Summer heat came early to Cleveland with a tour stop by Californian prog-rock, post-hardcore Hail the Sun, supported by Cincinnati’s own Foxy Shazam and a pair of rock bands out of the Sunshine State – Makari and Resilia.

Six-piece Resilia, led by vocalist Daisy Chamberlin (formerly of the band I Met a Yeti), is touring its debut album, “By a Thread,” though the band has been performing since 2022 and has confidently found its progressive niche with emotionally charged vocals and intricate guitar-led power anthems.

Fronted by energetic vocalist Andy Cizek, who led a revival of the Orlando-based project when he joined in 2018, Makari threw down with powerful medleys off their two albums, including the latest, 2024’s “Wave Machine,” in a set that sparked a firestorm in the crowd at Cleveland’s Globe Iron.

Foxy Shazam then turned that heat up to a vigorous boil with a performance that would not be contained. The band, who was featured in the HBO/DC series “Peacemaker,” is led by vocalist Eric Nally, who brings real Freddie Mercury (Queen) energy and style to the stage. Sky White on keys, Alex Nauth on trumpet, Misster Universe on bass, Devin Williams on guitar and drummer Teddy Aitkins round out this circus tent of spectacular, high-wire rockers. The vibe is equal parts classic glam rock and progressive, new-wave alternative. And it never slows down.

Teed up perfectly, Hail the Sun set off a solar flare of its own, with frontman and vocalist Don Melero seemingly at war with the celestial, thrusting his mic stand skyward and belting out supercharged lyrics. Melero walked a kind of catwalk at the front of the stage, backed by Shane Gann and Aric Garcia on guitars, bassist John Stirrat and Allen Casillas on the drum kit. The fans provided backing vocals, singing along on many of the tracks.

Wrapping up a U.S. tour in Alaska this spring, Hail the Sun next heads to the Land Down Under, Australia, for a handful of shows this summer.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

Seeing Electric Callboy live for the first time on May 3rd at Wintrust Arena was an experience I walked into with very little expectation beyond the enthusiastic recommendation of a music obsessed friend. What unfolded over the next couple of hours completely won me over. The band delivered a performance that was equal parts heavy concert, comedy show, rave, and full blown arena party, all without losing an ounce of musical precision.

Vocalists Kevin Ratajczak and Nico Sallach were magnetic from the start, feeding off each other’s energy while keeping the crowd constantly engaged. Crushing breakdowns collided with electronic hooks, synchronized dancing, outrageous visuals, and moments that had the entire arena laughing before immediately jumping back into the chaos. Despite the intensity of their music, Electric Callboy somehow make everything feel welcoming and genuinely fun, which is a rare balance in heavy music.

By the end of the night, it was obvious why the band has developed such a loyal following. The show felt less like a standard concert and more like an escape, a room full of people forgetting about real life for a while and fully embracing the madness together. For a first experience with Electric Callboy, I could not have asked for a better introduction. Highly recommend!

Electric Callboy – OFFICIAL WEBSITE
Wintrust Arena – OFFICIAL WEBSITE

There is something undeniably electric about catching a band right as momentum turns into movement, and that is exactly where Bloodywood stands today. On May 2nd, their performance at House of Blues Chicago felt like more than just a tour stop, it felt like a clear signal that this Indian-metal group is stepping into a much bigger spotlight.

Hailing from New Delhi, Bloodywood has carved out a distinct identity by blending traditional Indian elements with modern metal. Vocalist Jayant Bhadula delivers powerful melodic lines that contrast sharply with the aggressive rap of Raoul Kerr, while guitarist Karan Katiyar drives the band’s sound with tight, heavy riffs. Live, that fusion is truly unreal and hits even harder, shifting between crushing intensity and rhythmic, folk inspired passages that feel both rooted and forward looking.

The energy in the sold-out House of Blues built quickly and never let up. The crowd responded to every shift in tempo and tone, from explosive mosh moments to more unified, chant like sections. With Katiyar anchoring the instrumentation and Bhadula and Kerr feeding off each other’s energy, the performance felt dynamic and intentional. Bloodywood’s stage presence carries both confidence and hunger, a combination that keeps their set engaging from start to finish.

As metal continues to evolve, Bloodywood stands out as part of its next wave. Their rise is not just about novelty, it is about delivering a sound that resonates across cultures while staying true to their roots. By the end of the night in Chicago, it was clear they are not just an up and coming act, they are a band with real staying power.

Bloodywood – OFFICIAL WEBSITE
House of Blues (Chicago) – OFFICIAL WEBSITE

by Dan Locke

COVER TEASER

“We’re coming to your town… we’ll help you party it down.”
Grand Funk Railroad’s Don Brewer looks back at fifty years on the road, anthems that shaped rock radio, battles behind the scenes, and why—after all this time—the music still hits just as hard.

THE HEARTBEAT OF AMERICAN ROCK: DON BREWER ON FIVE DECADES OF FUNK, FIRE & FM RADIO

There’s a certain rhythm that underpins American rock: a pulse equal parts grit, sweat, and rebellion. Few drummers personify that heartbeat more than Don Brewer, co‑founder and longtime rhythmic anchor of Grand Funk Railroad. With his unmistakable backbeat, powerhouse vocals, and songwriting chops, Brewer helped turn a blue‑collar trio from Flint, Michigan into one of the biggest arena‑filling acts of the 1970s.

From the early days of playing gymnasiums, to breaking the Beatles’ record by selling out Shea Stadium, to shifting gears in the era of FM hit radio, Brewer’s journey mirrors the evolution of American rock itself. In this expanded interview, he opens up about the music, the mayhem, the management battles, the fans, and the future.

Q&A WITH DON BREWER (EXTENDED EDITION)

EARLY DAYS — FROM GYM FLOORS TO FESTIVAL STAGES

Q: Grand Funk Railroad started in the late ’60s, right?
A: That’s right—1969. That was our first official show.

Q: Do you remember that show?
A: Vaguely. It was somewhere near Buffalo or across the border in Canada. Just a gymnasium dance, nothing glamorous. But it was new, exciting—we’d just taken on the name Grand Funk Railroad, and we were still figuring out who we were as a band.

Q: And pretty soon you were on massive stages.
A: The real turning point was the first Atlanta Pop Festival. We went down there as a favor for a friend and played for free. First day, 30,000 people. We finished our set and suddenly it was like, “Who are these guys?” The buzz was instant.

Q: That kind of exposure in 1969 was huge.
A: Massive. Back then, festivals were how you got discovered. No internet. No viral clips. You played your heart out and hoped people talked about you.
And they talked about us.

THE ROCKET RIDE — SHEA STADIUM & BEYOND

Q: Let’s talk Shea Stadium.
A: That was 1971. One of the wildest moments of our career. We were coming off our third album Closer to Home, which had “I’m Your Captain” on it. We’d built this insane fan base, and the Shea show sold out faster than the Beatles—a record at the time.

Q: Did you feel that momentum in the moment, or only in hindsight?
A: Both. You could feel the energy changing. We’d gone from being the underdogs the critics hated to this unstoppable live act fans adored. Shea was the confirmation.

THE BUSINESS BATTLES — “WE DISCOVERED THE TRUTH THE HARD WAY”

Q: You went through a major management dispute around then.
A: Yes. We found out our manager Terry Knight—and a couple attorneys working with him—had been taking our money. A huge chunk of it. We were young, hungry, and trusting. Bad combination.
Rock and roll isn’t just guitars and drums—it’s contracts, and not always good ones.

Q: That must have changed everything.
A: It forced us to grow up quickly. Suddenly we weren’t just musicians—we were a business fighting to survive.

FM RADIO CHANGES — ADAPTING OR DYING

Q: Around that time, FM radio was shifting too.
A: Oh, absolutely. FM underground radio used to play 7‑minute songs. Long arrangements. Experimental stuff. Then suddenly FM stations wanted tight, radio‑friendly, three‑minute singles. If you didn’t adapt, you disappeared.

Q: And that’s when Todd Rundgren entered the picture.
A: Exactly. We needed a new direction. Todd helped us craft a punchier, hit‑driven sound without losing who we were.

TODD RUNDGREN — “HE CHANGED HOW WE HEARD OURSELVES”

Q: What was working with Todd Rundgren like?
A: Fantastic. Todd recorded things the way he wanted them to sound in the end—effects, EQ, everything—right into the headphones. So while you’re performing, you’re already hearing the final product. That changes how you play. Most engineers kept everything dry until the mix stage. Todd blew that up.

Q: Did that affect your performances?
A: Completely. When you hear the real tone and texture in your headphones, you play differently—more confidently, more musically.

LYNN GOLDSMITH — PHOTOGRAPHY, IMAGE & THE POP SHIFT

Q: Lynn Goldsmith worked with you creatively as well.
A: She did. She added a poppier, more visual approach. Album photography, publicity strategy—she had a strong vision. At the time, FM radio was heading more toward mainstream pop, and what she brought fit that.

ROCK LORE — SWEET CONNIE, THE ROAD & “AMERICAN BAND”

Q: In “We’re an American Band,” you mention Sweet Connie.
A: Sweet Connie—Connie Hamzy—was introduced to us in Little Rock. She was legendary among musicians. I wrote the lyrics from real moments on the road. Connie, the “four young Chiquitas,” Freddie King, all those snapshots became part of the story.

Q: Did you ever meet Pamela Des Barres?
A: Not that I know of.

ZAPPA, SEGER & NEW CREATIVE WORLDS

Q: Frank Zappa produced one of your albums.
A: Yes, Good Singin’, Good Playin’. We’d seen 200 Motels, where he jokingly took a shot at Grand Funk. We thought it was hilarious and said, “Why not get Frank to produce us?” He loved the idea.
Working with him was incredible—funny, smart, sharp as a razor.

Q: And you’ve worked with Bob Seger for decades.
A: I’ve been his touring drummer on and off for forty years. Bob runs a tight ship, and the band is always top‑notch. Playing with him keeps you sharp.

THE FANS — FOUR GENERATIONS STRONG

Q: How has the fan base changed since the ’60s?
A: The same fans—just older and grayer!
But now they bring their kids and grandkids. Seeing four generations sing “Some Kind of Wonderful” or “We’re an American Band” together… that’s something special.

Q: That must be surreal.
A: It is. That’s when it hits you—you’ve become part of people’s lives.

DRUMS, TECHNOLOGY & THE MODERN STAGE

Q: How has drum technology changed for you?
A: The drums themselves? Not by much. They’re still acoustic instruments. But drumheads, sticks, hardware—they’re better than ever.
The real leap is the technology around the music: soundboards, PA systems, lighting, amplification. I wish we had today’s gear back in the 70s.

Q: Do you think musicians rely too heavily on tech today?
A: Sometimes, yeah. Technology is great, but it can overshadow the basics. A great song and a great performance—that’s what matters.

Q: Your drum heroes?
A: Mitch Mitchell, Ginger Baker, Dino Danelli… and older legends like Louie Bellson and Buddy Rich. Those guys were powerhouses.

OFF THE STAGE — LIFE, CARS & RADIO

Q: What’s on your phone musically?
A: I don’t listen to much music on my phone. Mostly talk radio. Satellite stations tend to repeat the same playlist over and over.

Q: First big purchase after your first gold record?
A: A 1974 Midnight Blue Thunderbird. Gorgeous car.

Q: When did you start playing drums?
A: Around 13 or 14. I hated clarinet, the band needed someone in the drum section, the drumline had girls in it, and my dad—who was a drummer—taught me. Easy decision.

THE ROAD TODAY — STILL ROLLING

Q: Your 2018 tour kicked off recently.
A: Yep, two shows so far. One in Delaware, another sold‑out show near Cleveland.
We stay busy. Grand Funk never really stopped touring.

Q: Favorite city from the early days?
A: I loved New York in the ’60s and ’70s. Now? Sedona, Arizona. Great energy, breathtaking scenery.

CLOSING THOUGHTS — “WE’RE STILL HAVING THE TIME OF OUR LIVES.”

Q: Any final message for fans?
A: This lineup has been together since 2000—18 years, which is rare. The last two years have been our best in decades.
We’re excited for another great year.
We’re coming to your town—come out and see us.

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By Rob McCune

Sludge metal pioneers Acid Bath, who melted faces for most of the 1990s before taking a nearly 30-year break, are touring again and gathering a truly menacing menagerie of metalheads to mark the occasion.

For the band’s much-anticipated return to Cleveland, the devils in the details included Akron-based Radian (set to release their third album this summer), Nunslaughter (formed in 1987 with another new album on the way in June), Cleveland-founded Midnight (who dropped a record last year) and Amigo the Devil, a “murderfolk” singer/songwriter.

Radian started the night out blazing, with lead vocalist Corey Staley storming the stage in a Detroit Redwings jersey and hockey goalie mask. The mask came off quick – flung into the audience as a lucky souvenir – and the jersey soon after in an energetic, riotous performance to get the blood pumping.

Next, Nunslaughter played a set awash in blood red light, framed by two upside-down crosses as if desanctifying the stage. Founding member and lead vocalist Don of the Dead wielded, like a bludgeoning weapon, a mic stand of metal chain sturdy enough to bind the devil himself as he thrashed along with Jim Sadist on guitar, Vince Verrett on bass and Dale Flood on drums.

Strategically center in the lineup, Amigo the Devil provided a bit of a breather, appearing under a spotlight solo with a banjo and a smirk. He entreated the crowd to bear with him a minute, before passing judgement, and then launched into a medley of dark, murderous folk music. Not everyone in the audience was unfamiliar, as on a few of the songs, most notably the single “Hell and You” off his first album, stirred a singalong.

The masked ninjas of Midnight then cranked the volume back up to ear-bleed levels. Founder and lead singer Athenar led the charge on guitar-gutting tracks including “Satanic Royalty,” “Necromania” and, for the hometown fans, “Cleveland Metal,” which ended the set with a smashed guitar – the bones of which were tossed out as manic mementos.

Headliners Acid Bath emerged in a acid-green fog to close out the night with 10 tracks off their two studio albums, starting with “Tranquilized” and ending with “Dr. Seuss Is Dead.”

Metal as ever and with more sludge to spread, Acid Bath is continuing its tour this summer in Europe.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotif

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By Rob McCune

A significant force in the alt-rock/grunge wave of the early-1990s, Soul Asylum was on a “Runaway Train” (to coin the band’s biggest hit) to stardom. Now, nearly 40 years since the band formed (or changed its name from Loud Fast Rules) in 1983, that train seems nowhere near derailing.

The crew has shifted over the years, but still driving the train is frontman Dave Pirner, who has stoked the coals and refined the Soul Asylum sound over 13 albums, including five records before the band’s breakout 1992 “Grave Dancers Union,” and seven since.

Their latest is 2024’s “Slowly but Shirley;” before that was 2020’s “Hurry Up and Wait” – two titles that echo the dichotomy of fast, ripping guitar anthems and slow, soulful sonnets that represent the ranging appeal of this enduring asylum.

On an “Acoustic Tour” that kicked off this spring in middle America, Soul Asylum left only their drummer, Michael Bland, behind. Pirner is joined on stage by Ryan Smith on lead guitar and Jeremy Tappero on bass.

And despite valid assumptions about what an “acoustic” show is, nothing is unplugged here, and the guys certainly aren’t sitting down or holding back.

Opener Corey Glover, lead singer of the funk rock group Living Colour, delivered what might be expected from acoustic set with Michael Ciro on an unplugged guitar and a couple of chairs and mics center stage. But nothing was typical about their performance. Ciro’s masterful guitar riffs and Glover’s powerfully soulful voice ignited the audience on tracks including covers of Bill Withers’ “Use Me” and fully unique renditions of Beatle George Harrison’s “Here Comes the Sun” and Prince’s “The Cross.”

Soul Asylum’s set at The Kent Stage in Kent, Ohio, featured tracks from seven albums, dominated by “Grave Dancers,” and a couple of covers. The trio came out rocking on “Somebody to Shove,” and slowed things down a bit on bittersweet harmonics like “To My Own Devices.” Crowd-pleasers “Misery” (about halfway through the set) and “Runaway Train” (saved for the encore) got the crowd on its feet, too.

A couple of times, including during Glover’s set, the artists referenced and paid tribute to protesters in Minnesota, where Soul Asylum is from.

Pirner brought the tragic killing of two protesters by ICE agents home with a cover of Crosby, Stills, Nash & Young’s “Ohio,” a song about Kent State University student protesters being shot in 1970, just down the road from the venue. He also made it personal, talking about the First Avenue nightclub frequented by Soul Asylum that (though now closed) is a block away from where Minnesotan Alex Pretti was killed. “Stand Up and Be Strong,” a song off of the band’s 2006 record “The Silver Lining,” was played in tribute to Pretti and Renee Good, also shot and killed this year in Minneapolis.

Lifting the mood, Pirner practiced his on-stage banter, which he says hasn’t been a strong suit, with jokes like (paraphrasing here): “I met a drug dealer outside the theater earlier. He sold me a pair of shoes. … I’m not sure what he laced them with, but I’ve been tripping all day.”
For “Get On Out,” the last encore, Soul Asylum’s three amigos swung and slung their respective axes and finished with a synchronized strum.

It was a finish that bears a message for fans who still have a chance to experience this tour: “Get On Out.”

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

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Emily Wolfe is a triple-threat rock & roll singer-songwriter-guitarist and producer from Austin, TX, Wolfe is on a mission to breathe new life into classic rock & roll with her incendiary guitar chops and original songwriting. Wolfe’s creative songwriting, powerful lead vocals, and dominating guitar style has led her to share stages with Heart, Tool, The Gaslight Anthem, The Struts, Pretenders, Joan Jett & the Blackhearts, Catfish and the Bottlemen, and more. Starting at the age of five as a self-taught guitarist, Wolfe has continually honed her craft, taking her playing to new heights. Her dedication and skill have earned her two signature Epiphone guitars: the Emily Wolfe Stealth and the Emily Wolfe White Wolfe.

By Rob McCune

Sixty-eight-year-old Gary Numan, 50 years into a music career that has pushed punk into new and multitudinous directions, is an out-of-this-world villain with the charisma of Kahn and Palpatine-like reflexes for firing lightning from his fingers.

His spacey henchmen: Steve Harris on guitar and Tim Slade on bass are twin-like tentacles slapping the strings, while David Brooks masters the synths and Jimmu Lucido the drums.

With a lightshow rivaling the Borealis, Numan and his band blitzed the Cleveland House of Blues in late March on a tour that just wrapped up its North American leg in San Luis Obispo, California, and will head overseas this summer.

The Cleveland show was warmed up by L.A.’s Tremours, featuring Lauren Andino on guitar and vocals and Glenn Fryatt on drums.

The duo’s hazy, ominous overtures washed over the crowd, slowly building a tremorous rhythm in the soul of the venue.

Numan’s two-hour set features tracks from seven albums, including his breakout hit “Cars” from his 1979 debut solo record “The Pleasure Principle,” and two songs from his first band Tubeway Army. Halfway through, Gary turned lead mic over to his daughter Raven Numan and sang backup on her song “Nothing’s What It Seems.”

A two-song encore featured “The Gift,” off his 2021 album “Intruder,” and “My Name Is Ruin,” from 2017’s “Savage (Songs from a Broken World),” the music video for which casts Numan into the desert of a Dune-like world.

From ruin to ruler, Numan has dominated this world already, and has more still to conquer.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

February 11, 2026

Riviera Theatre

Chicago, IL

Mahrou Senoba

The February 11, 2026 Chicago stop landed early in the North American leg of Opeth’s The Last Will and Testament tour, and that “early‑tour energy” was unmistakable—focused, hungry, and carrying just enough unpredictability to feel electric. Outside the Riviera Theatre, a bundled‑up line stretched down the block, Chicago fans buzzing despite the cold.

Katatonia opened with a brooding, meticulously controlled set. Touring behind 2025’s Nightmares as Extensions of the Waking State and adjusting to the departure of longtime guitarist Anders Nyström, the band leaned deeper into their atmospheric, clean‑vocal identity. The performance felt introspective and textural—less about weight, more about emotional contour—like a group quietly recalibrating its center of gravity in real time.

That restraint evaporated the moment Opeth walked onstage. Opening with “§1,” they signaled a band fully reawakened. Supporting their 2024 album The Last Will and Testament, Opeth reintroduced harsh vocals for the first time in over a decade, reconnecting with their death‑metal roots while preserving the progressive nuance they’ve honed since. The set moved like a living organism—quiet passages blooming into towering riffs before collapsing back into stillness. By the time “Deliverance” closed the night, its final riff spiraling into a hypnotic loop, the entire room felt caught in a shared exhale.

What makes this pairing resonate is history as much as sound. Katatonia and Opeth emerged from the same Swedish ’90s metal underground, bound by friendship, collaboration, and parallel evolution. Onstage, that lineage becomes tangible: Katatonia drawing inward, Opeth pushing outward, the two bands forming a dynamic emotional arc that neither could create alone.

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The Vortex

Akron OH

April 09, 2026

by Drew Latshaw

There are shows you attend… and then there are shows that grab you by the collar, shake your soul loose, and remind you exactly why live music matters.

Last Thursday night at The Vortex was the latter.

From the second you stepped into the room, there was this low electrical hum in the air, like something was about to break loose. And Emerald Rage wasted absolutely no time lighting the fuse.

Emerald Rage — Strike First, Ask Questions Never

Emerald Rage came out swinging like they had something to prove… and by the end of their set, it was clear they didn’t.

They already knew.

Tight, aggressive, and unapologetically loud, their set felt like getting caught in a storm you didn’t see coming. The kind where you’re soaked before you even think to run for cover. Their energy wasn’t just performance, it was projection… straight into the crowd, bouncing off every wall in that room.

No filler. No wasted motion. Just raw, unfiltered intent.

And just like that, the tone for the night was set.

Silvertung — The Kind of Band You Don’t Just Watch… You Experience

Then Silvertung took the stage…and the room shifted.

There’s something different about Silvertung. It’s not just the sound, though it hits hard. It’s not just the stage presence, though it’s undeniable. It’s the way they connect. Like they’re not performing at you… they’re pulling you into it with them.

Every note felt intentional. Every movement had weight. You could feel the crowd lock in, like a single organism breathing in time with the band.

And that’s when it clicked…

This wasn’t just a set.

This was a shared moment.

The kind you don’t get back.

The Almost-Interview — When Technology Fails but Humanity Shows Up

Here’s where the night took a turn that hit a little more personal.

I had the chance to sit down with Silvertung before everything kicked off. Real time. Real conversation. The kind of opportunity you don’t take lightly.

And my gear?

Decided it wanted no part of it.

Failure after failure. Restart. Try again. Adjust. Try again.

They gave me over an hour of their time.

An hour.

Let that sink in.

And through all of it… patience. No ego. No frustration. Just genuine people willing to make space for something that mattered to me.

In the end, I walked away with 11 minutes of recorded video.

Eleven.

And yeah… that stings.

But here’s the thing… that 11 minutes? It means more now.

Because it wasn’t easy. Because it almost didn’t happen. Because they didn’t have to stay… but they did.

That says more about who they are than any polished interview ever could.

Final Verdict — This Is Why We Show Up

This show wasn’t perfect. It was better than that! It was real.

Emerald Rage came in like a warning shot. Silvertung followed like a full detonation. And somewhere in between blown speakers, sweat, light, and chaos… something genuine happened.

The kind of night you don’t measure in setlists or song counts…

…but in moments.

And this one?

This one’s going to stick.

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