April 4, 2026 – The Met, Philadelphia PA

Review & Photography by Estelle Massry

Seeing Robert Plant live at The Met in Philadelphia on April 4th on his “Spring Fever” tour was nothing short of a spiritual experience. From the moment he stepped on stage, there was a calm presence that held the entire room in awe. Rock’s Golden God completely captivated every single person in the theater. You could feel it instantly as if there were an electric shift in the room. We were all genuinely starstruck, hanging onto every note and every movement.

As the iconic voice of Led Zeppelin, Plant’s influence on rock and roll is immeasurable. His vocals, mystique and his poetic lyricism set a standard that few have ever come close to matching. When he hits those unmistakable “Robert Plant” notes, chills rippled through the crowed, followed by cheers, tears and singalongs that united everyone in the room. After all these years, his voice is still remarkably intact. He was so present and poured his entire soul into each song. Every note felt intentional and deep.

Robert Plant performed as part of a true ensemble rather than a traditional frontman-led act. His band Saving Grace leans into folk, blues, and Americana influences with a refined, organic sound. The band consists of drummer Oli Jefferson, guitarist Tony Kelsey, multi-instrumentalist and backing vocalist Matt Worley, and cellist Barney Morse-Brown. Each played an essential role in shaping the night’s sound. What stood out most was Plant’s willingness to gracefully step aside, often moving to the rear or side of the unlit stage allowing his bandmates to take center stage.

Suzi Dian was a standout presence throughout the night, bringing a haunting, ethereal quality to every performance. Her voice blended beautifully with Robert Plant, adding depth and warmth while also holding its own in powerful solo moments. She carried a quiet confidence on stage, captivating the audience with both her vocal control and emotional delivery.

The setlist was a mix of songs from the 2025 Saving Grace album, such as “Higher Rock” and “As I Roved Out,” and others and also featured rare and drastically rearranged Led Zeppelin tracks such as “Ramble On,” “Four Sticks,” and “The Rain Song”. Having looked at the setlists from the previous shows, I was fully expecting the encore to be “Everybody’s Song.” In addition, to our surprise, Robert Plant treated us to “Going to California,” and the theater instantly erupted. You could hear waves of “oh my God” and “unreal” ripple through the crowd. The excitement was almost uncontrollable. Fans began singing along, at times even overpowering his voice. I heard some people afterward say it took away from the experience of hearing the song performed live so intimately, but to me, it felt completely genuine as an outpouring of emotion from fans who simply couldn’t contain what the moment meant to them.

For those who grew up in the ’70s, the night felt especially powerful as hearing Robert Plant live transported you right back to the golden age of Rock and Roll. It was emotional, almost surreal to witness a rock legend still performing at such a high level. There are no real words for the level of talent we’ve been privileged to experience for all these years. Listening to Robert Plant sing is like hearing poetry come to life. A magnetic performer, a poetic mind, and a true warrior on both his musical and life journey. A truly magical night.

For more info, please visit http://www.robertplant.com

April 2, 2026 – Count Basie Center for the Arts, Red Bank NJ

Review by Chris Yates // Photography by Estelle Massry

Thursday’s Collective Soul show at the Count Basie was a reminder of why the Georgia rockers remain a potent live act three decades in.  As usual, the intimate ornate Basie proved the perfect setting for a band that balances radio-ready hooks with taut, guitar-driven dynamics.

Visually, even though the band has aged, they haven’t lost their style, with each member showcasing a unique, clean, and well thought through appearance. It was nice to see compared to other bands of similar age who opt for a simpler, less thought out look. Phonically, their style has been thought of as too melodic for grunge, yet too heavy for pop, resulting in the band fitting nicely into their own unique category of audio goodness.

The band opened strong, diving into an energetic run of material that had the crowd singing along from the first chord. Opening with “Counting the Days”, the audience rose to their feet and didn’t sit back down for pretty much the entire show. Frontman Ed Roland’s voice was in remarkably good shape, alternating between gritty power and warmer, melodic phrasing. Band members Dean Roland on rhythm guitar, Will Turpin on bass, Johnny Rabb on drums and lead guitarist Jesse Triplett were crisp; solos were restrained but effective, serving the songs rather than showing off.

Five songs in,“Shine” landed like a homecoming anthem, full-throated and stadium-sized even in the theater’s cozy acoustics. Newer material sat comfortably beside the classics. The mid-set slowed to a reflective stretch – a couple of lesser-known album cuts and an acoustic-leaning moment gave the room a softer, more intimate feel before the band ramped back up. The rhythm section locked in tightly throughout; the low end was punchy without ever muddying the mix.

Sound at the Basie that night was clean and well-balanced. Vocals cut through clearly, and the guitars retained a satisfying bite without overwhelming the stage. Lighting was tasteful rather than flashy, using warm washes and occasional strobes to accentuate climactic moments – appropriate for a band whose songs often build from simmer to release.

The audience seemed to mostly consist of longtime fans who knew every lyric but was also mixed with attendees who seem to have been drawn to the singles that still get airplay. Sing-alongs were constant and enthusiastic, especially on the big hits. The Basie’s acoustics and sightlines made the crowd feel engaged without ever getting chaotic — it was a communal, celebratory vibe with fans filling into the isles and dancing.

New Jersey is known for their world-famous rocker residents and whenever you see live music here, especially at the Jersey Shore (Red Bank, Asbury Park, etc.), you never know who might pop by.  So a nice surprise and a highlight of the evening was when David Byan (of Bon Jovi fame) was introduced by Roland and came on stage and joined on keyboards to “December”. “Shine” and “December” were high points, eliciting the loudest responses and sing-along choruses while a quieter, acoustic passage mid-set showcased the band’s songwriting depth and gave Roland room for a storytelling moment between songs.

The encore closed with an up-tempo, rendition of “Run” and included an extended acoustic closing which was a satisfying finish that sent the crowd out buoyant and smiling.

Collective Soul’s night at the Count Basie delivered a solid, well-executed show: tight musicianship, memorable melodies, and an audience that clearly appreciated hearing the songs live. For fans of ’90s alt-rock and anyone who enjoys well-crafted, guitar-forward songs, it was a rewarding two-hour trip down familiar – and still vital – territory.

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

March 8, 2026 – Count Basie Center for the Arts, Red Bank NJ

Review by Chris Yates // Photography by Estelle Massry

On Sunday, March 8, 2026, blues-rock virtuoso Joe Bonamassa delivered a masterclass in guitar tone and musical storytelling at the Count Basie Center for the Arts, turning the historic theater into a cathedral of blues for a sold-out crowd along the Jersey Shore.

We’ve shot and reviewed Joe Bonamassa numerous times and were grateful he chose our photo (@coucouphotography) to use as the promotional material for this event. So naturally we were excited and honored to receive our photo pass and review ticket for yet another opportunity to capture one of the greatest blues/rock guitarists of all time .  

From the moment the lights dimmed and Bonamassa walked onstage—suited sharply and armed with one of his many vintage guitars—the audience knew they were in the hands of a seasoned blues craftsman. Bonamassa was backed by a very tight and polished band featuring Calvin Turner on bass, Lamar Carter on drums, Josh Smith on guitar, new-comer Lachy Doley on keys and complemented with the powerful and harmonic talents of backup singers Danielle DeAndrea & Jade MacRae.

Bonamassa opened with “Break Through”, a fiery instrumental groove that quickly showcased the signature mix of precision and emotion that has made him one of modern blues’ most respected guitarists. Along with “Break Through”, Bonamassa showcased a lot of newer material earlier in the set which blended seamlessly with classic blues covers and some fan favorites. Bonamassa’s playing moved effortlessly between scorching solos and restrained, soulful phrasing. Each guitar change—of which there were many throughout the night—brought subtle tonal shifts, from biting Chicago-style blues to thick, overdriven British blues-rock.

Highlights of the evening included a slow-burning rendition of “Twenty-Four Hour Blues,” where Bonamassa stretched the song into an extended jam filled with expressive bends and fluid runs. Another standout was the gritty “ Drive Past The Exit Sign” which drew cheers from the crowd as the band locked into a deep groove. Songs like these demonstrated his deep respect for blues history while still feeling fresh and electrifying.

The atmosphere inside the Basie Center was intimate and the setting allowed fans to fully appreciate the nuance of his playing. The historic theater—originally opened in 1926 and later renamed in honor of jazz legendCount Basie—provided excellent acoustics, making every note ring clearly throughout the room.

The crowd, a mix of old and some young were on their feet in applause at the end of every song and dancing in the isles during the soulful shuffles and funk-tinged rhythms. One of the most striking observations of the night was Joe Bonamassa’s rare ability to get an older theater crowd out of their seats and dancing—no small feat for a seated venue like the Count Basie Center for the Arts. Blues shows often attract devoted listeners who prefer to sit back and absorb the music, but Bonamassa’s groove-heavy arrangements and dynamic stage presence slowly transformed the room from a quiet listening environment into something closer to a roadhouse party.

Bonamassa’s band was equally impressive. Doley on keys added punch and soul, particularly on the funk-tinged numbers, while the rhythm section provided a solid foundation that allowed Bonamassa to stretch out during improvisational passages. The chemistry onstage felt effortless, the mark of musicians who have spent countless nights touring together.

Midway through the show, Bonamassa addressed the audience with his characteristic dry humor, thanking the Red Bank crowd and reminiscing about his long touring history in New Jersey and particularly at the Count Basie Theater having opened for B.B. King there in his more formative years. The crowd responded with enthusiastic applause, clearly aware they were witnessing a guitarist at the peak of his powers.

As the set moved toward its finale, Bonamassa leaned into heavier blues-rock territory with extended solos that brought the audience to its feet. The encore delivered one final surge of energy, closing the night the with famed “Sloe Gin” showcasing a triumphant blend of soulful blues and soaring guitar work.

By the time the house lights came up, it was clear that Bonamassa had delivered exactly what his fans came for: an evening of world-class musicianship rooted in the traditions of the blues but performed with modern power and precision. For the crowd gathered in Red Bank, it wasn’t just a concert—it was a reminder that the blues are alive, evolving, and capable of filling a theater with electricity.

Joe Bonamassa’s ability to connect across generations is one of the defining aspects of his live performances. While many in the crowd grew up on classic blues and rock, his blend of vintage tone, modern production, and high-energy arrangements kept the show from feeling like a nostalgia act. Instead, the performance felt alive and communal—less like a formal theater concert and more like a shared celebration of blues music.

If Sunday night proved anything, it’s that Joe Bonamassa remains one of the most formidable live guitarists of his generation—and the historic stage of the Count Basie Center for the Arts was the perfect place to witness it.

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

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

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