Chicago really got a real treat as they kicked off the weekend this past Friday night with a double dose of legendary metalcore. Poison The Well and Converged stormed the city alongside Spy and Balmora packing Concord Music Hall to the very back of the venue.

Kicking off the evening was hot act Balmora. With their debut LP dropping next month and a slight lineup change the band was firing on all cylinders with their brand of hardcore infused metalcore. On the heavier side of both genres they kicked off pits letting the energy get going.

The odd band of the night was up next with Spy. Fast songs and all punk they whipped through a set fighting some mic issues along the way. It was a session in just sheer unrelenting aggression as the band showed why they’ve been making a name for themselves in the scene.

It was time though for the band that needs no introduction. Looked at as one of the pioneers of the scene and a band who has continued on for 36 years now never losing a step, Converge gave a masterclass in metalcore.

With no downtime really between their set, no talking, introductions, or anything of the sort the band blew through their set mixed with songs from both of their new albums this year as well as genre classics. Age has shown no sign of slowing Converge down but seemingly only improving them.

Closing out the night through was recently reformed Poison The Well. Going from broken up, to random years of reunion shows, to now fully back as a full time band the metalcore icons have seen their fan base reform massively. This tour even sees the band supporting ‘Peace In Place’, the bands first full length record in 17 years.

Kicking off with Botchla the crowd was every bit energetic singing the words to these classics. Blasting through a roughly one hour 15 song set that played heavily from their two classic albums mixed with some newer songs and more the band has shown their full return is here to stay. The band was visibly happy on stage getting the energy back from fans old and new that are happy to see Poison The Well in 2026.

Balmora :

Spy :

Converge :

Poison The Well :

Max Styler took the stage on March 7th at Radius Chicago. It was fitting for the birthplace of house music to welcome an artist like Max to town, delivering an open-to-close set and blessing the audience with a consistent rhythm throughout the entire night. As the evening kicked off, fans flooded into the venue one after another. The night began with a loose, laid-back tone—perfect energy to tease what was still to come.

About every 30 minutes into the show, you could feel the energy building—not just from the crowd, but from the music itself. As the night progressed, the bass seemed to hit harder and harder. Before long, the sea of people that had formed on the dance floor was moving in unison, dancing to the pulse of the music.

As the sound intensified, so did the production. Radius really showcased all the bells and whistles during the peak moments of the show, with smoke machines, lighting, and lasers fully in effect.

When the first wave of lasers lit up the room, a roar erupted from the crowd, and from that moment on the expectations for the night were clearly met. Max’s music selection and flawless weaving from one track to the next kept the momentum going from start to finish. Fans looking for a classic night of house music were treated to an exceptional experience—one that many will likely be romanticizing for a long time.

Ed Sheeran mania had officially taken over Australia for the past month, with 3-4 stadium shows being played at each major city on his Loop Tour. It was a long time coming, but it was finally Melbourne’s turn. It was night two at Marvel Stadium, and unlike the beautiful evening the night one crowd experienced, this show was hot, humid and threatening thunderstorms. The roof was closed, trapping the heat inside, and we were about to feel every bit of it.

As we waited, the pink Loop Tour backdrop lit up the stage, complete with a QR code for fans to request songs for the setlist. I may have put my vote in, but you’ll see how that turned out. The venue was packed from the seats to the floor, with concert goers keen to brave getting as close to the stage as possible, all crammed together. The GA was split down the middle by barricades stretching toward a B-stage, and every inch of the stadium felt full. When the lights dimmed, an intro video played, telling Ed’s story, from busking on the streets to selling out huge stadiums. He explained the most important part of his performance, something that is unique to his shows, his loop pedal, which meant everything we’d hear tonight would be created live, right in front of us.

As the video ended, screams erupted as fans caught the first glimpse of him walking down the pit toward the B-stage. As he grabbed his guitar in hand, he started building the opening track, “You Need Me, I Don’t Need You”, layer by layer which really just set the tone for the talent we were about to witness. Midway through the song , a bridge extended from the main stage to the B-stage, and he sprinted across it before launching into his rapid-fire rap verse. Next up was “Sapphire”, as he was lit by a beautiful blue backdrop and fireworks exploded as the chorus hit, taking the crowd by surprise. 

The heat inside the stadium was intense. Those of us in the seats were struggling, let alone the fans packed into the pit, and Ed himself, who didn’t even seem phased. However, I was thinking even a thunderstorm would have been welcome.

As the bridge rolled back out to the B-stage, it was time for the fan-voted songs. First came “Grade 8,” a deep cut from his debut album, even after years, I still remembered every word. Then came the moment I, and clearly many others, had hoped for, “Tenerife Sea” and it was somehow even more beautiful live. That was followed by “Visiting Hours,” an emotional tribute to Michael Gudinski, whose early support helped shape Ed’s Australian journey. “Give Me Love” had the entire stadium singing before he returned to the main stage and brought out Beoga, a band he had worked with for a couple of songs, and then launched into “Galway Girl.” It’s genuinely impossible to be in a bad mood at an Ed Sheeran concert, especially when that song starts, everyone is on their feet singing along.

Throughout the night, he constantly involved the crowd, calling for singalongs, clapping and arms swaying side to side and the fans were completely engaged in every second of it. An unforgettable moment during “Celestial,” when 60,000 people jumped in unison. He shared how the song, surprisingly to him, became a huge crowd moment in Europe, but didn’t quite land the same way back home in the UK. Melbourne understood the assignment and we hope we did him proud.

There was also a mashup of songs he’s written for other artists, including “Cold Water,” “Love Yourself,” and “Little Things,” reminding everyone of how many hits he is behind. “Thinking Out Loud” and “Perfect” were introduced with him explaining that these will always be on the setlist as he’s seen firsthand how much they matter to people, not by listening stats, but by how they’ve soundtracked many people’s biggest moments in life.

Returning to the main stage, he powered through “Symmetry,” “Bloodstream,” and “Afterglow.” He then ran off as if the night was over, leaving the crowd waiting, wondering if this was it, only to reappear moments later, having swapped his sweat-soaked shirt for his own pink Loop Tour football jersey, which honestly, was great advertising. With three songs left for the encore, there was no way we were leaving without “Shape of You” and an energetic performance of “Azizam.” He closed the night with a fiery performance of “Bad Habits,” complete with full-scale pyro and one final explosive burst of fireworks, sending the crowd home on an absolute high.

It takes incredible skill for one person to hold the attention of 60,000 people alone. No band to lean on, no backing track as a safety net,  just him, his guitar, and a loop pedal. I found myself pausing quite often to look around at the sea of people, with Ed a tiny figure on a massive stage, yet he was completely in control and it was captivating to watch. Compared to seeing him in New Zealand years ago, just him, a guitar, and basic graphics, this felt like a huge leap, the production is bigger now, but he’s not hiding behind it, he’s allowing it to elevate what he already does so well and completely owns the stage. Ed Sheeran really does come across as someone who is  genuinely down-to-earth, showing his fun, cheeky side on stage, while also happening to be one of the biggest artists in the world. It was one of those shows where you could completely immerse yourself, with so much happening at every moment. With a two and a half-hour set, twenty-nine songs, and a production to that scale, he truly gave the crowd more than they could have hoped for.

The Alienation Tour is one that came up on my radar last minute, but I’m glad it did. One-X was one of the first albums I had on CD that introduced me to a catalog of 2000s rock that we all know and love. Three Days Grace is one of those staples you can’t deny as a pillar of what rock music was in the early 2000s. I was excited to see how they’ve aged, and how they hold up with newer bands like I Prevail and The Funeral Portrait.

The Funeral Portrait came out with a sound that said “we’re here and we’re serious.” Tracks like “Suffocate City” and “Stay Weird” really showed their personable nature and effort to connect with the fans. Lee Jennings sounded great and shows his experience and drive as a frontman in every song. You can tell the guys in the band really do get along and that makes the show that much better. They also worked in songs like “Blood Mother” and “Generation Psycho,” keeping the energy consistent. They’re one of the more promising newer bands in the scene and I’m glad I caught them on this tour.

By the time I Prevail hit, the energy had shifted. This was almost a hometown show for them, with members having cut their teeth in Grand Rapids or across Michigan, making it that much more engaging for them to be direct support on an arena tour. Their set leaned into the heavier end of their catalog with songs like “Bow Down,” “Self-Destruction,” “Violent Nature,” “Into Hell,” and “Bad Things.” They also ran through “Hurricane” and “Gasoline,” which kept the arena moving. What was noticeable was how they handled the post-lead-singer era, seemingly coming out stronger than ever. Dylan’s clean vocals on songs that used to sound one way now have this rawness live. The cover of Metallica’s “Sad but True” was a great addition and they killed it. These guys aren’t slowing down any time soon.

Three Days Grace connected new and old fans. Singer Adam Gontier looked energetic and ready after joining the band again in 2024. The dynamic between him and co-vocalist Matt Walst is great and something that feels rare in heavier music. These two did each other justice and sounded great, adding layers to older songs that couldn’t be done with just one vocalist. They ran through staples like “Animal I Have Become,” “Break,” and “I Hate Everything About You,” along with “Pain” and “Never Too Late.” They also pulled a few tracks from their new album Alienation into the set, and those songs didn’t feel out of place next to the classics. To see this band still packing arenas and embracing a new dynamic makes me excited to see what they do in the future.

Their new album Alienation, featuring both Adam Gontier and Matt Walst as vocalists, is out now.

There are nights when a town doesn’t just host a concert — it keeps vigil.

On January 29, 2026, Wheeling, West Virginia did exactly that. Under a cold winter sky and beneath a marquee that has watched nearly a century of comings and goings, the city gathered at the foot of the Ohio River for something special.

They came for a singer they grew up with.

They stayed for a moment they didn’t expect.

They left changed in ways you don’t always get to name.

This was the opening night of Jo Dee Messina’s 2026 tour, the first step of a year that promises new music, old truths, and a voice that has never pretended to be anything other than what it is: brave, imperfect, and still standing.

On this night, there was no easing in — 

Jo Dee Messina did not warm up the room.

She lit it on fire.

Opening with “My Give a Damn’s Busted,” she stepped into the night with a grin that said she knew exactly who she was and why she was there. 

The band was tight, seasoned, and confident without being showy. Jo Dee commanded the stage the way artists do when they no longer need to prove anything. She sang like someone who has lived long enough to understand that joy doesn’t cancel pain — it walks beside it.

After the second song, she stopped.

Not for banter. Not for applause.

For honesty.

She told the audience that earlier that day, during soundcheck, a member of the local crew had fallen seriously ill. Sick enough that an ambulance had been called and the person had been taken to the hospital.

Opening night. New tour. No rehearsed way to explain it.

So Jo Dee did what people raised in faith, community, and hard roads still do.

She asked the crowd to pray with her.

Right there. Out loud. Together.

She bowed her head on that historic stage and began to pray — not polished, not cautious, not composed. Halfway through, her voice broke. Tears came. She didn’t hide them. She didn’t apologize.

And the Capitol Theatre went silent.

Not the respectful quiet of an audience waiting. The deep, collective stillness of people choosing reverence.

Thousands of strangers breathing together. No phones raised. No shuffling. Just presence.

When she finished and said amen, the room answered back — one voice, sure and unified:

Amen.

It was not loud.

It was not performative.

It was real.

And in that instant, the concert crossed a line — from entertainment into something sacred.

From that point forward, everything carried more weight.

The hits still came. The laughter still rose. But the room had changed. Something invisible had been placed between the stage and the seats — a shared understanding that this night was about more than music

When Jo Dee sang “You’re Not in Kansas Anymore,” it felt like a wink and a warning — a reminder that growth often comes with leaving comfort behind. The crowd sang every word, not out of habit, but out of memory.

“Downtime” followed like a deep breath — a working-class anthem disguised as a smile. In Wheeling, that song doesn’t feel theoretical. It feels earned.

As the night unfolded, a gospel undercurrent began to reveal itself — not loudly, not insistently, but faithfully.

Jo Dee introduced several new songs from her forthcoming album Some Bridges, due later this year. These songs didn’t sound like they were chasing radio or trends. They sounded like they were written in the quiet hours — when faith becomes personal instead of performative.

One of the most striking moments came with “If He Knew Jesus.” It wasn’t a sermon. It was a question. A song rooted in grace, curiosity, and compassion — the kind of faith that wonders instead of condemns.

In the Capitol, the audience leaned forward. These weren’t lyrics they already knew. They listened like people being trusted with something fragile.

The gospel note tied seamlessly back to the prayer earlier in the night. Concern. Faith. Release. 

Lest anyone mistake the night for solemn, Jo Dee made sure joy had its say. Her sing-along rock medley turned the velvet-lined theatre into a bar. Suddenly the aisles felt shorter, the years felt lighter, and strangers sang together like they’d known each other forever.

This wasn’t a gimmick. It was hospitality.

Jo Dee understands something crucial: faith doesn’t cancel fun. It deepens it.

What made this opening night special wasn’t just the setlist — it was the stance.

Jo Dee Messina isn’t chasing the past. She’s standing firmly inside it, honoring it, and walking forward with the same voice — just seasoned by time.

She sang the hits like they still mattered because they do. Not as artifacts, but as companions. These songs didn’t raise a generation — they walked with one.

This wasn’t just the opening night of a tour.

It was a reminder of what country music can still be when it tells the truth: a place where faith is lived, not sold. Where joy and sorrow share the same stage. Where a voice that once sang you through youth can still guide you home.

And on a winter night in Wheeling, Jo Dee Messina didn’t just sing.

She led.

House of Blues

Boston, MA

Saturday January 17th, 2026

State Champs celebrated ten years of “Around the World and Back” on a cold, windy night in Boston. Accompanied by Broadside, Real Friends, and Cartel, the New York based pop punk pioneers brought the energy. The crowd, myself included, was eager to hear songs that had not been played live in years.

Broadside started the show off strong, playing through their catalog that spans over a decade long. Playing classics like “Coffee Talk” and newer tracks off their upcoming album “Nowhere, At Last,” there was something for everyone. 

Real Friends were up next. I was especially excited for this band as I listened to them a lot back in high school. They still bring the same energy they did ten years ago. Along with their old school tracks like “I’ve Given Up On You,” their new stuff goes hard too; “Waiting Room” off of their newest record “Blue Hour” was a highlight in the setlist. Their lead singer Cody jumped into the crowd for multiple songs which pumped the fans up even more. 

Cartel played their hearts out and had the crowd jumping throughout their set. With their immense energy, you never would have known this band released their first album back in 2005. Playing classics like “Say Anything (Else)” and “Honestly,” they gave the fans exactly what they wanted.

The time had come. State Champs took the stage and the crowd erupted. They played “Around the World and Back” in full for the first time ever. It was crazy to see the deep cuts played live, along with staples like “Secrets” and “All You Are Is History.” My personal favorites were toward the end of their first set. I never thought I’d hear “Tooth and Nail” and “Slow Burn” live. After playing the record in full, they played eight more hits right after, including fan favorites like “Common Sense” and “Elevated.” The band played for close to an hour and half and put on the performance of a lifetime for this Boston crowd. Fans could be spotted moshing, crowd surfing, and jumping around as the band played hit after hit. 

All of the bands on the ticket put on one heck of a show. It was a great night to listen to pop punk in New England.