concertreview

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

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

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

Def Leppard

Concert Reviews

June 28, 2025 – Borgata Hotel & Casino, Atlantic City NJ

Review by Chris Yates // Photography by Estelle Massry

The Borgata Hotel & Casino was “the spot” for Def Leppard’s return.  It’s been 11 years since their last visit to AC and the NJ & PA fans came out in droves. Their enduring popularity and continued success are a testament to their music and the dedication of their fans. Def Leppard fans are known for selling out concerts, often traveling far distances to see them perform, and sharing their experiences.

I arrived early and had the opportunity to speak to a number of fans. Many seemed historians of the famed group with one of them telling me it was their 18th time seeing them live! I loved hearing of their concert experiences, hearing them discuss their favorite songs and albums and witnessing the sea of tees which seemed to have taken over the entire casino on this night. Not only were there fans from when Def Leppard’s popularity surged in the 80s, but the band has also attracted a significant younger audience which was also apparent on this evening. 

Their stage presence and vocals haven’t lost a note, skipped beat or move as I felt I was listening to them from my vinyl collection from back in the day! Def Leppard is one of only five rock bands to have achieved Diamond status (selling 10 million copies) for two original studio albums in the US and their fanbase is proof as to how that milestone was achieved.  It was an epic night of Rock & Roll!

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

Setlist

  1. Rock! Rock! (Till You Drop)
  2. Rocket
  3. Let’s Get Rocked
  4. Foolin’
  5. Armageddon It
  6. Animal
  7. Love Bites
  8. Just Like ’73
  9. Let It Go
  10. Die Hard the Hunter
  11. This Guitar
  12. Two Steps Behind
  13. Bringin’ On the Heartbreak
  14. Switch 625
  15. Rock of Ages
  16. Photograph
  17. Hysteria (Encore)
  18. Pour Some Sugar on Me (Encore)

The Weeknd

Concert Reviews

June 6, 2025 – MetLife Stadium, East Rutherford NJ

Review & Photography by Estelle Massry

The Weeknd made MetLife his home for 3 nights straight on his current tour, After Hours Til Dawn. This isn’t a typical tour—it’s an immersive experience that blends dystopian imagery, futuristic staging, and a carefully crafted narrative voyage through his music. It showcases his evolution from underground enigma to global pop icon.

Opening sets by Mike Dean (powerhouse American record producer, audio engineer, and multi-instrumentalist) and Playboi Carti (rapper and trendsetting figure in modern hip-hop), laid the perfect groundwork, serving up high-energy beats to hype us before Abel took control. Playboi Carti also joined The Weeknd for “Timeless” & “Rather Lie” mid set which had fans lose control.

From the moment the house lights dropped at MetLife Stadium, The Weeknd transported over 80,000 fans into his cinematic universe. Abel made a very haunting entrance as he emerged with a futuristic mask and black cape surrounded by a circle of figures covered up in red drapes. Opening with “The Abyss” and “Wake Me Up,” Abel immediately plunged the audience into the atmospheric world of Hurry Up Tomorrow. Abel emerged from the abandoned cityscape set design, instantly sinking us into his apocalyptic vision—a perfect blend of After Hours and Dawn FM aesthetics. His voice filled the stadium with crystalline precision, proving that even at this scale, his vocals alone can captivate.

Abel jumped right in and started the epic night with his iconic hits “After Hours”, “Starboy”, “Heartless”, and “Faith“. Tracks like “The Hills”, “Can’t Feel My Face,” and “Blinding Lights” turned into rallying cries as thousands sang along in unison. Songs like “Kiss Land”, “Often”, and “I Was Never There” delivered powerful nostalgia, satisfying long‑time fans. The energy soared when synchronized LED wristbands lit up the crowd , pulsating with every beat and changing colors throughout the night.

The stage’s dramatic lighting—deep reds, stark backlights, and billowing fog—created silhouettes that, when timed perfectly, turned Abel into a mythic figure towering in front of an eighty-thousand‑strong backdrop. The full-stadium runway was quite impressive and Abel made it a point to own every corner of it to ensure the massive venue felt intimately connected. There were massive LED backdrops, pyrotechnics, and a stage design that resembled a post-apocalyptic city, The Weeknd created a world his fans can fully step into. Each performance is a visual and emotional journey, proving his artistry extends far beyond the studio.

This setlist was an expertly crafted flow—blending new and old, darkness and light, intimacy and spectacle. Each transition felt intentional, every highlight purposeful. From opener to closer, it was an unforgettable three‑hour ride through The Weeknd’s evolving sonic universe—captivating, cohesive, and emotionally resonant. A flawless fusion of storytelling, sound, and spectacle. dramatic lighting & emotional peaks.

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

Disturbed

Concert Reviews

April 2nd, 2025 – Wells Fargo Center, Philadelphia PA

Review & Photography by Estelle Massry

On April 2nd, 2025, Disturbed electrified the Wells Fargo Center in Philadelphia with a performance that was as much a celebration of their legacy as it was a testament to their enduring mastery in the heavy metal arena. The concert, part of their “The Sickness 25th Anniversary Tour,” featured a two-set format: a full rendition of their seminal debut album, The Sickness, with a 20 minute brief intermission followed by a selection of 8 of their greatest hits.​

To start the night was San Antonio based band Nothing More, fronted by Jonny Hawkins who transitioned from drummer to lead vocalist in 2008. Jonny performing shirtless and barefoot has becoming a hallmark of Nothing More’s live shows and they are renowned for their emotionally charged performances and innovative stagecraft. The band’s set featured tracks from their latest album, Carnal, including the emotionally resonant “Angel Song,” a collaboration with Disturbed’s David Draiman. This song, which has soared into the Top 10 on Active Rock radio charts, exemplifies Nothing More’s ability to blend heavy rock elements with profound lyrical themes.

Daughtry delivered a powerful opening set, delivering a performance that showcased frontman Chris Daughtry’s evolution from American Idol finalist to a commanding rock presence. His set was a compelling blend of vulnerability and intensity, reflecting the personal growth evident in the band’s recent EP, Shock to the System (Part One).​ The band’s sound has matured as well as Chris’s physical transformation, embracing a heavier, more introspective tone that resonated deeply with the audience. This “renewal” is a testament to Daughtry’s willingness to confront personal hardships and channel them into their music, creating a raw and authentic experience for fans.

Now it was time for Disturbed and it was only fitting to commence with a dramatic entrance: frontman David Draiman was wheeled onto the stage Hannibal Lecter-style, restrained in a straitjacket and face mask, setting a dark and intense tone for the evening. The stage was adorned with heavy metal scaffolding and dynamic lighting, creating an industrial atmosphere that complemented the band’s aggressive sound. The energy in the arena was palpable as the band delivered a powerful performance, celebrating 25 years of their groundbreaking debut album.​

Throughout the performance, pyrotechnics and special effects were employed strategically to amplify the energy of the music. During “Meaning of Life,” Draiman was theatrically strapped to an electric chair, simulating electrocution, which added a dramatic flair to the set.  The band’s mascot, “The Guy,” loomed behind the drum riser, contributing to the visual spectacle.​

The concert began with a full performance of The Sickness, transporting fans back to the early 2000s. Hearing tracks like “Stupify” and “Down With The Sickness” live reignited the raw intensity that first drew me to their music. I also loved their Tears for Fears cover of “Shout”, Draiman’s voice makes any song his own and always delivers. The second half of the show featured a selection of their greatest hits, including “Bad Man”, “Indestructible”, “Ten Thousand Fists” and “Inside the Fire.” A standout moment was their haunting rendition of “The Sound of Silence,” and when I say haunting I mean it in every sense of the word. Who else can command complete silence from their fans during a sold out show?

Frontman David Draiman’s supreme presence was evident from the outset. His vocal delivery, ranging from guttural growls to melodic passages, showcased his versatility and kept the audience engaged throughout the night. Guitarist Dan Donegan and bassist John Moyer didn’t skip a beat with their synchronized high jumps in the air with their guitars while drummer Mike Wengren’s energy never stopped and intensified as the show went on.

Disturbed’s enduring appeal and their ability to connect with fans across generations is evident at each show. I have been fortunate to photograph them for a few years and there has been no sign of slowing down and they only get better with each year, they really are unstoppable!

For more info please visit http://www.disturbed1.com http://www.daughtryofficial.com http://www.nothingmore.net

Jerry Cantrell

Concert Reviews

February 1st, 2025 – Starland Ballroom, Sayreville NJ

Review & Photography by Estelle Massry

The parking lot was already full prior to doors opening at Starland Ballroom on a very cold winter night in NJ. Guitar legend, Jerry Cantrell has embarked on his 2025 solo “I want Blood” North American tour in support of his latest album by the same name. This was his second show on the tour so fans were in high anticipation on what was to come.

The night kicked off with a dynamic performance by American rock band Filter. Richard Patrick, former Nine Inch Nails guitarist, brought intense vocals as he performed hit single “Hey Man Nice Shot”. They sounded great but the stage was very dark so it took away from fully being able to engage with the audience. They ended on a brighter side with “Take a Picture,” as fans sang along.

Jerry Cantrell and his band took the stage shortly after. The venue was completely packed, nobody was going anywhere for the next 2 hours and 15 minutes as Cantrell and his band set off to perform a 17-song set list. Throughout the set, Cantrell masterfully wove together tracks from his solo projects and Alice in Chains classics including “Them Bones”, “Down in a Hole” and “Would?”.

Fans were in for a treat when Cantrell and backing vocalist Greg Puciato performed “Hate to Feel”, a classic that has not been performed live in more than three decades. The last time Alice In Chains themselves played it to a crowd was November 4, 1993 in Sydney, Australia.

The band accompanying Cantrell played a crucial role in bringing the songs to life. Zach Throne on guitar, Eliot Lorango on Bass and Roy Mayorga on drums provided a solid foundation, allowing Cantrell’s guitar and vocals to shine. The chemistry among the musicians was evident, contributing to the show’s dynamic energy.

With any rock show, new venue or the start of a tour, there can be obstacles and “hiccups in the road”. This one in particular has fans a bit irate for the beginning part of the show as there was obvious sound issues. After each song, fans shouted “Fix the mic” in hopes to get the problem fixed. It took some time for Cantrell and his crew to realize what was going on but problem was taken care of and fans were grateful that they could enjoy Cantrell’s vocals for the rest of the show.

The evening culminated with an encore featuring “Rooster,” leaving the crowd in a state of euphoria. The energy in the room was electric, a testament to Cantrell’s enduring impact on the rock scene.

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

Daughtry

Concert Reviews

December 10, 2024 – Starland Ballroom, Sayreville NJ

Review & Photography by Estelle Massry

Chris Daughtry, a name synonymous with powerful vocals and heartfelt lyrics, has carved an enduring legacy in the rock music scene. Rising to fame as a finalist on the fifth season of American Idol in 2006, Daughtry’s talent and authenticity immediately set him apart.

As a longtime fan of Chris Daughtry, seeing him perform live at Starland Ballroom during his short Adrenaline Gone Ballistic Tour was nothing short of magical. From the moment the lights dimmed, and the band took the stage, you could feel the energy pulsing through the intimate venue.

Chris’s voice was absolutely phenomenal—raw, powerful, and filled with emotion. Whether he was belting out rock anthems or softening things up for the ballads, every note hit right in the heart and drew everyone in. As someone who’s followed Daughtry’s journey, hearing classics like “Home” and “Over You” was pure nostalgia. But what really stood out was how seamlessly the newer tracks, like those from his latest album Dearly Beloved, fit into the setlist. Songs like “Heavy Is the Crown” brought an edgier vibe that had everyone rocking out.

The band was tight and were full of energy that radiated throughout. This very intimate venue was honestly too small for Daughtry but the fans crammed in and took in all the love that Chris was giving out. Chris Daughtry doesn’t just perform; he connects. This show was everything I hoped for and more. The final stop of this short tour will be at the EPIC Event Center in Green Bay on December 21. Don’t miss out!

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

Setlist

  1. The Reckoning
  2. Changes Are Coming
  3. World on Fire
  4. Crashed / Kashmir
  5. Separate Ways
  6. Home
  7. Change
  8. Shock to the System
  9. It’s Not Over
  10. Nervous
  11. Pieces
  12. Over You
  13. The Dam (Encore)
  14. Heavy Is the Crown (Encore)
  15. Happy Birthday to you (for Marty O’Brien)
  16. Artificial (Encore)