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TABLE OF CONTENTS HIGHWIRE DAZE Publisher Highwire Daze Magazine A General Partnership
SKETCHES BY THE EDITOR................................................... 6
Editor Ken Morton
INTERVIEWS with... Phil Collen of Def Leppard and Man Raze.............8 Steve Kilbey of The Church..................................12 Kim Theory............................................................22 Whole Lotta Rosies................................................24 Black Sabbatha......................................................28 We Are The Black Things......................................38
Managing Editor Danny S. Pasley Associate Editor/ Senior Photographer Jack Lue Associate Editor Scott Waters Contributing Editor Karyn Burleigh
KIM THEORY POSTER by JACK LUE.............................20/21
Contributors Ken Morton Jack Lue Scott Waters Karyn Burleigh Joaquin Waters Vivian Ortega Raquel Figlo
CONCERT REVIEWS Milwaukee Metal Fest 2026..................................16 Melt Mars at The Smell.........................................30 Echo Spine at The Whisky.....................................32 Black Star Sinners at The Whisky.........................34 Circle The Earth, Babes Against The Machine, Patience Victoria for She Rocks Fest at The Viper Room....................................................36 Jacobious Lovebone (aka Scissorkiss) and Heartvalve at The Viper Room..............................37
Cover Art by Scott Waters Cover Photos by Def Leppard Kim Theory by Jack Lue Ministry at Milwaukee Metal Fest Steve Kilbey of The Church by Scott Waters
NEW COLUMN BY PUBLICIST RAQUEL FIGLO...............33
In Memory Jonathan D. Wright Judith Scott Brent Boyer Sherri McKenzie HIGHWIRE DAZE www.highwiredaze.com email: ken@highwiredaze.com Copyright 2026 Highwire Daze Magazine Opinions expressed within this publication do not neccessarily reflect those of the publisher. All rights reserved. Nothing may be produced in whole or in part without the express and written permission of the publisher.
Supporting Noise Pollution Since 1990!
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July/August 2026
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Sketches By The Editor October 1990 — before a single issue of Highwire Daze had ever been printed — Steve Kilbey of The Church and Donnette Thayer of Game Theory agreed to meet me at The Roosevelt Hotel for my first interview, discussing their Hex project. Steve and I have done several interviews since, but that one was truly special. Thirty‑six years later, Steve and I would meet once again at the scene of the crime — The Roosevelt Hotel — to revisit his iconic career in music. I sincerely thank Steve for all his support of Highwire Daze throughout the years, and for this wonderful new interview. And thanks to the amazing Rey Rolden for making it happen. Another interview I had been seeking for quite a few years was with Phil Collen from the legendary Def Leppard. Phil was promoting the re‑release of his Man Raze project and Zoomed in from Germany to discuss the many highlights of an epic career in music. Lock, Stock & Barrel, a massive ar‑ chive of Man Raze recordings, is now available via Cherry Red Records.
Editor Ken and Steve Kilbey of The Church
As I write this column, I’ve just returned from a crazy weekend at the Vans Warped Tour in Long Beach, where I had the opportunity to interview Acceptance, The Devil Wears Prada, Mike Davenport of The Ataris, Lower Definition, South Arcade, Good Sleepy, Whispers, and Miles Elze from grandson. Lower Definition and I go all the way back to the Cobalt Café days. And how exciting it’s been to witness Miles Elze’s journey from his TemperMental beginnings to now touring the world with grandson. Watch for these interviews on our website — and complete Vans Warped Tour coverage in the very next issue of Highwire Daze magazine.
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Def Leppard’s Phil Collen Reopens the Man Raze Vault —
Lock, Stock & Barrel
Interview by Ken Morton- Phots by Jack Lue Phil Collen has spent four decades electrifying stadiums with Def Leppard, but his creative fire has always burned far beyond the arenas. Man Raze — his genre‑bending trio with Simon Laffy and Paul Cook — remains one of his most personal and adventurous outlets. With Cherry Red Records releasing Lock, Stock & Barrel, a massive archive of Man Raze recordings, Phil reflects on the band’s origins, the magic of the three‑piece format, and the emotional crossroads that sparked it all. From dub‑infused rock to punk‑funk hybrids, Phil shares the stories behind the music, the memories, and the relentless work ethic that keeps him pushing forward. We’re here with Phil Collen from Def Leppard — but today, we’re not talking about Def Leppard. We’re diving into Man Raze. First off, how did the Lock, Stock & Barrel compilation on Cherry Red Records come about? We had so much material. We started recording this stuff 8
twenty years ago, and a lot of it never really got any love. I honestly forgot how the idea first came up, but I think it was Steve Hammond — he works with Def Leppard at Universal — who said, “You should get in touch with Cherry Red. Maybe they’d want to do a box set of all your stuff.” So we went through everything: different versions, live recordings, demos, unreleased tracks, remixes. We had a plethora — about five albums’ worth of material, including the two original albums. It was shocking how much we had. Some of it wasn’t finished or didn’t sound great, so we left that off, but the rest was amazing: demos, unreleased songs, instrumentals, deep dub versions, remixes… the whole shebang. That’s why Lock, Stock & Barrel is the perfect title — it really is everything. Let’s go back to 2004. You were already busy with Def Leppard, between X and Yeah! What made you decide to start Man Raze at that point in your career? July/August 2026
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It was more about that point in my life. My dad got terminally ill — pancreatic cancer — and they gave him two months to live. I dropped everything and went to London to be with him. Simon Laffy, my longtime friend and bass player from Girl, would come over and hang out with us. He knew my dad too. We started writing songs during that time. On one of the tracks, I said, “Wow, this would be great if Paul Cook played drums on it.” We’d both known Paul for years — we’re all from London — and of course he’s famously from the Sex Pistols. Two days later, I literally ran into Paul on the street while he was getting into his car. I hadn’t seen him in years. I said, “We were just talking about you — would you want to play on this track?” And he said, “Yeah!” So we went to this little demo/rehearsal room on Harrow Road in North London and started playing. It was magical from the get‑go. I’d never really experienced being in a true three‑piece band where I was the singer. You can just go off on a tangent — very much like the Jimi Hendrix Experience, The Police, Rush… all those classic three‑piece bands. There’s something liberating about it that you don’t get when there’s more structure. In Def Leppard, for example, we have all these vocals coming in on the chorus and everyone has their parts. With a three‑piece, you get this instant freedom. We discovered that magic immediately, and from there we just kept writing, recording, and playing. Let’s talk about the records. Starting with Surreal — looking back on that first album, what do you think of it now, and where were you at that time? I love how it came out. It’s a real hybrid, and people would ask, “What bag do we put it in? What compartment?” But that’s the beautiful thing — that’s its identity. It’s so diverse. One minute it’s dub reggae, then it’s punk rock or hard rock, then suddenly there’s a pop‑style melody or vocal line. It goes all over the place. And that’s exactly how we all listened to music. If you look at anyone’s personal playlist, that’s what you see — reggae, Motown, hard rock, The Clash, whatever. It all works together. That’s what the band was. The first album captured that, and by the second album we were even more diverse — and more accepting of that diversity — which is why it sounds the way it does. And then Punk Funk Roots Rock — looking back on that album, what do you think of it now? Someone asked Paul what kind of music it was, and he said, “It’s punk, funk, roots, rock.” Perfect title. We went into all of that — one minute it’s like James Brown, then it’s something completely different. We pushed everything. We toured — did a club tour, opened for Alice Cooper, did a British tour — but we didn’t have 9
much success with it. None, really. Then we went back to the other things we were doing. It wasn’t until later that we listened back and thought, “This stuff sounds amazing.” It’s really cool and full of all these different elements. You mentioned touring with Alice Cooper. What was it like opening for him? Wonderful. We’ve played a bunch of shows with Alice over the years. I’m a huge fan. I remember seeing him at Wembley Arena in the ’70s — the Heavy Metal Kids opened, and it was the Welcome to My Nightmare tour. So getting to open for him later on was really fun. Did Man Raze ever play any shows with Def Leppard? Kind of. We both played Download Festival in 2009 — Man Raze on one night, Def Leppard on another. I remember rehearsing with Def Leppard for our show, and then the Man Raze thing came up and it was like, “Yep, let’s go.” Two July/August 2026
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separate nights, different stages, but a lot of work for me. We were based in Dublin at the time, and we’d fly over to England to play. Incredible experience. Would you like to do a third Man Raze album? Is that something you’ve discussed? We’ve already started writing songs. So yes — absolutely. Did Man Raze ever play in the Los Angeles area? And if so, how did the show go? It was amazing. I think it was 2011 — we played the Roxy on the Sunset Strip. Great show. Really fun. I’ve got two Def Leppard anniversary questions. First, the 30th anniversary of Slang. Looking back, what do you think of that album now? I love it — and we all do. It was obviously very different. Talking about diversity, Slang had a lot of that. At the time, people said it was too weird, too left‑field. But right now, I’m in Essen, Germany — we’re on tour, first show tomorrow night — and we’re actually playing “Slang.” We do an extended version. We played it in India recently, and in Vegas back in February. We changed it up, and it was incredible. And next year marks the 40th anniversary of Hysteria. When you look back on that album — forty years later — what do you think of it now? Again, love that album. It’s our most popular record. While we were making it, someone came into the studio and asked Mutt Lange, “Why do you take so long recording these songs?” And Mutt said, “So you’ll be talking about it in thirty years.” That was ten years ago — and we’re still talking about it forty years later. Hopefully we’ll celebrate the anniversary with some concerts. That would be really cool. Looking back on the two Girl albums from 1980 and 1982, what do you think of them now? I think if we’d had someone like Mutt Lange around, it would have become something else entirely. You really need that kind of presence. We were so lucky in Def Leppard to have a grown‑up in the room — someone like Mutt, and even our management at the time, Q Prime. They didn’t let anything too weird happen to us. We had the utmost respect for Mutt — as a songwriter, musician, producer, everything. We wrote all the songs with him. He’d say, “This is cool, this isn’t. This is how you write songs. This is how you sing.” He was always the best singer in the room. We learned so much from him. 10
Girl suffered because we were going it alone. We didn’t have anyone with that kind of vision to guide us or push the material forward. Would you ever consider doing another Girl album? It’s about finding the time. Man Raze was one thing, Delta Deep another. And Def Leppard is a monster — it takes up all the oxygen in the room. I’m very involved: songwriting, playing, singing, recording, touring. We tour constant‑ ly. Everyone in the band is dedicat‑ ed and driven. We love what we do, we love the music, and we love the goals of the band. We still have many things we want to achieve, and we’re all on the same page. But because of that, it takes a lot of time, energy, and effort — constantly. What’s currently going on with Delta Deep? Anything happening? We may do a gig. I’ve got a little bit of time off in September before we head out for a South American tour with Def Leppard. We’re talking about doing a show or two around the L.A. area if we can make it work. What’s next for Def Leppard? What’s going on currently? We just finished rehearsals in Essen, Germany. Tomorrow is our first gig in Sweden — the kickoff of the European tour. We’ve got about two months of that, then a little break, then South America. And we’re recording and doing new music all the time. Last question — do you have any messages for your fans who have been following your career since, gosh, 1980? Yeah. It doesn’t get any easier — we keep pushing the bar. We see a lot of bands and artists who take their foot off the gas when they get more successful. We don’t think that’s true. You have to keep working harder and harder. I’ve seen some tragic bands out there that probably shouldn’t be doing it. We sing better, play better, perform better, the production is better — everything’s better — because we keep pushing to achieve that. That’s something we learned from Mutt Lange: there’s a level of excellence you have to reach, otherwise don’t do it. And that applies to everything — going to the gym, vocal warm‑ups. Joe does at least three hours a day on show days. I do an hour to an hour and a half. Everyone in the band does the work. You’ve got to keep doing that stuff.
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Steve Kilbey: The Church, The Hotel, and The Years Between
Interview by Ken Morton - Photos by Scott Waters Thirty‑six years ago, a young Highwire Daze stepped into the Roosevelt Hotel for its very first interview — a conversation with Steve Kilbey of The Church that helped launch the magazine’s future. In 2026, fate brought us back to the same hotel, the same artist, and the same creative spark that started it all. Kilbey remains endlessly curious, poetic, mischievous, and deeply reflective, weaving stories of midnight studios, unexpected hits, and the fans who carried him through every era. What follows is a full‑circle conversation with a musician whose work has become the soundtrack of countless lives. We’re here with Steve Kilbey of The Church — in the exact same place we interviewed 36 years ago, right here at the Roosevelt Hotel. Full circle. So let’s start with the Singles Tour. How has it been going so far, and what have been some of the highlights… besides meeting RickSpringfield? Well, that was a bit of a highlight. We did the Singles Tour 12
in Australia first, and it went really well. But here’s the thing — and I know this sounds like I’m sucking up — people in America really get what we’re doing. They grok it. They feel it. Because we’re not from here and only come through once every year or two, the audiences have been incredibly warm and generous. Most venues have been about eighty percent full. We haven’t sold out yet — Solana Beach is close, but it’s a smaller venue — but the crowds have been super into it. And when the audience is like that, everything becomes easier. So yeah, so far it’s been an absolute gas. The tour is called the Singles Tour, so let’s talk about the singles — good, bad, indifferent. Metropolis came out the same year the magazine started. What does that song mean to you today? I’ve only just started saying this — only in a couple of interviews — but this is the truth: I have never tried to write a single. The Church never tried to write a single. Except Metropolis. For years, I looked down my nose at it because July/August 2026
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it didn’t come through the ether. It came through intelligence — three songwriters putting together a hit — not that magical moment of “Whoa, where did this song come from?” But people really like it. And I’ve learned to enjoy their enjoyment of it. A lot of songs I love were written that way too. Carole King in the Brill Building — someone says, “We need a psychedelic song for the Monkees,” and she writes The Porpoise Song. That’s how it works. Metropolis is our second biggest hit in America. A moderate radio hit. Not Under the Milky Way, but it had some success. Now let’s talk about Under the Milky Way. That song means so many things to so many people. They hear it and think about certain times in their lives. What does it mean to you today? It doesn’t mean anything to me — but I enjoy everything around it. I don’t know how it works. Of all the songs I’ve ever written, and of all the songs out there, that one has this thing. Dennis Leary made a movie about Boston in 1988 and used it. I saw him on a TV show and he said, “Man, if you went to a bar in Boston in 1988, that fucking song was playing everywhere.” Guys playing pool, drinking — Under the Milky Way was Boston 1988. I don’t know how it did that. I wish I did. Imagine McCartney — he’s got fifty of those songs. I’ve got one. They’re miracles. It’s a miracle to sit down with an instrument, write a song, and then it goes out and becomes part of a time, part of a scene, part of people’s lives. It’s been in movies — weddings, funerals, weird scenes, car ads, tourist ads, ads for the transcontinental train in Australia. Sia has done it. The Killers have done it. Aboriginal singers in Australia have done beautiful versions. Kids in school sing it. Choirs sing it. I’ve played it at weddings, funerals, film premieres, wakes. I played it in front of the Dalai Lama. It’s some incredible, elusive magic. The lyrics don’t mean anything, but they mean everything. The music and lyrics combine to create a doorway. Everyone who walks through it enters a different world — and they turn around and credit me. But really, it’s their memory. Their feeling. You were in the back seat of a car kissing a girl when Under the Milky Way came on the radio — and suddenly it’s all there. I didn’t have much to do with that. And think of all the songs from 1988 — most of them have disappeared, even the bigger hits. No one covers them. If they came on the radio, you’d go, “My God, listen to that — I Just Died in Your Arms Tonight.” But Under the Milky Way escaped that. When it comes on, people go, “I like this.” Everybody likes it. One more thing: some people don’t have a favorite song. 13
In Australia, if someone asks, “What’s your favorite Aussie song?” a lot of people just say Under the Milky Way. Even if they don’t listen to it much. It’s become a myth. I wish I had another twenty of those. Since we’re talking about singles, we have to talk about your favorite song — and yes, I’m being facetious — The Unguarded Moment. It’s the first time a lot of people discov‑ ered you. What does that song mean to you today? At the end of the day, people in Australia love that song more than Under the Milky Way. It’s an Aussie beer‑barn anthem. Did I want that at the time? No. But I’ll tell you this — I had two lives: the life before Unguarded Moment, and the life after. Before that song, I was a guy playing to five people. If we weren’t supporting another band, we’d play our own show and there’d be five people in the audience. Then one Sunday afternoon in 1981, we went on Countdown. We played The Unguarded Moment. Australia hadn’t seen a lot of things like us: very thin, shag haircuts, eyeliner, a sort of knowing sneer — just enough attitude without overdoing it. We were looking at the camera but not really involved. And the kids watching swallowed it hook, line, and sinker. The next show — we went from five people on Friday night to 900 people on Monday in Melbourne. Nine hundred. A girl grabbed my balls on the way to the stage. I thought, I’ve fuck‑ July/August 2026
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ing made it. After that, I never played to five people again. Even in our worst period in Australia, The Church would always have four or five hundred people. That song changed everything. When we did our first interview here in 1990, we talked about your band Hex. Have you ever thought about doing a third Hex album? I’ve got to say — I was totally smitten by Donnette Thayer. Absolutely. We had a thing going on. It was music, and it was romance, and we were flying around America to see each oth‑ er. She’d fly out to see me, I’d fly out to see her, and we were making this music together. Those days can never come back. We could never do it again. But I love those albums. They bring it all back. Some of the best times of my life. Donnette came to New York when I was living in my man‑ ager’s apartment in the middle of a freezing winter. We had access to a studio only after midnight — the engineer was al‑ lowed to use it for training purposes, and he said, “No one’s in after midnight. You can use it.” So we’d turn up at midnight. It was black outside, the snow was white, it was so cold, and we were so much in love. Making that record was forbidden — I had a girlfriend, she had a boyfriend, and we were both playing hooky. 14
It had this thing about it. You don’t often get to live a few weeks like that. You’re in New York, in this guy’s apartment, with this American girl you’ve fallen in love with, and she really loves you. You’re making music, smoking pot all day, then turning up at the studio at midnight, working until morning, coming out into the crowds rushing to work, going to a café to talk about what you just did, then going home to write more lyrics. Life isn’t often like that. No children, no bills. I had loads of money. I was successful. It was like being in a film — rushing through the streets of New York in a cab at 11:30 to get to the studio. That’s why you could never do it again. Those recordings were recently re‑released. Yeah — on Easy Action Records. I hadn’t listened to them for a long time. You can imagine all my subsequent girl‑ friends were never keen on me playing it. But I got the LPs in the post, listened one day, and I was knocked out. It was ahead of its time. With a slight twist, Hex could have been really successful. In another universe, it could have been. I’m proud of it. I love it. It’s a special thing — a month of sheer pleasure captured in a record. Do you have any messages for Church fans who’ve been following you all these years — or for fans who are just discovering you? July/August 2026
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For the fans who’ve followed me all these years — I’m extremely grateful. I’m approachable. If you see me, I love to chat. I love signing records outside the bus. Once upon a time, I think I was frosty and rude because I was shy and didn’t know what to say. I might have seemed like a ratbag. But now, if you see me somewhere, I’m eminently approachable. I’m grateful that people have given me a career making music. Every Coca‑Cola I buy — that money came from someone who listened to or bought my record. For people just getting into The Church — I met three young girls outside a gig the other night, nineteen or twenty, loving the band. It makes me really happy. You’ve lucked into a good band. We have so much. You will never collect every‑ thing. It’s impossible. Nobody has everything. If you’re a collector, you’ve got a hell of a job ahead of you. I’ve made about seventy records myself. It’s exciting to have young fans. It’s exciting to have any fans. I appreciate all of them. Our normal demographic is old white guys — as you’d imagine. But when someone outside that demographic likes the records, it’s really special. That a 19‑year‑old transitioning boy might find something in my music — that makes me really happy. That something in my
work could be universal. Sometimes there are new old guys too. I met a sixty‑year‑old man who said, “I don’t know why I’ve never gotten into you before — but I’m just getting into The Church now.” He was excited. One night a guy said, “I don’t have any fancy words. I just really love your music. It makes me feel so happy.” The way he said it was the most eloquent praise in the world. He didn’t know why — he just knew it made him happy. That meant as much to me as someone with a fifteen‑page disser‑ tation. At this stage of the game — my advanced age — after ev‑ erything I’ve gone through and still being here, I love all my fans. I’m really happy I’ve made this music. I never set out to make music to make people happy. I started out wanting to be a pop star. It’s strange now, at this stage, to see that my body of work means something and makes people happy. When you’re nineteen, you don’t think, “One day I’ll be an elder statesman of rock.” But it’s a wonderful consolation for being an old guy — when people say, “You’ve been the soundtrack of my life.”
www.thechurchband.com
We Are The Black Things RedLands HOT New Dates Wed - Sept 23,2026 - 8:30PM w/ The Cruel Intentions Whisky A Go Go youtube.com/toneraventunes facebook.com/ravenscrymusic 15
July/August 2026
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ACID BATH - Dax Riggs
MILWAUKEE METAL FEST 2026 The Rave/Eagles Club, Milwaukee, WI., June 5-7, 2026
KILLSWITCH ENGAGE - Jesse Leach Review and Photos by Scott Waters On June 4-7, the gods of metal smiled down upon the annual Milwaukee Metal Fest, Fest, as longtime standard-bearers of the genre descended upon the iconic The Rave / Eagles Club. Club. Having never attended myself, I was beyond ecstatic for the opportunity to fly all the way from Los Angeles and chronicle this year’s offerings for Highwire Daze Magazine. Magazine. Descending upon this glorious celebration of metal with an eager heart and a voracious camera, I was greeted by pioneers of the genre side by side with modern emissaries. The brutality began on Friday, across three stages. Among many others throughout the day were Eyes of the Living, Morta Skuld, Hirax, Frog Mallet, Dusk, and Pallbearer Pallbearer.. At 6:30, crowned by the golden glow of a late humid afternoon, thrash legends Death Angel 17
HIRAX - Katon W. De Pena took the Sumerian Records Stage in the majestic Eagles Ballroom, Ballroom, followed by the atmospheric metal of Agalloch. At this point in the evening, making my way through the massive venue, the joy of the experience was already overwhelming. I was surrounded by my brothers and sisters in metal, engulfed by the intoxicating adrenaline that only such a mighty venue as Milwaukee Metal Fest can provide. As Vio-Lence blew the roof off the sardine-packed BLK II BLK/ Copycats Media Stage, Stage, I stepped back into the Ballroom to see the hard-hitting Obituary from Tampa, FL, who in my opinion easily reside on the Mount Rushmore of death metal. The highly influential sludge metal band Acid Bath brought the curtain down on night one, closing out the opening day of the festival in epic fashion. Saturday brought further carnage. The sets included, July/August 2026
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MACHINE HEAD - Rob Flynn
JOHN BUSH
but were not limited to, Casket Robbery, the supremely entertaining Belushi Speed Ball, Prong, Threnody, Sacred Reich, Iron Reagan, Reagan, and a band I’ve wanted to see for some time, Nails Nails,, who absolutely blew me away. From there, I quickly made my way down to the Blue Grape Music Stage to see my friends in Armored Saint perform legendary classics alongside songs from their latest album, Emotion Factory Reset. Reset. Power Trip kicked off the evening in the Ballroom, igniting bedlam among the already-amped crowd. Heading back to the Blue Grape Stage, Stage, Machine Head delivered their ever-reliable crunch, while those who missed Agalloch on day one were thankfully able to catch them afterward. In the Ballroom, and Suicidal Tendencies delivered a postive life-affirming set led by the always inspiring Mike Muir, Muir, followed by Killswitch Engage. Engage. It was my first experience with Killswitch,, simply put…outstanding. Killswitch
sore, but with a smile on my face as I knew what awaited me. Among yet another stacked lineup, I was treated to pulverizing sets from Gored Embrace, Visceral Disgorge, Waking the Cadaver and All Shall Perish. Perish. The unapologetic Napalm Death kicked off the final evening in the Ballroom, followed by John Bush’s highly anticipated “Anthrax “Anthrax Era” Era” set. The night’s headliners were industrial legends Ministry Ministry,, led by the brutally honest Al Jourgensen, Jourgensen, who leaves no stone unturned. As the final evening drew to a close, I left the venue bleary-eyed but full-hearted. I had hardly slept a wink in nearly forty-eight hours, and I wouldn’t have had it any other way. Sleep can wait. Milwaukee Metal Fest demands your attention. All I could think of as I boarded the 5:00 AM flight back home was how grateful I was to have been there, and how eager I am to return. To all our readers and new friends I met – I’ll see you in Milwaukee next year, standing among giants.
On the morning of the last day, I emerged from bed 18
www.milwaukeemetalfestival.com July/August 2026
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OBITUARY - John Tardy
DEATH ANGEL - Mark Osegueda
NAPALM DEATH - Barney Greenway 19
July/August 2026
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Kim Theory: Pink‑Glazed Punk, Blackberry‑Filled Heart
Interview by Ken Morton - Photos by Jack Lue Los Angeles’ Kim Theory may be young, but they play with the urgency, grit, and emotional bite of a band twice their age. Formed across scattered LA neighborhoods and bonded through the Pasadena youth‑scene, the four‑piece has quick‑ ly evolved from local favorites to national up‑and‑comers, landing festival slots at Lollapalooza and Darker Waves, plus an official after‑party opening for Finn Wolfhard. Their new EP Trophy Wife captures that leap — louder, sharper, and more self‑assured. Across the conversation, the band’s humor, honesty, and chaotic charm shine through, revealing a group ready to take their place in modern punk. Introduce yourselves and tell me what you do in the band. Audrey Cymone: I’m Audrey, and I’m the lead singer. Lucy Fraser: I’m Lucy, and I play bass. 22
Zoey Su: I’m Zoey, and I play drums. Lula Seifert: I’m Lula, and I play guitar. Where did the name Kim Theory come from? Lula: It’s inspired by three musicians named Kim: Kim Deal (The Breeders), Kim Shattuck (The Muffs), and Kim Gordon (Sonic Youth). They’re women we look up to, and their music inspires us. Your new EP is called Trophy Wife. What’s the story behind the title? Audrey: It was a last‑minute decision. We had a bunch of names floating around, none of them felt right. At a gig we finally said, “Okay, we need to settle this.” Trophy Wife fit the themes of our songs — especially “M.A.S.H.” Lucy: It came out of a long stream of word association. We just threw out words until something stuck. July/August 2026
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Select two songs from the EP and tell me what inspired the lyrics. Lula: “M.A.S.H.” - I got the idea in math class. Some girls were playing M.A.S.H., and I thought, “This could be a song.” We wrote it in a day. Audrey: The game picks your life at random — where you’ll live, who you’ll marry. The song is about not being able to choose your own path. That’s part of why Trophy Wife felt right. Zoey: “Stay” - We wrote “Stay” together at Lula’s house. It’s conceptual — metaphors about being drawn to something you know isn’t good for you. Lula: I always saw it as a relationship between a person and something — like an addiction or doom‑scrolling. Lucy: Instant‑gratification relationships that drain you. Audrey: Or a toxic relationship where someone begs their partner to stay. We love writing metaphors for things that feel bound together but aren’t healthy. Who produced Trophy Wife, and what was it like working with him? Lula: Paul Roessler recorded the EP. He’s amazing — wel‑ coming, patient, and makes us feel like real musicians even when we don’t know the right terminology. Zoey: This is our second time working with him. The first EP was us figuring things out; this time he nailed our sound immediately. Lula: We’ve evolved a lot as a band, and this EP really cap‑ tures that. Paul did a great job. You’re playing Lollapalooza — what are you most looking forward to? Zoey: Seeing all the other bands. Lula: Playing early, then getting to run around the festival for free and see our favorite artists. Lucy: It feels like a turning point — a moment we’ll look back on and say, “This is where it began.” Audrey: I’m excited to play, excited to share our music, and excited to watch insanely talented artists. What’s the connection with Finn Wolfhard? Audrey: We’re opening his official Lollapalooza after‑party — doors at 10, us at 11, Finn at midnight. It sold out imme‑ diately. Lucy: It’s at the Subterranean in Chicago. Lolla shuts down early, so the festival spreads across the city with after‑shows. We get to run around Chicago playing music. You’re also playing Darker Waves with The Smashing Pumpkins. What excites you most? Audrey: I’ve loved Smashing Pumpkins since middle 23
school. Playing the same festival as them feels surreal. Zoey: It’s closer to home, so more people we know can come. Lucy: Lolla is amazing, but far. Darker Waves lets our com‑ munity actually be there. You recently opened for Willow Wake. How did that come about, and how did it go? Lula: It was awesome — our first shows outside LA. We played San Diego, San Francisco, and Santa Ana. We met fans from new places. Willow Wake were so nice and so good. Zoey: Traveling together was the best part. We’re friends first, bandmates second. Staying overnight in San Francisco was especially fun. If Kim Theory were a donut, what kind would it be? Lula: A pink glazed donut with tons of sprinkles. Zoey: Filled with dark jelly — something unexpected inside. Lucy: Blackberry. Sweet outside, edgy inside. Donut shops — collab with us. Lula: Donut Friend, we’re looking at you. If you could open for any band, past or present, who would it be? Lula: Die Spitz — grungy, metal‑y punk from Texas. Huge inspiration. Zoey: Lowertown — effortlessly unique, eclectic, messy in a curated way. Lucy: Die Spitz is amazing. Also, opening for Batmobile in September already feels like a dream. Bikini Kill too. Audrey: Bikini Kill, Doll Riot… and if we’re talking artists, Olivia Rodrigo or Chapel Roan. Chapel Roan would be unreal.
www.instagram.com/kim.theory.band July/August 2026
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Whole Lotta Legacy: Trudi Keck Starr on 26 Years of Rosies and the Birth of the Tribute Band Hall of Fame
Interview by Ken Morton - Photos by Scott Waters
point.
For twenty‑six years, Trudi Keck Starr has been steering Whole Lotta Rosies with the kind of grit, fire, and persistence that would make AC/DC themselves crack a smile. What began as a bold idea in the early 2000s — an all‑female tribute to one of rock’s most electrifying bands — has grown into a global force, a touring powerhouse, and a testament to what happens when passion refuses to quit. From snow‑covered stages in Norway to sharing bills with Alice Cooper and the Foo Fighters, Trudi has built a legacy rooted in musician‑ ship, professionalism, and pure rock‑and‑roll joy.
I actually ran into Simon again recently at the Dio Cancer Benefit Show. I showed him our old photos, and he said he remembered. He told me, “At the time I thought, This will never go anywhere, but 26 years later you’ve been all over the world. Good job.” That meant a lot.
Now she’s taking that same unstoppable energy into her newest mission: founding the Tribute Band Hall of Fame, a long‑overdue celebration of the artists who keep the soundtrack of our lives alive. With its launch event taking place June 27th at Bar 10 at the Corbin Bowl, Trudi is once again proving that the tribute world deserves its spotlight — and she’s more than ready to turn it on. We’re here with Trudi from Whole Lotta Rosies. Let’s go back to the beginning. What made you decide to start an all‑female AC/DC tribute band back in 2000? Back in 2000, the Los Angeles music scene was flooded with male tribute bands. I was playing in a cover band and didn’t love the music we were doing. I wasn’t playing originals ei‑ ther, so I started thinking, What can I do that’s different? How can I stand out? One night I was at a show on Melrose. The female singer broke into a Led Zeppelin song, and the entire room stopped and turned toward her. She owned that moment. And I thought: If the crowd goes this crazy for one woman singing Zeppelin, how crazy would they go for five women doing AC/DC? That idea hit me instantly. AC/DC has always been my favorite band, and at the time there were no all‑female tribute bands. So that’s how Whole Lotta Rosies was born. Has anyone from AC/DC ever heard or commented on your band? Yes — many times over the last 26 years. A couple months af‑ ter we formed, we met Simon Wright at The Rainbow. Since then, we’ve been mentioned in magazine articles by members of AC/DC — Malcolm, and I believe Angus or Brian at one 25
What was the experience like playing Rock for Ronnie? It was an honor. Everyone knows the annual Rock for Ronnie cancer benefit. It’s an incredible cause. We were one of only two tribute bands performing that day. It was a gorgeous day at the Autry, and so many friends and supporters came out. Lita Ford was a huge idol of mine growing up — and she was also my neighbor for a while. She’s jammed in my living room with me and my son. So being part of an event connect‑ ed to her and to Ronnie was surreal. I was beyond thrilled. You’ve also performed with the Foo Fighters and Alice Coo‑ per. What was that like? Alice Cooper was the first major original artist we ever per‑ formed with. When we got the call to play Rockin’ the Rivers in 2003, we were pinching ourselves. Alice Cooper, Loverboy, Jefferson Starship — it was surreal. At the end of our set, we wanted to do something memorable, so we turned around and mooned the crowd. The promoter said, “Now that was an encore!” As for the Foo Fighters — Jimmy D from Paladino’s rec‑ ommended us. Their management came to see us at the Cat Club, and then they called and asked if we wanted to per‑ form. Of course we did. At the end of that show, three of us wore booty shorts that said “Foo Fighters Rock.” When we bowed, that’s what the audience saw. One of your earliest shows was at the Coconut Teaszer. What was that like? That was our very first show — and we were terrified An‑ other band dropped out and asked if we wanted to fill in. They even spelled our name wrong on the marquee. But the Coconut Teaszer was iconic, and playing there for our debut was intimidating. I remember my feet feeling wobbly in my white vinyl boots. But we got through it, and afterward we were proud of ourselves. You also played an AC/DC fan convention in Norway. What July/August 2026
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was that like? They built an entire tour around that convention for us. It was all AC/DC tribute bands. Some shows were massive, some smaller. The first show was outdoors, and it snowed on us while we were playing. Everyone there loved AC/DC. We met so many other tribute bands with their own wild interpre‑ tations. It was wonderful. Let’s talk about the Tribute Band Hall of Fame. How did that come about? I’d been thinking about it for years. I heard a story about the Rock & Roll Hall of Fame and how bands have to be to‑ gether for a certain number of years. I thought about our own journey — how hard it is to stay together for 25 or 26 years. Tribute bands will never get that kind of acknowledgment. And I thought, Why isn’t there a Tribute Band Hall of Fame? That’s how it started. It took years of research and nonprofit setup, but tribute bands deserve recognition. The work, the history, the passion — often for very little money. It’s not luck. It’s grit and persever‑ ance. So in 2025, we launched. And now we’re preparing for our first public event. And that event is June 27th at Bar 10 at the Corbin Bowl. Yes! We have eleven bands — Black Crowes, Ozzy, The Cure, Psychedelic Furs, Black Sabbath, The Cult, and more. We’re doing a red carpet, giveaways, a photo booth, official photographers, press coverage, and sponsors. Every band member gets a swag bag. Guitar Center is supplying the backline. We’ll have a guitar, drumhead, and banner for all the artists to sign. We want this to be a fun, historic inau‑ gural event. What’s next for Whole Lotta Rosies and the Hall of Fame? Whole Lotta Rosies has several shows coming up — the Hall of Fame event, the Aero Room, the Majestic Ventura Theater, and a KNAC show at Stages in Orange County For the Hall of Fame, we plan to host ongoing events and are already in pre‑planning for the first induction ceremony. I’d love to do it at Garden Amp or the Whisky. Do you have any message for your fans? I’m beyond grateful. It’s been 26 years, and so much has happened. I’m producing a documentary about our story — I’ve been working on it for five years. I wrote the script, I’m editing it, and I’m using footage I’ve collected for 25 years. My message is thank you. Thank you for your love, support, and time. I never take it for granted when someone chooses to come see us. I always take a moment on stage to look around and feel that gratitude. 26
I’m proud of Whole Lotta Rosies — where we started, what we’ve been through, and how far we’ve come. There were so many times when it would’ve been easy to give up. But you press on. It is a long way to the top if you want to rock and roll. My mom always said, “You’re persistent.” And you have to be. If you want to do what you love, persistence is every‑ thing. I’m grateful, honored, and proud. As Whole Lotta Rosies charges into its twenty‑sixth year and the Tribute Band Hall of Fame presented its public debut, Trudi Keck Starr stands exactly where she’s always belonged — at the center of a movement she helped shape. Her story is one of persistence, vision, and a refusal to let the music fade, even when the road gets long. Whether she’s leading her band through another packed show, organizing a historic celebration of tribute artists, or putting the finishing touches on her long‑awaited documentary, Trudi continues to honor the spirit of rock and roll with every step. And for the fans who’ve followed her from the Coconut Teaszer to Nor‑ way to Ventura and beyond, she carries nothing but gratitude. Because for Trudi, the journey has never been about luck — it’s been about heart, hard work, and the belief that if you love something enough, you keep going. And she’s not slowing down anytime soon.
www.wholelottarosies.com www.tributehall.org July/August 2026
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BLACK SABBATHA: THE THEATER, THE CHAOS, THE LEGACY
Interview by Ken Morton - Photo by Karyn Burleigh There are tribute bands — and then there’s Black Sabbatha, a Los Angeles outfit that treats every performance like a ritual, a story, and a full‑scale immersion into the world of Sabbath. Led by vocalist Lisa O’Neal, whose background in opera and avant‑theater gives the band its dramatic spine, and bassist/producer Jim “Jimmy” Manzo, whose decades in the L.A. music trenches have shaped the group’s sound and identity, Black Sabbatha has carved out a niche that’s equal parts reverence, spectacle, and pure rock‑and‑roll grit. From desert festivals and comedy‑show house bands to opera halls, vampire troupes, and chaotic early gigs patched togeth‑ er from jam‑night regulars, their story is a collage of unlikely moments that somehow led to one of the most distinctive Sabbath tributes on the West Coast. As they prepared to perform at the Tribute Band Hall of Fame, Lisa and Jimmy sat down with Highwire Daze to talk origins, theatrics, Ozzy nights, Dio devotion, and what they hope fans carry with them long after the final note fades. 28
We’re here with Lisa O’Neal and Jim “Jimmy” Manzo of Black Sabbatha. What were you involved with before forming Black Sabbatha? Jimmy: I’ve been playing since I was fifteen. My early bands included DeCoda and Realize — we played everything from the Palomino to desert festivals that felt like proto‑Burning Man. I also created Drunken Pond Scum, the house band for Fraser Smith’s comedy show at the Laugh Factory while I was a DJ at KLSX. I spent decades with The Raz Band, working with Joey Molland of Badfinger. Lisa actually fanned out when she met him. We played the Stone Pony, met Springsteen — Hollywood moments. Tribute bands came next: Fire & Ice (Pat Benatar) and Strangers in the Night (UFO). Eventually I wanted to start something new, and that’s when I found Lisa. She blew me away singing Metallica at a karaoke bar. We crossed paths again at The Rainbow, got paired up at Scoonie Gee’s jam, and the chemistry was instant. I asked if she wanted to be in a band, sent her a massive list of songs, and she already knew most of them. That’s how Black Sabbatha began, along with July/August 2026
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guitarist Jimmy Silcox. Lisa: Before Black Sabbatha, I performed at Mount San Antonio College — “I Dreamed a Dream” on their big stage was a mind‑blower. I was drawn to metal, and received an impulse to go on Craigslist and audition for a metal band looking for a singer. It didn’t last, but I learned a lot. After that, I spent a lot of time at Skinny’s doing live band karaoke, building confidence and stage presence. That’s where I really developed my voice. Around then, I kept running into Jimmy in the Hollywood scene, and eventually all those paths led to Black Sabbatha. My background in theater shaped the band. I was part of movement‑based troupes, including a vampire ensemble and a Dark Side of the Moon‑inspired piece. That experience helped me build characters, storylines, and staging for Black Sabbatha. Jimmy: At first I wasn’t into the theatrical stuff — masks, characters, the macabre vibe — but it grew on me. It gave Black Sabbatha a niche. Now it’s part of who we are. Where was your first ever show at? Jimmy: Our first actual show was in 2018 at The Arena in Simi Valley. We had a canceled Paladino’s gig, then suddenly two bookings: the PCH Club and a Halloween show. That became our Southern California debut. We even opened for Ed Force One and a Cream tribute. After that, our guitarist Jimmy Silcox stepped away, and everything fell apart — no drummer, no guitarist. We patched together a lineup from jam nights at the Rainbow and Petey’s Place. It wasn’t perfect, but it kept the band alive. Eventually we pulled every string we had to get Jimmy back, and that’s when Black Sabbatha really solidified. Let’s talk about the Garden Amp: The Surreal Ozzy Night Lisa: Our Garden Amp show was wild — the main stage was all silver, and the locker room set was dark and fog‑drenched. We split the night between hits and deep cuts, and the whole thing felt surreal. Jimmy: That night was special. We played both stages, and the singer from the band before us later joined Black Savage and now tours the world. The Sabbath tribute community is small — six degrees of separation everywhere. What are you looking forward to most about the Tribute Band Hall of Fame show? Lisa: I stay in gratitude. We get to do what we love at this stage in our lives — that’s rare. I want to stay in wonder about it. Jimmy: Being part of the Tribute Band Hall of Fame is a real honor. Trudo Keck Starr has built something special, and sharing the night with Whole Lotta Rosies makes it even better. We’ve played together many times, and it’s always magic. 29
What would you like a listener to remember most after seeing your show for the first time? Lisa: I want them to feel transformed — lifted out of their everyday worries and dropped into a moment of pure experi‑ ence. Jimmy: And I want them to feel like they were at a real Sabbath show. The music, the visuals, the atmosphere — the castle backdrops, the fog, the drama. Sabbath can’t do it anymore, but we can keep that feeling alive. The Tribute Band Hall of Fame recognizes the bands who’ve kept these legacies going — Atomic Punks, Candy-O, Led Zepagain, Whole Lotta Rosies, Nightmare, Black Savage. We’re honored to stand among them. If people leave our show feeling like they truly experienced Sabbath, then we’ve done our job. Black Sabbatha will be headlining The Whisky on October 18th for Sabbatha’s Bloody Sabbath, officially welcoming Metal Mike on drums.
www.blacksabbatha.com/the-band July/August 2026
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Melt Mars at The Smell Los Angeles, CA – June 5, 2026
Review by Ken Morton – Photos by Karyn Burleigh There’s always been something otherworldly about Melt Mars — the brainchild of vocalist and guitarist Brian Ortiz — but their June 5th headlining return to The Smell felt like a full‑scale relaunch into a brighter, louder, and more confident orbit. Based out of Orange County yet spiritually tethered to the pulse of Downtown LA, Melt Mars stepped back onto the stage with a renewed sense of purpose, drawing a late‑night crowd eager to witness their long‑awaited comeback. The Smell, with its dim lights, DIY grit, and unmistakable under‑ ground heartbeat, proved to be the perfect launchpad. Melt Mars opened with the explosive guitar reveries of Blood Moon, immediately pulling the audience into their shimmer‑ ing sonic universe. They followed with the vibrant, emotion‑ ally charged Unsung Melodies — a one‑two punch that made it clear the band wasn’t just returning; they were ascending. Then came Phone Sex, the wickedly infectious new single 30
that has been looping endlessly in this reviewer’s head since release. Performed live, it hit even harder — sassier, sharper, and dripping with confidence. The crowd erupted, especially the girls who screamed after this and every song that fol‑ lowed. It was one of those rare moments when you could feel a track becoming a fan favorite in real time. The momentum never dipped. Meet Me In The City and Memory Lane arrived like emotional postcards — fitting selections for a night destined to linger in memory. Melt Mars closed with the atmospheric Somberlude and the groove‑laden Soul In Your Pocket, leaving the room buzzing long after the final note dissolved into the humid Downtown air. If this show is any indication, the future is about to get very bright for Melt Mars. Phone Sex feels like a breakout single waiting to happen, and Brian Ortiz stands poised on the edge of something big — a massive talent ready to burst into the wider spotlight.
www.meltmars.com July/August 2026
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On June 19th, Los Angeles-based Nu Metallers Echo Spine held court at the Whisky a Go Go for a raucous, high-octane display of their signature blend of electronic smoothness and raw, thrashing emotion. Alternately furious and inspiring, always inspired, cultivating an energy that oscillates between underground rave and haunted cemetery, Echo Spine is one for the books. That fury, righteous and expertly molded to suit each track, is the key to this band’s appeal: this is resistance music plain and simple, here to provide that crucial release of frustration and artistry that spawned Nu Metal to begin with. Enveloped by stage smoke at all times, frontman and vocalist JR Guzman took the stage in a smiley horror movie mask and launched into their hard-hitting opener, “Void,” which confidently set the tone for the night – The Purge by way of Slipknot. Other highlights included “The Last Time,” “Lazarus,” “Perfect Nightmare” and “24/7,” the latter of which I can only imagine is a description of how many hours a day the band remains committed to their cause. The set’s absolute favorites were likely “STFU,” a strobing, blazing, soul-shattering phantasmagoria of rage and release, and 32
“Mother,” a cathartic howler which was memorably led into by a playful mix of Neil Armstrong’s “one small step for man” speech. Such audio drops were frequent throughout the night, and demonstrated that Echo Spine are not only masters of Nu Metal, but of the all-important and tricky art of the needle drop. The relentlessly energetic band is composed otherwise of drummer Robert “Monks” Alvarenga, bassist Sergio Garcia, and guitarists Jake Peeters and Arnold Valladares, all of whom do their part admirably to keep the music rolling, the heads thrashing and the earplugs flying. Guzman in particular, who never removed his aforementioned mask, remained poised between a statuesque colossus of rock, never slowing nor faltering, and a vengeful revenant of nu metal’s past, growling and roaring through his mask to the Whisky’s shadowed heights with unceasing vigor and frenzy. Truly, if this set didn’t have you headbanging, the only explanation is that you have lost motor function in your neck.
www.instagram.com/echospinemusic July/August 2026
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Rock ‘N’ Roll Royalty, Real Talk, and a Book Two Decades in the Making By Raquel Figlo-Bell
pectations keeping them there.
Let me start with the confession: I just had the most epic wedding of my life — because it was *my* wedding. On June 27th at The Ritz-Carlton, Laguna Niguel, with the sun melting into the Pacific behind us, I married the love of my life, Brian Bell — and the rock ‘n’ roll family showed up in full force. Our officiant was none other than David Ellefson, legendary former co-founding bassist of Megadeth and one of my closest longtime friends. Years ago, I made David promise that if I ever met the love of my life, he would marry us — and on that cliff above the ocean, he kept his word. Then the ceremony opened like a concert: as I walked down the aisle, Todd Kerns of Slash featuring Myles Kennedy & The Conspirators led an all-star band — Zach Throne on guitar, Blas Elias of Trans-Siberian Orchestra on drums, and Jimmie Romero on guitar — through a live performance of “November Rain,” the song I’d dreamed of walking down the aisle to since I was a teenager. Later, David strapped on his bass and jammed two songs with the band, powerhouse vocalist Keith St. John crashed the stage for a surprise performance, burlesque icon Miss Miranda delivered a showstopper, and DJ Skum Love kept the dance floor packed until the final song. Metallica’s “For Whom the Bell Tolls” took on a whole new meaning — turns out, it tolls for Raquel Bell. It wasn’t just a wedding. It was the ultimate rock family reunion.
This isn’t another book full of vague advice about “building your brand” or “going viral.” It’s a practical, no-BS look at how media, publicity, and audience attention actually work in today’s crowded entertainment landscape. Inside, you’ll learn why media outlets aren’t ignoring you personally, the biggest publicity mistakes artists make, what journalists, bloggers, and producers are really looking for, how to create a story worth covering, the difference between attention and visibility, why talent alone is rarely enough, and how to build momentum *before* you pitch the media.
Here’s the thing, though. Every one of those legends was there because of relationships built over 25 years in this scene — not connections bought, not favors owed, but friendships earned. And that’s exactly what my new book is about. My first book, NO ONE IS COVERING YOU: How Artists and Managers Actually Get Press and Build Credibility, is officially out — released July 23rd and available now on Amazon in Kindle and paperback. And yes, I’m going to be honest with you about it, because honesty is the whole point of the book. Most artists think the problem is that nobody knows who they are. The truth? Most artists haven’t given anyone a reason to pay attention. After more than two decades in music media and publicity, I’ve watched talented people stay stuck chasing coverage instead of earning it — and I wrote this book to pull back the curtain on the myths, mistakes, and unrealistic ex33
The media doesn’t owe you coverage. Your audience doesn’t owe you attention. And your career deserves more than wishful thinking. The question isn’t why no one is covering you — it’s whether you’ve given them a reason to. I am a publicist. This is what I do, this is what I live, and now it’s what I’ve written. Whether you’re an independent musician, a manager, or an emerging artist, this book will help you stop guessing and start approaching publicity with a strategy that works. About Raquel Figlo: Raquel Figlo is a Los Angeles–based publicist and the founder and CEO of Raquel Figlo Public Relations, specializing in rock, metal, and entertainment. With over two decades in the industry, she has built visibility and credibility for musicians, celebrities, entrepreneurs, and lifestyle brands, and spent more than eight years as a music journalist for Rock N Roll Industries Magazine, interviewing legends from Rob Zombie to Dino Cazares of Fear Factory. Her motto: PR isn’t about paying for attention — it’s about earning it. Get the book:NO ONE IS COVERING YOU: How Artists and Managers Actually Get Press and Build Credibility* is available now on Amazon in Kindle and paperback. Grab your copy today, and let’s make some noise. For more, visit www.raquelfiglo.agency or follow @raquelfiglopr on Instagram. Purchase here: https://a.co/d/02SCSI93 July/August 2026
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Black Star Sinners The Whisky, West Hollywood. CA., July 10, 2026
Review by Ken Morton - Photos by Scott Waters Black Star Sinners tore into The Whisky on 07.10.26 with the kind of feral, high‑octane swagger that reminds you why Hollywood still bleeds rock n’ roll. KNAC’s own DJ Hollywood set the tone right from the start, stepping up to the mic to introduce the band with the authority of someone who knows exactly what kind of chaos is about to unfold. From the opening blast of “Livin’ the Life,” Walt Deadly owned the stage—firing off vocals with a gritty bravado that had the crowd locked in. Ash Star and Javi Colon delivered a twin‑guitar barrage that felt both dangerous and precise, while Tony Tonite and Chris Ramirez kept the engine roaring with a rhythm section built for impact. A major highlight came with their raging take on Lizzy Borden’s “American Metal.” The Sinners didn’t just cover it—they detonated it. The track has recently been featured on The New Pure Rock KNAC Local Show, 34
and hearing it live made it clear why: the band chan‑ nels the spirit of classic metal while injecting their own street‑sleaze venom. Their original “Wake the Dead,” also featured on KNAC’s Local Show, hit just as hard—anthemic, aggressive, and tailor‑made for fists‑in‑the‑air nights on the Strip. By the time they reached “Blood” and “Meet the Devil,” the room was theirs. And for the encore, Trent Strake stepped in for a blistering, guitar‑charged rendition of “Separate Ways,” giving us all a sample of their other project Hollywood Sleaze and sending the night out on a high‑voltage note. Black Star Sinners didn’t just play The Whisky—they ignited it. And into the stratosphere they will take you with their hard rocking anthems - do not even miss these guys the next time they blast into your scene to rock your universe! July/August 2026
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She Rocks Fest with Circle The Earth, Babes Against The Machine, Victoria Patience, The Viper Room, West Hollywood, CA., June 23, 2026 Review and Circle The Earth Photos by Karyn Burleigh The legendary Viper Room on the Sunset Strip provided the perfect backdrop as She Rocks Fest delivered an unforgettable evening celebrating women in rock and the incredible musicians who continue to shape today’s music scene. Featuring an outstanding lineup of talented artists, the festival showcased powerful vocals, exceptional musicianship, and electrifying performances that kept the audience engaged from start to finish. With a vibrant atmosphere and an appreciative crowd, She Rocks Fest proved once again that rock and roll is alive, thriving, and driven by passionate performers who leave everything on the stage. Here are three of the performers which rocked the iconic Sunset Strip stage...
Patience Victoria Led by the powerhouse vocals of Patience Victoria, she and her very amazing band delivered one of the most fun and rocking performances of She Rocks Fest. She did a a solid show, interacting beautifully with the audience. It was very obvious that they adored her. Singing her fave artists, such as Bon Jovi, with undeniable stage chemistry, Patience commanded the stage with confidence and intensity. Backed by a tight, hard-hitting group of musicians, made for a memorable set that showcased the band’s talent and left a lasting impression on the audience.
Aviva Scott of Circle The Earth
Babes Against the Machine You can always count on Carrie Rapaport and Babes Against the Machine to bring a rock and roll high energy performance. There is always some sonic drama involved when Carrie hits the stage - with intense loud vocals and a powerful set of music! If you are RATM metal music fan, this band is for you! It just screams pure rock. They continue to smash it performing all over Southern California and they are one of the leading tribute acts. Babes Against The Machine definitely have an unforgettable and powerful stage presence.
Circle The Earth Circle The Earth delivered one of the standout performances of She Rocks Fest at The Viper Room. Led by the phenomenal Aviva Scott, whose commanding vocals and captivating stage presence lit up the room, the band showcased exceptional musicianship, including, but but not limited to guitarist Kazuki Tokaji’s incredible shredding, powerful arrangements, and undeniable chemistry. From the opening song to the final note, Circle The Earth demonstrated why they continue to earn a growing reputation as one of Southern California’s premier rock bands, delivering a performance that was both polished and unforgettable. I especially enjoyed their rendition of Stairway To Heaven, which is absolutely magnificent and brilliant. They nailed it!
Kazuki Tokaji of Circle The Earth 36
Presented by the amazing Fatgigs! Thank you for inviting us! July/August 2026
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Jacobious Lovebone and Heartvalve The Rainbow Bar & Grill – June 28, 2026
Review by Ken Morton Photo by Karyn Burleigh It may have been a late Sunday night deep within the wilds of the Sun‑ set Strip, but the rock was only just beginning to rumble inside the iconic Rainbow Bar & Grill. The upstairs room—small, sweaty, and absolutely alive—would host not one but two projects led by the ever‑enigmatic Jacobious Lovebone, making his first solo appearance outside the grip of Bastardane. Best known as the former frontman and bassist of Bastardane—featuring Castor Hetfield (yes, James Hetfield’s son) on drums—Lovebone was ultimately dismissed when his persona became “too extreme for the band’s vision.” That sense of danger, theatri‑ cality, and unfiltered emotional vola‑ tility was on full display tonight. You could feel the swagger and sensuality dripping from every note he delivered, a performer finally unleashed and reveling in the freedom.
Heartvalve Opening the night at 10PM was Heartvalve, a swamp‑soaked, doom‑tinged project that also featured Bastardane’s Ethan Sirotzki on guitar. Imagine the murky, corrosive atmospheres of Acid Bath or Eyehategod in their heyday, and you’re only beginning to grasp the sonic menace Heartvalve conjures.Their short yet thunderous set—Lost Souls, All Good Things Die, Victims, and Eastside (Reprise)— reverberated with dynamic intensity. The reunion of Lovebone and Sirotzki felt inspired, and drummer Triko Chavez delivered a vibrantly feral perfor‑ mance that pushed the room into overdrive. Nothing recorded yet, but Heartvalve played like a glimpse into what Bastardane might have become had Lovebone’s vision steered the ship: darker, stranger, and far more dangerous. 37
Jacobious Lovebone At nearly 12:30AM, the room tightened, the lights dimmed, and Jacobious Lovebone emerged for his namesake band’s debut perfor‑ mance. What followed was nothing short of a powerhouse unveiling. Sure, you can trace influences— David Bowie, Marilyn Manson, Iggy Pop—but Lovebone is a thoroughly original beast. Clad in leather and swagger, he command‑ ed the room with a mix of cabaret decadence, punk volatility, and avant‑rock storytelling. He has the songs, the talent, and the drive to back it all up tenfold. Performing selections from his recent Strange Stories of Decay manifesto alongside other singles, Lovebone opened with a stunning one‑two punch: Parts Per Million and Secret Getaway. The atmosphere shifted instantly. This was perfect after‑hours soundtrack material—dark, intoxicat‑ ing, and dripping with cinematic tension. The brilliance kept coming: Qualude, Swingers, and Gargoyles pulled the audience deeper into Lovebone’s bleak, seductive world. It didn’t matter that it was nearly 1AM and many of us had day jobs looming in just a few hours. We were witnessing a performance destined to become part of Sunset Strip lore. The final two songs, Cabaret and Hourglass Sanatorium, sealed the deal with haunting, theatrical flair. There’s no doubt about it—Jacobious Lovebone is on a collision course with superstardom and infamy, judging by the rapturous commencement delivered at The Rainbow. Catch him in these intimate spaces now while you still can—or kick yourself later for missing out on something truly awe‑inspir‑ ing. Note: At press time, Jacobious Lovebone has now rebranded as Scissorkiss! Interview coming soon!
www.instagram.com/scissorkiss July/August 2026
HIGHWIRE DAZE
We Are The Black Things RedLands HOT
The HOT New Hollywood Rock Album
by Highwire Daze magazine “RedLands HOT by my new band is a Hollywood guitar street rock album from the hip.I wrote and recorded the whole thing at Tone Raven Music in West Hollywood California”” expreeses Tone Raven. fornia Raven. ““Down Down In Wuhan was completed during the pandemic and the year after, and released it in the summer of 2021. I started writing and recording the follow up album We Are The Black Things - RedLands HOT, HOT, immediately after Down In Wuhan was released”, released”, replies Tone Tone.. RedLands HOT marks in RED We Are The Black Things #3 album. It’s Hot list of singles include RedLands HOT, Hot Rocks, Give Me A Shot Girl, and I’ll Have A Drink. Drink. The 18 song album was written and recorded by Tone Raven at his studio Tone Raven Music in Hollywood between 20222025, and is available on all major music platforms. The album RedLands HOT quickly embraced as a dirty guitar riff album expressing Tone’s simple cock rock Hollywood guitar style fused with seductive, simply sexed up guitar and lyric style, meshed into one rock ball.
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Tone, the once guitar tech for Mr.Scary during the Lynch Tone, Mob “Revolution Tour”, Tour”, further gave wind to his songwriting style, which is hauntingly Hollywood street rock guitar attack meets Seattle vocal alternative, and catchy! Currently the band is performing live mostly at their home club in West Hollywood Whisky A Go Go, Go, in hopes of spreading it’s band wings to other cities and Counties, touring with the greats, but currently bands are coming to them on their turf Whisky A Go Go. Go. “We’ll take it”, it”, replies Tone Raven,“t Raven,“the he band is on a hot streak writing and recording at this time, penning new songs, right now, Ball Park is one of the new songs I’ve just finished this July!” July!” We Are The Black Things are at Whisky A Go Go, Wednesday September 23, 2026 8:30PM. Frank Garrett - Bass, Rae Owl Strarling - Keyboard Luthario Mitcho - Tambourine/Shakers Carrie Cane - Drums, Tone Raven - Guitar/Vocals We Are The Black Things - TM Facebook.com/ravenscrymusic
July/August 2026
HIGHWIRE DAZE