Author: Estelle

Nine Inch Nails // Prudential Center, NJ

Concert Reviews

February 14, 2026 – Prudential Center, Newark NJ

Review by Chris Yates //Audience-captured images by Estelle Massry

Hearts were beating extra hard on this Valentine’s evening if you were smart enough to bring that someone special to see NIN on their “Peel It Back” tour at the Prudential Center (“The Rock”) in New Jersey.

I have seen and reviewed NIN before a few years ago but from a smaller, more intimate venue.  That was a killer show, so knowing the type of performance they deliver, I was very excited to see them this time in a larger arena setting with the technological resources the band would have available.

After waiting in line and grabbing some NIN merch, we walked down the steps to the lower level, just above the floor, which proved the be the perfect eye-level view of what was to be a visual and phonic stimulation of epic proportions. As we descended, one of the first things I noticed was the crowd already filled in surrounding a center box stage (B-Stage) positioned mid-venue in the center of the floor, with the “Main Stage” to our left. The crowd were illuminated in a red mood light, a visual choice that felt especially fitting for Valentine’s Day.

To the right of us was the opening act Boys Noize who’s DJ’ing delivered the perfect, electrifying set of pulsating beats and was appropriately draped in a red curtain of light as if within a tall cage which stretched from his elevated stage to the ceiling of the arena. His set provided the perfect set up as the crowd waited in anticipation of Trent and his band to appear. For those who did their research with past shows on this tour, it was known NIN would already be positioned on the center “B-Stage” behind the four cornered curtain and would start immediately after Boys Noize finishes his last beat. It was apparent many knew this as no one wanted to leave their post or seat out of fear they would miss the curtain drop and opening song.

With that in mind, we stayed put and as Boys Noize delivered the last beat. Right on cue, the curtain dropped and through a cloud of smoke, Trent Reznor appeared, and it was clear this was not just a concert — it was about to be a kinetic experience. The evening began with Reznor alone at a synth, introducing “(You Made It Feel Like) Home,” a haunting piece co-written with Atticus Ross for the Bones and All soundtrack, which had only recently received its live debut in Jacksonville, Florida. The solo piano opening transitioned into the synth-driven “Non-Entity,” a track that has seldom been performed. The band joined Reznor gradually as the track unfolded, creating a powerful and deliberate opening to the night.

The band dove headfirst into a powerful mix of classics and deeper cuts. The kind of setlist that has been a trademark of this tour. Though the exact songs varied from earlier dates, the structure followed a dynamic ebb and flow as the band moved from B-Stage to Main Stage multiple times throughout the night, creating a clear and distinct separation of sets. B-Stage delivered more intimate moments which brought texture and nuance, like peeling back layers of sonic aggression into stripped-down emotion, while Main Stage delivered wrenching industrial assaults that shook the arena’s framework.

Reznor’s voice, raw yet commanding, anchored the night. At 60, he still commands the mic with the same ferocity that defined NIN’s earliest work, threading anguish, introspection, and disdain into a fractured tapestry of emotion. Reznor & co-producer Atticus Ross are supported by long time band mates Robin Finck on guitar, Josh Freese on drums, and new comer Stu Brooks on bass. The band was tight and telepathic — every build, drop, and crescendo landing with precision. As the band hit its stride, those who were locked in gave everything they had — voices raised, bodies swaying, and hands cutting through fog and laser light. 

The stage production was a spectacle: enigmatic projections, stark lighting shifts, and live handheld footage that transformed every corner of the Prudential Center into part concert, part cinematic voyage. Audiences that had been wary at the start soon found themselves engulfed in the sensory storm. This tour is renowned for its immersive production, eschewing traditional LED screens for layered projections on translucent fabric and live camera feeds, creating a 3D visual environment that shifted like a living organism around the music. I loved it.  

Nine Inch Nails closed the night with an emotional strike few bands can pull off with such eerie beauty. The haunting final chords of “Hurt” drew gasps, whispers, and moments of quiet reflection — unexpected at a Valentine’s Day show, yet strangely appropriate. It was a reminder that love, pain, connection, and separation often share the same emotional terrain.

This wasn’t just a concert — it was a rite of passage for fans and an intense entry point for newcomers. The band delivered a performance that was as visceral as it was introspective, a sonic journey fitting a night associated with love and heartbreak. Production values were among the most immersive of any arena tour I’ve seen this year, and the band’s performance was muscular and finely tuned, and the emotional payoff was powerful.

Nine Inch Nails at “The Rock” on Valentine’s Day 2026 was an unforgettable plunge into grit, glamour, and raw emotion — exactly what devotees hope for from one of industrial rock’s most enduring presences.

For more info please visit http://www.nin.com

Setlist

  1. (You Made It Feel Like) Home
  2. Non-Entity
  3. Piggy (Nothing Can Stop Me Now)
  4. Wish
  5. March of the Pigs
  6. The Frail
  7. Reptile
  8. Heresy
  9. Copy of A
  10. Gave Up
  11. Vessel
  12. Closer
  13. Parasite
  14. As Alive as You Need Me to Be
  15. Mr. Self Destruct
  16. Less Than
  17. The Perfect Drug
  18. I’m Afraid of Americans
  19. The Hand That Feeds
  20. Head Like a Hole
  21. Hurt

Bush + Soul Asylum in Atlantic City NJ

Concert Reviews

December 13, 2025 – Ovation Hall, Atlantic City NJ

Review by Chris Yates // Photography by Estelle Massry

On a winter Saturday evening in Atlantic City, Bush delivered an amazing performance, wrapping up their 2025 “Loaded: The Greatest Hits Tour” stopping at Ovation Hall with a set that satisfied long-time fans like myself. They were joined by special guest Soul Asylum, and the set list featured classic hits combined with new songs from their album “I Beat Loneliness”.

The approaching first winter storm of the season didn’t deter us from trekking down the Garden State Parkway knowing we would be driving home late night in a wintery snowy, slushy mess as we knew it would be a show we didn’t want to miss.

The evening opened up with a very impressive female act from LA called, DeathbyRomy.  I loved their sound and stage presence and how they incorporate haunting vocals and vulnerable, raw lyrics into their heavy beats and textures. Romy Maxine Flores, known professionally as DeathbyRomy possess a genre-bending mix of Alternative Pop, Dark Pop, and Industrial, blending catchy melodies with heavy trap, metal, and electronic beats for a cinematic, gothic sound often called “heavy pop,” influenced by her LA upbringing and dark aesthetic.  Definitely check them out if you see them touring or popping up in your home-town.

Following DeathbyRomy was Soul Asylum. I’ve seen them a few times before. This particular appearance set the stage well for the genre of music and entertainment we were about to embark on. Soul Asylum delivered a compact but spirited opening set that energized the crowd and reminded everyone why they’ve remained a beloved act in alternative rock. Leaning into a blend of classics and recent material, the band kicked things off with punchy, gritty riffs that had fans nodding and cheering early on. “Runaway Train” drew one of the biggest reactions, with many in the audience singing along, while other selections balanced nostalgia with a sense of ongoing vitality. Frontman Dave Pirner’s distinctive, raspy voice cut through with confidence, and even in a shorter set typical for an opener, they managed to spotlight both crowd favorites and deeper cuts from their catalog.

From the moment Gavin Rossdale and his bandmates stepped onstage, the room buzzed with recognition and excitement. While I expected an uneven balance of gender due to his popularity with female fans, the crowd was a nice, diverse mix of Gen-Xers who were all there to relive the alt-rock soundtrack of their youth. Despite Bush’s arena-tour pedigree, the venue’s acoustics and sightlines helped make the experience feel intimate and I enjoy experiencing Bush within smaller venues.

Having seen and reviewed Bush a few times before, I knew what to expect from his performance. Rossdale hasn’t lost his energy dancing and bouncing around stage and taking time to engage with his fans while singing.  Fans were spirited and sang along with just about every song. A fan favorite moment you can expect from any of Bush’s concerts is when Gavin ventures out into the crowd, greeting adoring fans and posing for some selfies as he passes through.

Bush delivered a robust 18-song set that walked through their career while spotlighting current material. Sounding confident and cohesive, the band balanced fierce rock with slower, emotive moments. 

Standout tracks included the opener, “Everything Zen” which emoted raw 90’s energy setting a powerful tone for the evening.  “Bullet Holes” and “Machinehead” followed; riff heavy and punchy these tracks kept the momentum strong. The evening continued with Rossdale engaging with fans throughout making eye contact, blowing kisses to adoring fans, and moving from one side of the stage to the other.  “Glycerine” appeared mid set ensuring the energy stayed high as Bush continued to deliver the favorites. 

Rossdale’s voice carried the familiar growl that’s defined Bush for decades, and even in the quieter moments, he connected emotionally with the audience. While some recent performances on this tour have drawn mixed comments about vocal consistency or reliance on backing tracks, at Ovation Hall his delivery felt solid and earnest. The rhythm section and guitar work were tight. Chris Traynor on lead guitar, Corey Britz on bass and Nik Hughes on drums underpinned each song with the grunge and post-grunge punch fans expect. The transitions between older classics and new tracks felt natural, affirming that Bush still thrives as a live act more than 30 years into their career.

When the encore part of the evening arrived, Bush closed with “Swallowed”, “More Than Machines”, and “Comedown”. The vibe at Ovation Hall the entire evening was one of community — a cross-generational crowd united by the music. Calls of beloved choruses echoed through the venue, and there was a genuine warmth in the air as Rossdale closed the evening and acknowledged the fans’ loyalty throughout the decades.

Bush’s December 13, 2025 performance at Ovation Hall was an engaging and spirited rock show. It honored their legacy without feeling like a simple nostalgia act, offering energy, musicianship, and a setlist that delivered both timeless hits and contemporary offerings. Whether you came for the memories or to make new ones, the night proved that Bush still has plenty of musical firepower left to share.

For more info please visit: http://www.bushofficial.com http://www.soulasylum.com http://www.deathbyromy.com

Cage The Elephant at The Met

Concert Reviews, Uncategorized

October 25, 2025 – The Met, Philadelphia PA

Review by Chris Yates // Photography by Estelle Massry

Saturday night in Philadelphia, Cage the Elephant delivered a high‐voltage show that reaffirmed their status as one of rock’s most exciting live acts. Performing in the intimate yet grand setting of The Met, the band combined raw energy, showmanship and a warm connection with the Philly crowd to memorable effect.

It’s been a bit since I’ve been back to The Met. I love the vintage architecture and design of the place with its old school balconies as if Abe Lincoln were sitting there himself. The Met’s historic architecture adds a unique backdrop—its vaulted ceiling and warm acoustic space gave even the more explosive moments of tonight a surprising clarity. The venue buzzed with anticipation from the moment the doors opened, and by the time the house lights dimmed you could feel a pulse running through the audience. The crowd was a mixed group of longtime die-hard fans and newer listeners, all eager and ready to engage.

Frontman Matt Shultz leapt from the back of the stage, instantly commanding the stage igniting the crowd with his explosive, unpredictable energy that always keeps the audience on edge. The band kicked things off with a burst of adrenaline, launching into “Broken Boy” and setting the pace early. The opening salvo made it clear: this wasn’t going to be a static performance.

The setlist spanned deep cuts, fan favorites and a few newer tracks from their latest album. The balance was excellent — long‐time fans got the hits (“Ain’t No Rest for the Wicked”, “Shake Me Down”, “Come a Little Closer”), while the newer material brought freshness and showed how the band’s sound continues to evolve. The lighting design complemented the music well — strategic bursts of color, strobes at the right moments, and occasionally more subtle back-lighting that let the band breathe.

While Cage the Elephant are scattered throughout my multiple gym playlists, this is the first time I’m seeing them live. I’ve heard of and was aware of front man Matt Schultz’s energy but didn’t really know what to expect. Needless to say, I was pleasantly surprised. Shultz, reminiscent and a blend of Mick Jagger and Chris Robinson was everywhere bounding across the stage, reaching to the audience and using every corner of space available. His voice held strong—even when moving constantly—and his stage presence remained magnetic. Wild and unpredictable, Matt is known for his manic energy — climbing speakers, stage-diving, or writhing on the floor mid-song. He was a mix of performance art and punk frontman chaos perfection. Fun to watch.

Accompanying Schultz is his older brother Brad on rhythm guitar. Brad is the most physical guitarist of the bunch — constantly moving, headbanging, and often the one pushing the tempo harder when experienced live. Nick Bockrath on lead guitar is smooth and steady and lets his tone do the talking adding swirling guitar textures, solos, and effects that define the band’s evolved sound. Daniel Tichenor’s basslines often anchor the chaos of Shultz’s vocals and the band’s explosive guitars with something tight, groovy, and melodic. Tichenor’s musical background and style are an integral part of what gives Cage the Elephant its distinctive feel. Matthan Minster on keys brings a soulful depth. Calm yet captivating, his presence balances the band’s high energy, grounding their performance with understated precision. Jarod Champion on drums provides the heartbeat and drives the band’s momentum and gives shape to their loose, punk-inspired sound. Formed two decades ago, Cage the Elephant has maintained remarkable stability within its lineup, with only one member departing. This consistency has helped the band preserve its distinctive chemistry and evolve its sound without losing the spirit that first defined it.

Philadelphia’s crowd didn’t require a lot of coaxing. It never does. During slower or mid-tempo numbers, fans sang along, swayed, and at times erupted in synchronized jumping when the pace turned up. Shultz leaned into that energy—at one point inviting the crowd into a call-and-response, reaching out physically to high-five fans at the barrier, and shifting from rocking the stage to bending down at the front. The cycle of riff – vocal hook – and audience chant felt seamless and earned.

The transition from a gritty garage-rock number into something more ethereal highlighted the band’s range — they didn’t just pound; they allowed space and texture.

Moments where the crowd erupted during classic hits was electric — you could see not only the fans reacting but the band visibly feeding off that energy. Even though the venue wasn’t a massive arena, the production didn’t feel scaled‐down; rather, it felt precisely calibrated to this space, and that intimacy made the peak moments hit harder.

By the time the encore closed with “Cigarette Daydreams” and “Come a Little Closer”, the audience was fully invested, and the band had given more than half its show into the hands of the crowd. The show lasted about 90 minutes and left the feeling that the band could sustain this energy for much longer. Indeed, according to broader critical consensus, Cage the Elephant are routinely described as “intense, unforgettable and boisterous” live.

If you were on the fence about seeing them live — this night was proof positive that Cage the Elephant deliver. They brought cohesion, chaos, catharsis and one hell of a rock show.

I’ll look forward to the next time they come around.

For more info please visit http://www.cagetheelephant.com

Violent Femmes takes over Red Bank, NJ

Concert Reviews

October 6, 2025 – Count Basie Center for the Arts, Red Bank NJ

Review by Chris Yates // Photography by Estelle Massry

Red Bank NJ is my hometown, a place full of music, art and creative history. It’s the home of the historic Count Basie Theater. For those unaware, Count Basie was a famed American jazz pianist, organist, bandleader and composer who formed the Count Basie Orchestra in 1936 and rode them to fame for almost 50 years creating many innovations in music, where countless musicians came to prominence under his influence.  It’s a beautiful, old venue. If you haven’t been, it’s a must visit/experience. “The Basie” has a certain intimacy with its beautiful, ornate architecture, seats close to the stage, and a decor that sets the vibe appropriately for any event under the iconic roof and tonight with THE Violent Femmes in house, was no exception. The entire place is a full “seated” venue (more on that vibe later) with the orchestra having approximately 26 rows – below many other rows above on the balcony. I mention this as once the highly anticipated wait was over, with instruments in hand, the Violent Femmes descended from the top of the orchestra, parading down the aisle through waves of applause, carving a path toward the stage and into the spotlight.

I have been a fan since the early 90’s and as I migrated to the grunge scene at the time, they were the one band that kept me glued and holding on to the folk, punk and alternative rock scene they dominated. Right from the first chords of “Prove My Love” the Femmes showed they still have a crackling energy. Gordon Gano’s vocal delivery—sometimes gravelly, sometimes quivering—anchored much of the emotional excitement in the room. He switched between electric and acoustic guitars, sometimes slipping in banjo or more minimal textures like the mandolin, giving the sound a dynamic ebb and flow throughout the evening.

Brian Ritchie held down the low end with his unique and signature bass (and its occasional thumps and slide textures), while percussionist John Sparrow (and another supporting percussionist) offered a kind of polyrhythmic backbone with wooden blocks, and other unconventional surfaces—keeping the set tactile and grounded. Multi-instrumentalist Blaise Garcia rounded out the band to delightful, eclectic precision.

At moments, the band leaned into hushed tension (e.g. slower songs or ballads) and then plunged into full-throated explosion of fan favorites. This set up combined with the venue being filled with seats for each audience member led to a church like experience with audience members sitting, then standing, then sitting again, then standing. Gano even joked at one point as he brought out his mandolin and said. “Oh… so the mandolin comes out and everyone sits?… I see.. well don’t hold on to your arm rests too tightly”.  Meaning we will all be back on our feet in no time.

Sound-wise, for the most part, the mix was solid. Vocals sat well in the mix and the acoustic elements maintained clarity. The theater’s acoustics, which many praise, mostly held up.

The audience was active, not passive. During the punchier songs, people stood (where seating allowed), swayed, shouted lines back, and applauded with fervor. Many used phones sparingly, preferring to live in the moment. You could see a visible arc: early songs drawing folks in, then a growing collective energy mid-set, and catharsis by the end.

Interestingly, generations mixed—older fans singing every line, younger fans discovering songs on the fly, sometimes pulling up verses to catch up. The sense was that the Femmes’ reach still spans ages.

There were also moments of spontaneity—Gano occasionally paused mid-song to comment, banter with the crowd, or adjust dynamics. These interludes made it feel less like a strictly scripted show and more like a communal gathering of living music.

The band leaned heavily on their classic canon, which was smart—they know what the crowd came to hear. “Blister in the Sun” brought the crowd to its feet. The familiar riff, the insistence in Gano’s voice, and the buoyant bounce in Ritchie’s bass invited singalongs and shared reminiscence. “Kiss Off” had a sharp edge which cut through the room, even more so live. “Gone Daddy Gone” got a fierce, gutsy spin; this felt like a moment when the band remembered their punk roots, even amid the folk textures. Deep cuts like “Jesus Walking on the Water” and “Country Death Song” offered moments of darkness and reflection that balanced the high-energy hits. In the encore with “Betrayal” and “American Music” the band leaned into community: inviting the audience in, letting us sing and letting the performance breathe.

Seeing Violent Femmes live tonight was a reminder of why their music endures: it lives in the gaps between vulnerability and bravado, in the interplay of folk sensibility and punk urgency. They remain rough around the edges—in the best way—and their songs still carry emotional weight. In Red Bank’s theater setting, they managed to keep that rawness intact without letting polish smother the spirit. The performance was alive, intentional, and emotionally resonant.

For more info please visit http://www.vfemmes.com

The Who – The Song Is Over: North America Farewell Tour

Concert Reviews

September 10, 2025 – Xfinity Mobile Arena, Philadephia PA

Review by Christopher Yates // Photography by Estelle Massry

I have been a fan of The Who for as far back as I can remember.  As a kid in the 70’s I would play their music nonstop until I knew every word to every song… from vinyl to cassette, to CD — from record player, to Sony Walkman, to car stereos, to current day downloads they have been with me through every step of my life, with many fond memories and life experiences attached to their music as I grew older. I must have burned through the Who’s Next album more than any other music I’ve owned.  They are my all-time fave!  

I’ve seen The Who a bunch and can even remember when they announced they were playing their final show back in the 80’s. I was devastated at the time but I thank the music Gods that wasn’t the case. And I thank them again for yet another opportunity to see them and write this review on this final farewell tour aptly named, “The Song Is Over”.

This was a rescheduled show from last month when The Who had to postpone due to “an illness” (though the specific member(s) affected hasn’t been made public). We listened to their music and sang in the car as we arrived early for our photo pass and review tickets.  Along with almost 20,000 fans in attendance, I was burning with anticipation for what I was about to experience.

The Who chose Leslie Mendelson as the opening act. She has opened for The Who before and played acoustically as if to calm the audience to settle everyone into what was to be a very special evening for those fortunate enough to be present. Mendelson crafts a distinctive folk-rock, pop sound with precision and elegance with a satiny, easy listening voice. I didn’t know what to expect but enjoyed her performance very much. While each song ended with applause, when she mentioned she was from New York, the Philly crowd let out a few “boos”.  It was a funny moment rather than insulting, and she laughed and took it with grace. I guess as a New Yorker playing in Philly, one has to know their audience and when one is in rival territory.

As the lights dimmed, a ripple of excitement resonated through the full house. Cheers flowed through the venue as silhouetted band members took the stage. With a slight delay Roger Daltrey and Pete Townshend took the stage in spotlight as the place erupted. Then when the opening chords of “I Can’t Explain” hit, Roger & Pete immediately asserted their presence. Despite Roger being in his eighties, he still has that raw, commanding punch in his voice. From the first note, he’s both honoring the legacy and reminding us of the energy that The Who has always had.

Pete Townshend is stoic but lively as ever — his guitar work was sharp and his presence still commanding, still swinging his arm in that signature windmill motion. The band backing them (including Scott Devours on drums, Jon Button on bass, Simon Townshend (Pete’s brother on guitar), Loren Gold on keys, Jody Linscott on percussion and John Hogg with backup vocals) is tight and respectful of the classics, but they also inject enough freshness to keep long‑time fans engaged. 

When the open song concluded, Roger approached the mic and said, “sorry we’re late” acknowledging the postponement of the originally scheduled date with humorous apology.  They played a ton of classics early (“Substitute”, “Who Are You”, “The Seeker“) as the “essential” set list was littered with hit after hit. Mid set dug into deeper territory with “Love Ain’t For Keepin’”, “The Real Me”, “5:15” and “I’m one” – all part of their Quadrophenia suite.  Emotional peaks to the show where “See Me, Feel Me“, “Love, Reign O’er Me” with big crowd pleasers in “Pinball Wizard‘, “Behind Blue Eyes“, “My Generation” and “You Better You Bet“.

Daltrey still has plenty of power, especially in the iconic scream moments (ie: “Won’t Get Fooled Again“) though some lower registers might be more carefully handled; he knows his voice is precious now. Townshend’s guitar work remains excellent, though occasional age is noticeable in guitar solos or movement. The sidemen hold the show together and Drummer Scott Devours fills that role well.

The Visuals were represented with a big screen backdrop which leaned heavily on nostalgia —with archival photos from the ’60s and ’70s, vintage stage lighting cues, and other thematic elements (ie: mod imagery for the Quadrophenia segment). The theatrical moments through visual storytelling was very cool, especially during songs like “The Real Me” and “5:15“. I found myself watching the screen as well and enjoy what they put together.

Philadelphia is a major rock town, the energy of the crowd was loud and passionate. Songs like “My Generation‘ and “Baba O’Riley” brought out sing‑alongs and emotional moments were present in songs like “See Me, Feel Me” which produced a reaction of quiet awe followed by loud applause. Even with any health concerns (which have been part of the tour’s narrative), the energy in these farewell shows has often overcome the physical limitations.

As the evening wound down and The Who moved through their set list, it was apparent the show was approaching its finale/encore.  The 19th of 22 songs still had fans on their feet as “Won’t Get Fooled Again” erupted, followed by “Baba O’Riley”. Then, post applause, as a peaceful calmness enveloped the crowd, the delicate keyboard intro of “The Song Is Over” penetrated everyone’s heart and soul as Roger & Pete played their goodbye. Then as the other band members left the stage a spot light stayed with Roger & Pete and as if to sit back and relax and soak in the audience while reflecting on their success, they broke into an intimate, acoustic rendition of “Tea & Theatre” as the evening concluded.

The knowledge that this is one of the final U.S. legs of The Who together, ever, casts everything in a sharp lens with all in attendance seeing teenage heroes still performing live. Even with some rough edges, this was not just a great show but a “do not miss” event. For fans like me, it was a thrill hearing beloved songs played live once more and seeing these rock legends deliver with dignity, power, and (yes) a little vulnerability. The peak moments delivered goosebumps, but it was the in‑between: the soulful quieter bits, the surprises and rarities, the sense of history and finality — that makes it unforgettable.

To The Who: Thank you for everything. Farewell.  Long Live Rock!

For more info please visit http://www.thewho.com

Rob Thomas + A Great Big World

Concert Reviews

August 13, 2025 – PNC Bank Arts Center, Holmdel NJ

Review & Photography by Estelle Massry

Grammy-winning singer, songwriter, and Matchbox Twenty frontman Rob Thomas is currently out on his The All Night Days Tour, building anticipation for his upcoming album set to drop on September 5, 2025. Rob has had a very successful solo career, with five albums over the last 20 years and really shows no signs of slowing down. He never misses a stop at PNC on his tours, and this year I finally had the chance to see him live. Pulling into the lot under a relentless thunderstorm had me on edge, wondering if the show might be canceled. Luckily, the venue pushed forward, though the opening was delayed. Seeing the empty lawn and soaking fans as I entered, the atmosphere felt low at first, and I couldn’t help but wonder how the crowd would respond.

A Great Big World, best known for their Grammy-winning hit “Say Something” with Christina Aguilera, walked out on stage at 8:15 to a thinly packed venue but delivered a performance that was like stepping into a storybook. With only a piano and a guitar on stage, the duo kept things minimal, allowing Ian Axel’s mesmerizing vocals to take center stage. Ian mentioned how surreal it was to be on stage as he has fond memories of coming to see his favorite artists at PNC when he was younger – a full circle moment indeed.

Rob Thomas made a dramatic entrance, silhouetted against the stage lights as if teasing the audience. Descending the stairs, he was revealed in black jeans and a black T-shirt with a white lightning bolt—a look that felt just right for the evening’s atmosphere. Rob opened the show with “I Believe It” from his soon-to-drop All Night Days album. The setlist was a well-crafted blend of solo hits like “Lonely No More,” “Her Diamonds,” “Little Wonders,” “Streetcorner Symphony,” and the newly released “Hard to Be Happy”. It also included iconic Matchbox Twenty favorites, such as “3 AM,” “If You’re Gone,” as well as the always electrifying “Smooth”, his collaboration with Santana as well as “New Sensation”, a cover by INXS.

Rob Thomas treated the audience to a two-hour set brimming with magic. His rich, soulful vocals filled the open-air amphitheater, accompanied by a tight, skilled band. Between songs, he captivated the crowd with personal stories about the inspiration behind his music. He also paid tribute to his lead guitarist and son, Maison, with whom he was obviously beyond excited to be sharing the stage. Seeing the two of them interact with each other was quite special. Rob commanded the stage with undeniable charisma, engaging the audience throughout. With no backing tracks, it was a raw, authentic performance from a truly soulful storyteller.

While the weather threatened to put a damper on the night, it ended up drawing everyone closer to the stage, creating a surprisingly intimate atmosphere. If you love Rob’s solo work, Matchbox Twenty’s hits, or just memorable live music—this show had it all.

For more info please visit http://www.robthomasmusic.com

Volbeat + Halestorm + The Ghost Inside

Concert Reviews

August 10, 2025 – PNC Bank Arts Center, Holmdel NJ

Review & Photography by Estelle Massry

Danish rock band Volbeat just kicked off their Greatest of All Tours in support of their ninth album, God Of Angels Trust. Volbeat has scored 10 number 1 songs on the billboard mainstream rock airplay chart, which is the most ever for a band based outside of North America. Their presence in the US was apparent tonight in New Jersey, fans were eager to hear them play as they showed up clad in band merch showing their love and devotion to their favorite band.

The first special guest on this tour into the WRATFEST lineup was The Ghost Inside, a metalcore band from El Segundo, California. The band consists of Jonathan Vigil (vocals), Zach Johnson (lead guitar), Chris Davis (rhythm guitar), Jim Riley (bass), and Andrew Tkaczyk (drums). The band has faced many hardships including being involved in a serious bus crash in Texas in 2015 that left several members with life changing injuries. Drummer Andrew Tkaczyk lost one of his legs and many thought the band would never play again. They shocked their fans and returned to the stage in 2019 with a sold out comeback show in LA. They are respected not only for their music but their resilience, it was clear to see the love that their fans have for them tonight at this show.

The Grammy-winning rockers Halestorm kept the energy going. Lzzy Hale walked out on stage holding her badass guitar in her skin tight black bodysuit and burgundy velvet top, her long legs exposed with knee high back patent leather boots, matching her black cape with gold and silver snake patterns with red lining. Her vocals are always strong and she delivered every song with her powerful and commanding vocal range. She wasted no time jumping into the set with “Fallen Star”, “I Miss The Misery,” and “Love Bites (So Do I).” Band members Joe Hottinger (guitar), Arejay Hale (drummer and Laze’s brother) & Josh Smith (bass) are on point and really know how to draw energy from each other. I have seen Halestorm many times and am always impressed by their delivery and love how good they are to their fans.

As night fell, the stage erupted in dynamic lighting and a towering “VOLBEAT” backdrop that anchored the show’s powerful visual identity. Smoky haze, strobes, and color washes heightened the drama—casting the band in stark silhouettes one moment, then spotlighting them in vivid detail the next.

Opening with “The Devil’s Bleeding Crown” and “Lola Montez,” Volbeat immediately sent energy rippling through the crowd. Frontman Michael Poulsen’s charismatic command of the stage was immediately evident. His vocals were raw, expressive, and carried effortlessly across the lawn. The setlist, a deft balance of fan favorites and newer material, included “Sad Man’s Tongue” (complete with a dramatic “Ring of Fire” intro), the thunderous “Demonic Depression,” and the ominous triple-barreled “In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom.”

Fans were in full participation, singing along, fists pumping, and erupting into applause between songs. Despite being outdoors, the venue felt intimate thanks to the collective energy of those there. I have to be honest that I didn’t know much about Volbeat, maybe only heard a song or 2 prior to the show and didn’t know what to expect. Their sound is not easy to define and hard to put into a category. I was pleasantly surprised and found myself really enjoying the “undefined”. I left wanting to hear more and dig more into their music. Make sure to check them out on this tour!

For more info please visit http://www.volbeat.dk

The Offspring + Jimmy Eat World + New Found Glory

Concert Reviews

August 1, 2025 – PNC Bank Arts Center, Holmdel NJ

Review & Photography by Estelle Massry

The Offspring ignited PNC Bank Arts Center on August 1st, 2025, with a high-octane set that blended nostalgic punk anthems and sharp new material. Their SUPERCHARGED Worldwide in ’25 tour started on July 11th in West Palm Beach FL and will end on September 7th in Denver, CO.

New Found Glory started off the night and brought pure pop-punk joy to PNC. The stage design was vibrant with pinks and yellows as the band jumped out on stage with full on energy. Jordan Pundik’s vocals were full of heart, and Ian Grushka’s energy was unstoppable. The band was tight, fun, and clearly having a blast—feeding off the crowd’s nonstop singalongs. It was everything you want in a New Found Glory show: loud, fast, and unforgettable just like the rest of the night would be.

Jimmy Eat World appeared on stage with the same level of energy and delivered an emotionally charged, beautifully polished set. Opening with “Pain,” they immediately drew the crowd into their world of soaring choruses and heartfelt lyrics. Jim Adkins’ vocals were spot on and full of conviction. As a photographer I would have loved to have him step away from the mic so I could see his face but the fans didn’t seem to mind. “The Middle” turned into a massive singalong, while deeper cuts like “Sweetness” gave longtime fans goosebumps. 

As soon as Jimmy Eat World wrapped, The Offspring made sure that their fans were hyped and ready for their show. Video screens began entertaining everyone with The Offspring trivia, a mascot with a gorilla mask shooting out T-shirts, and shots of the audience kissing & dancing. There was even a mini-blimp going down every aisle of the venue until the countdown began for The Offspring’s entrance.

The Offspring brought up the energy to a whole other level. They opened with a blistering version of “Come Out and Play,” and the entire amphitheater lit up. Thousands of fans sang every word like a war cry, from grizzled ’90s punks to teenagers in fresh band tees. Dexter Holland’s vocals were as sharp and snarling as ever, and Noodles absolutely shredded through each solo with effortless cool. The band sounded incredibly tight, clearly energized by the massive, enthusiastic crowd.

The setlist was a perfect blend of nostalgia and newer material. “Self Esteem” brought the biggest singalong of the night, and “The Kids Aren’t Alright” nearly blew the roof off. Even newer tracks like “Make It Right” were received like old favorites, proving the band still has plenty of fuel in the tank.

Tonight was a reminder that The Offspring remain a force in punk rock. I left the venue feeling the same way I did when I first discovered them: alive, rebellious, and full of adrenaline. A night to remember!

For more info please visit http://www.offspring.com http://www.jimmyeatworld.com http://www.newfoundglory.com

TOTO + Men at Work + Christopher Cross

Concert Reviews

July 25th, 2025 – PNC Bank Arts Center

Review by Christopher Yates // Photography by Estelle Massry

It was a hot summer evening at the PNC Arts Center but that didn’t stop fans from packing the house to enjoy a mini yacht rock experience from three iconic musical talents.

Christopher Cross opened the evening with a set of nine songs, starting strong with “All Right” and “Never Be the Same”, then launching into “I Really Don’t Know Anymore”, which drew enthusiastic applause. Highlights included a soaring rendition of “Sailing”—a Grammy-winning classic—and a heartfelt solo piano version of “Think of Laura” that resonated deeply with the audience, much like recent reviews observed during his intimate performances elsewhere. His band added rich textures across the set—including “Arthur’s Theme (Best That You Can Do)”, “The Light Is On”, and crowd-favorite “Ride Like the Wind”—proving he still commands emotional impact decades on.

Men At Work took the stage next, bringing their signature energy. I’ve been a fan of Men At Work since they arrived to the US from Australia in the early 80’s. I can remember loving their (unique at the time) sound and played their songs over and over again as a kid until I knew and could sing every word, so I was excited to see them for the first time.

With Colin Hay at the vocal forefront, they performed hits such as “Who Can It Be Now?”, “Overkill”, and “Be Good Johnny”—each delivered with tight instrumentation and playful stage presence. If you aren’t aware of Colin Hay’s solo acoustic work you should make it a point to become aware.  His soft, raspy, signature sound shines through and he has some amazing songs. I know he’s touring solo at some small venues across the US so check his page for dates and places near you. 

As the set continued, fans cheered loudly during “Down Under”, the anthem that skyrocketed their fame in the early ’80s. Their acoustic moments and flute/sax solos added depth and nostalgia, while their overall sound retained the sprightly Aussie pop-rock charm.

Toto closed out the night with a confident and polished performance. The band, led by Steve Lukather & Joseph Williams, delivered classic favorites like “Rosanna”, “Africa”, “99”, “I Won’t Hold You Back”, “Stop Loving You”, and “I’ll Be Over You”. The set showcased their multi-genre chops—spanning rock, funk, jazz, and soul—with tight arrangements and virtuosic solos. According to fans on the tour, Toto’s performance quality continues to impress, and Dennis Atlas (on vocals/keyboards) has been singled out as a standout new addition.

While I have criticized PNC’s acoustics in the past, on this night the audio mix felt balanced—particularly for Toto’s complex soundscapes and Cross’s delicate melodies. The lawn and seating area were packed with fans from all generations embracing the setlist variety. Given PNC’s outdoor setting, the venue allowed for a relaxed summer vibe enjoyed by all.

The evening struck a perfect balance between serene introspection and joyous sing-along energy. Despite the packed lineup, each act had its moment to shine, and the crowd left satisfied. For fans of 1980s ballads, pop‑rock, and skilled musicianship, this was a memorable summer night in Holmdel—one that hit all the right notes.

For more info please visit http://www.totoofficial.com http://www.colinhay.com http://www.christophercross.com

Gin Blossoms + Spin Doctors 

Concert Reviews

July 22, 2025 – The Wellmont, Montclair NJ

Review by Chris Yates // Photography by Estelle Massry

The Wellmont Theater, an intimate venue in my hometown of Montclair NJ, held around 2,000 fans in a buzzing, packed house. Known for its vintage charm and sometimes uneven acoustics, the venue still delivered a nostalgic setting perfectly suited for these ’90s-era rock acts.

Spin Doctors kicked the evening off as Chris Barron and crew came out swinging—tight, groovy, and energetic. Tracks like “Two Princes” and “Little Miss Can’t Be Wrong” still clicked with the crowd. The band were promoting their new album, “Face Full of Cake”, which remained the backdrop of their set on a large screen throughout their performance, they still leaned effectively into their blues‑inflected jams, which have long been underrated outside their hits-heavy reputation. Chris was engaging with the crowd and had fans involved in many sing and repeats, or echo-me moments.  Chris was supported by bassist Jack Daley (of Lenny Kravitz fame) who adds a new groovy vibe to the baselines. Jack is a great new addition as the funk style of his prior bands music plays real well with the Spin Doctors vibe. They were joined by Eric Schenkman on guitar and Aaron Comess on drums.

The audience spanned generations—from longtime Gen‑Xers who grew up with both bands, to younger fans discovering the bands anew. Parents even brough their kids to the show, probably to show them the bands they play and sing along to in their living rooms back home on the daily.  

The Gin Blossoms hit the stage next and opened with their hit “Follow you Down”. I’ve seen them before and they never disappoint. When they later launched into “Hey Jealousy” and “Allison Road,” the room lit up—a collective, nostalgic sing‑along which rattled the walls of the old theatre. The Gin Blossoms delivered a masterclass in ’90s alternative rock. The group performed with surprising energy and polish—full of sing‑along anthems and crisp vocals.

The pace between Spin Doctors and Gin Blossoms was efficient, the flow felt right—a fast‑paced opener, then a headliner that anchored the evening emotionally.

The Wellmont’s intimate scale suited the bands, but as I’ve reviewed before, the acoustics can at times feel uneven. Additionally the noise from back‑bar areas occasionally filtered through during quieter passages—it’s a quirk long noted by reviewers (including myself) but on this night, the energy of both bands helped offset any minor sound issues.

It was a trip down memory lane, topped with genuine musicianship. This show felt like stepping back with some modern polish. If you cherish early ’90s alternative pop-rock and appreciate relational, sing-along energy, it was a night worth showing up for. Both bands still bring it—and the Wellmont delivered a great setting.

For more info please visit http://www.ginblossoms.com http://www.spindoctors.net