolan (Maggie Rose, Shemekia Copeland), fIREHORSE also features the rhythm section of country star Lainey Wilson's band and vocal help on two songs from Jeremy Lister (Street Corner Symphony, Post Malone). But it's Easton himself who shines here, with his world-worn voice and excellent guitar work.

The album opens with “River”, informed by a near-fatal rafting accident Easton suffered in Alaska. The song begins with the children's riddle “What can run but never walks / Has a big mouth but never talks / Has a head but never weeps / Makes a big bed but never sleeps?” and continues with a swampy beat that Easton wanted to mimic fast, churning water.

One of the highlight tracks on fIREHORSE is the seven-minute “Never Punch the Clock Again.” It's the tale of a drifter who rides the rails and avoids working for “the man” at all costs. There's an autobiographical element to the song that mirrors Easton's own itinerant life as a traveling musician and one-time busker across Europe. Easton cited Little Feat as a sonic inspiration for the song, and there's certainly an element of the southern rock legends in the barroom piano stroll. Still, I also hear more than a little Randy Newman in the lyrical delivery.

The album's most upbeat song is also its first single, “Don't Let Your Mind Grow Dark.” It's a call to anyone feeling down, and a much-needed salve considering the current state of the world. The song was written quickly during the album's recording session, and that spontaneous energy shines through in lyrics like “Instead of slipping off into the void/ I'm going to climb on up on this firehorse.”

There's plenty more to recommend across the 10 tracks that make up fIREHORSE. Side One closer “Son of a Tyrant” features a blistering guitar solo that isn't to be missed. “615 Heartbreaker” is an ambling shuffle of a song about a Nashville (Area Code 615) photographer who's “got the sauce and she's always free.” The slide-heavy “Another Good Man Down” is a song about the effects of cocaine both on families and on victims of the cartels who traffic it.

fIREHORSE is Tim Easton's 14th album, and it's a worthy entry in what has been one of Americana's more consistent catalogs. If you like your roots music a little rough around the edges, more than gently used, and always honest, fIREHORSE is an album you're going to want on your turntable.

[concerthopperblog]

Review: The Infamous Stringdusters "20/20"

In 2006, The Infamous Stringdusters released their first album, a self-titled EP that caused roots music fans everywhere to sit up and take notice. 20 years later, the progressive bluegrass/jamgrass band continues to innovate, expand their musical repertoire, and build their fan base. To celebrate their 20th year, The Infamous Stringdusters have released a new album, titled 20/20.

It would have been easy for the band to mark two decades with a greatest hits album or even a live album to showcase their dynamic concerts. But easy isn't something Chris Pandolfi (banjo), Travis Book (bass), Jeremy Garrett (fiddle), Andy Hall (dobro), and Andy Falco (guitar) have in their vocabulary. 20/20 is not just an album of new material, it's a whopping 20-song, hour-and-nine-minute love letter to both the band's past and where they're headed in the future.

In the album's press materials, Pandolfi talks of the band's philosophy over 20 years. “Bluegrass can sometimes be a little confusing. “Because what’s coming out of the instruments has the energy of rock ' n ' roll, but guys are just standing there [onstage] in suits. When we came to [bluegrass], we loved the music, but the vibe wasn’t representative of who we were.” That shows throughout all of 20/20.

The band has already released five music videos for songs from the album, but surprisingly not for the undisputed standout track, “Gospel 22 (Let Him Move).” An A Capella number, it's a testament to just how strong vocally each band member is. It's a great nod to bluegrass gospel songs of the past, though you're not likely to hear The Carter Family throwing out lyrics “I don't know shit / I let it go / They do not know / Just what they do / Some day you'll find / Neither do you.”

Another highlight of the album is the banjo-heavy track “Karma's Got Your Number.” It's a great showcase for Pandolfi's talents and lyrically one of the album's strongest. A straight-up bluegrass banger with a heavily percussive meter, it's, as the title might suggest, a tale of someone getting their comeuppance for past misdeeds. “You been living like you won't wake up tomorrow / and I'm sure you don't know why you did today / You sewed your path of ruin and of sorrow / and karma knows just how you'll have to pay.”

With 20 songs, the band couldn't stretch out and flex their jamgrass muscles too much. And it's actually one of the album's shorter songs, the 2:38 “Working Man's Blues” that is the album's jammiest track. Everyone gets a chance to stretch on a short solo and show off their not inconsiderable skills.

But, as one would expect from The Infamous Stringdusters, it isn't all bluegrass. “Hard Times Ain't That Hard Anymore” has an old-time feel to it, while “Dancing on the Moon” is an indie folk tune, and “Up From the Bottom” would fit with any Americana band's catalog.

It's been a great 20 years for The Infamous Stringdusters. They've traveled the world, and their live shows have moved bluegrass music forward in ways that not many bands can boast. Who knows what the next 20 years have in store, but with an album like 20/20 kicking off their third decade, the future looks bright.

[concerthopperblog]

2026 North American Tour: Hanabie, Nekrogoblikon, and Enterprise Earth!

Japan’s genre-blending metalcore breakout Hanabie. will launch their Spring 2026 North American tour on March 13 in Boston, MA, bringing their high-voltage fusion of heavy riffs, hyper-pop aesthetics, and Harajuku-inspired visuals to cities across the U.S. and Canada. The run begins on Friday, March 13th, in Boston, MA, at Big Night Live and concludes its 21-date venture on Saturday, April 11th, at The Belasco in Los Angeles, CA. One of the cities marked for devastation will be Atlanta’s very own Buckhead Theatre on Tuesday, March 24th. A stop this concertgoer is deathly looking forward to.

Formed in Tokyo originally as a Maximum the Hormone cover band, Hanabie. features Yukina (vocals), Matsuri (guitar/vocals), Hettsu (bass), and Chika (drums). The group has rapidly expanded its global footprint, featuring a sound that blends metalcore, hardcore punk, electronic elements, and vibrant J-pop influences. Known for their explosive stage presence and vibrant Harajuku-inspired visuals, Hanabie. will be touring in support of their upcoming EP, HOT TOPIC, set for release ahead of the tour on January 28th, 2026. Their energetic live performances, blending uplifting downtuned riffs with a bright and colorful stage show, have helped them cultivate one of the fastest-growing international fanbases in heavy music and J-Pop alike.

They will be joined on the road by California’s Nekrogoblikon, the theatrical melodic death metal outfit celebrated for their unconventional “goblin metal” persona. Featuring Dickie Allen (harsh vocals), Alex ‘Goldberg’ Alereza (guitar), Joe ‘Diamond’ Nelson (guitar), Aaron ‘Raptor’ Minich (keyboards/vocals), Eric W. Brown (drums), the mysterious ‘McBook’ (bass) and the band’s mascot and hype-goblin John Goblikon, Nekrogoblikon’s performances combine epic music aided visuals with over-the-top stage presence, humor, and immersive spectacle. Their growing popularity and steady stream of new content have made them one of the scene’s most entertaining live acts.

Opening the tour is Enterprise Earth, the Spokane, WA deathcore powerhouse known for their technically precise, punishing sound. The current lineup includes Travis Worland (vocals), Gabe Mangold (guitar), Dakota Johnson (bass), and Aron Hetsko (drums). The band recently released new material, including their EP Descent Into Madness, further cementing their reputation as one of deathcore’s most consistent and crushing acts.

With three stylistically distinct bands sharing the stage—from Hanabie’s hyper-charged genre collision to Nekrogoblikon’s goblin-metal antics and Enterprise Earth's unforgiving heaviness—the tour promises a dynamic and memorable show each night of the 21-date run. As the Atlanta date approaches at Buckhead Theatre, anticipation continues to build for a night defined by massive riffs, vibrant chaos, and the kind of full-scale madness that only these three can deliver. Link to Atlanta tickets here.

Hanabie. — March 24, 2026

Buckhead Theatre | Atlanta, GA

Presented by Dynamic and Live Nation

Tour Dates Fri Mar 13 - Boston, MA - Big Night Live tix

Sat Mar 14 - Brooklyn, NY - Brooklyn Bowl tix

Sun Mar 15 - Silver Spring, MD - The Fillmore Silver Spring tix

Tue Mar 17 - Montreal, QC - Théâtre Beanfield tix

Wed Mar 18 - Toronto, ON - The Danforth Music Hall tix

Fri Mar 20 - Pittsburgh, PA - Roxian Theatre Presented by Citizens tix

Sat Mar 21 - Philadelphia, PA - Theatre of Living Arts tix

Mon Mar 23 - Raleigh, NC - The Ritz tix

Tue Mar 24 - Atlanta, GA - Buckhead Theatre tix

Wed Mar 25 - Orlando, FL - House of Blues Orlando* tix

Fri Mar 27 - Cleveland, OH - House of Blues Cleveland tix 

Sun Mar 29 - Detroit, MI - Saint Andrew's Hall tix

Mon Mar 30 - Chicago, IL - House of Blues Chicago tix

Wed Apr 01 - Minneapolis, MN - The Fillmore Minneapolis tix

Fri Apr 03 - Dallas, TX - House of Blues Dallas tix

Sat Apr 04 - Houston, TX - House of Blues Houston tix

Mon Apr 06 - Austin, TX - Emo's Austin tix

Tue Apr 07 - Phoenix, AZ - The Van Buren tix

Thu Apr 09 - San Diego, CA - House of Blues San Diego tix

Fri Apr 10 - San Francisco, CA - August Hall tix

Sat Apr 11 - Los Angeles, CA - The Belasco tix

*No Nekrogoblikon