Photographs of Alice Cooper at FirstBank Amphitheater in Franklin, TN. – photos consist of Alice Cooper, guitarist Ryan Roxie, guitarist Tommy Henriksen, guitarist Nita Srauss, bassist Chuck Garric, and drummer Glen Sobel.
Photographs taken by Dwayne Cavanas for Mayhem Music Magazine
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Alice Cooper transformed FirstBank Amphitheater into a twisted, theatrical playground, proving yet again why he’s the reigning king of shock rock. From the chilling opening sequence to the triumphant finale, Cooper delivered a performance packed with horror-inspired visuals, razor-sharp musicianship, and the darkly comedic swagger that has defined his career. But what made this show truly electrifying was how seamlessly his powerhouse band elevated every moment.
The night ignited early with “No More Mr. Nice Guy,” where Cooper strutted out in full villainous glory—cane in hand, sneer on his face—while his band erupted with precision and attitude. Guitarists Nita Strauss and Ryan Roxie commanded the stage with an undeniable chemistry, their riffs bouncing off each other with a mix of classic rock crunch and modern metal fire. Strauss, fresh off extensive touring and solo work, tore through solos with athletic intensity, while Roxie delivered the swaggering tone and rhythmic anchoring that long-time Cooper fans have come to expect.
Guitarist Tommy Henriksen added a darker, grittier flavor to the triple-axe attack, rounding out one of the strongest guitar lineups Cooper has ever toured with. His rhythm work injected punch into the heavier tracks, and his stage presence—equal parts cool confidence and playful menace—made him a standout throughout the set. Meanwhile, bassist Chuck Garric provided thunderous low-end power, locking in tightly with drummer Glen Sobel, whose explosive fills and machine-like precision drove the entire show with adrenaline-pumping force.
Visually, the production was as vivid and macabre as ever. Cooper cycled through his iconic props—guillotine, straightjacket, serpents, and more—with the timing of a seasoned actor, while the band played the role of his sinister counterparts. The lighting bathed the stage in a rotating palette of eerie greens, blood-red strobes, and gothic purples, perfectly complementing the theatrical madness unfolding with each song. Whether the band was interacting with Cooper’s antics or headbanging through galloping riffs, their commitment to the spectacle never wavered.
Fan favorites like “Poison,” “I’m Eighteen,” and “Hey Stoopid” sparked massive crowd reactions, amplified by the band’s dynamic performance. Strauss delivered one of the evening’s most technically spellbinding moments with a blazing solo during “Poison,” while Sobel’s thunderous drum breaks turned “I’m Eighteen” into a stadium-sized anthem. Garric’s snarling bass tone added weight to the darker tracks, giving songs like “Only Women Bleed” a monstrous presence that matched the onstage theatrics perfectly.
One of the most gripping moments arrived during “Ballad of Dwight Fry,” where Cooper, strapped into a straightjacket, staggered across the stage in a performance that bordered on theatrical insanity. Behind him, the band played with dramatic restraint, slowly building the tension until the song erupted into chaos. Henriksen’s atmospheric guitar layers and Sobel’s simmering percussion gave this classic moment renewed emotional depth.
As the show powered toward its climax, the band kicked into higher gear. “Cold Ethyl” were played with infectious energy, showcasing the band’s tightness and the seamless interplay between its members. Every musician brought personality and edge to their performance, reinforcing that Cooper’s show isn’t just about theatrics—it’s about world-class players delivering arena-sized rock with conviction.
The night ended in explosive fashion with “School’s Out,” a celebration complete with confetti, giant balloons, and a playful detour into “Another Brick in the Wall.” The band stretched out the finale with improvisational flair, Strauss and Roxie trading licks while Sobel and Garric locked into a groove that had the crowd singing at full volume.
As Alice says “May all your lovely dreams… Become Nightmares”! It was the perfect close to a night where Alice Cooper, backed by one of the fiercest bands in rock, delivered a spectacle that was equal parts performance art and pure musical muscle.
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Photographs of Judas Priest at FirstBank Amphitheater in Franklin, Tn. – photos consist of vocalist Rob Halford, guitarist Richie Faulkner, guitarist Andy Sneap, bassist Ian Hill, and drummer Scott Travis.
Photographs taken by Dwayne Cavanas for Mayhem Music Magazine
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When the originally scheduled Judas Priest show in September in Franklin was postponed due to a storm, I figured the chance to catch them again might not come until 2026. By the grace of the Metal Gods, the band rescheduled less than three weeks later. This show marked my own four-decade milestone of seeing the band. I say that because Judas Priest’s 2025 tour isn’t just another victory lap — it’s a defiant statement that the heavy metal’s godfathers still command the throne they built. From the moment the lights dropped and Black Sabbath’s “War Pigs” blasted through the speakers as the crowd sang along, you knew it was time for the band to hit the stage. Priest delivered a set that honored their 50-plus-year legacy while reminding us that age has done little to dull their bite. The show was a full-on sensory assault, blending high-voltage precision with the theatrical flair that made them icons in the first place.
Rob Halford of Judas Priest
Back in the ’80s, Judas Priest shows were beautiful chaos. With the “New Wave of British Heavy Metal” hitting the U.S., their concerts turned into leather, spikes, roaring motorcycles, and sound so loud your chest rattled. You didn’t just watch Priest — you survived them. The difference now is focus. That wild energy of youth has evolved into a masterclass in precision. In 2025, the chaos is controlled — not weaker, just sharpened. It’s like watching warriors who’ve seen every battle and still walk into a venue with fire in their eyes. The Metal God himself, Rob Halford, may not sustain those piercing falsetto notes like he once did, but he’s still a commanding presence on stage, putting on one hell of a show. At this point in the band’s career, the performances are less about proving themselves and more about celebrating a legacy carved into stone decades ago.
Ian Hill of Judas Priest
The twin-guitar attack that Glenn Tipton and K. K. Downing built in the ’70s became the backbone of Priest’s live arsenal. Sadly, neither is part of the current lineup, but the music and the mission carry on. Back then, Priest’s sound was raw and loud enough to shake the seats loose. Fast-forward to now, and that same fire burns—just sharper, cleaner, and powered by decades of mastery. The danger is still there; it’s just wielded with more control. In the current version of the band, Richie Faulkner and Andy Sneap carry the torch with honor. Faulkner, once the “new guy,” now plays with the swagger of a lifer, shredding with a ferocity that would make Downing proud. Sneap’s rhythm work locks everything down, letting Faulkner soar. Together, they bridge the classic and modern eras seamlessly, with “Solar Angels” hitting just as hard as “Freewheel Burning.” And though founding bassist Ian Hill rarely steps into the spotlight, his thunderous low end still anchors the band he helped create.
Richie Faulkner of Judas Priest
Rob Halford remains a force of nature. Even in his 70s, he commands the stage like the metal messiah he is. Thinking back to the first time I saw him in the ’80s — leather from head to toe, arms wrapped in spikes — he was a badass with a golden voice. Decades later, he still dons the leather and studs, now refined for a new generation. He uses more sustain and echo in his delivery, but it’s all live — no backing tracks here. His voice may not soar quite as high as it once did, but every growl and sustained note carries more grit and gravity. It’s not about perfection anymore; it’s about power, and Halford still has it in spades.
Andy Sneap of Judas Priest
The ’80s shows relied on pyrotechnics and lasers; today’s performances embrace cinematic visuals and dynamic lighting that rival anything on the road. Halford seems more at ease than ever, pacing center stage in slow circles as he belts out “All Guns Blazing,” “You’ve Got Another Thing Coming,” and “Breaking the Law.” Perhaps the most powerful part of a Judas Priest concert now is the unity across generations. You’ll see metalheads shoulder to shoulder — older fans who saw the band in ’82 beside teenagers in Firepower shirts. It feels like a torch being passed, proof that this music isn’t just surviving; it’s thriving. Judas Priest helped define heavy metal’s DNA, and they’re still teaching a masterclass on how it’s done live.
Scott Travis of Judas Priest
One of the night’s most emotional moments came during “Giants in the Sky.” As the song played, images of Ronnie James Dio, Lemmy, Freddie Mercury, Eddie Van Halen, Chris Cornell, and Ozzy Osbourne appeared on the screen — a powerful tribute to rock’s fallen icons from one of its greatest surviving bands. Then came the encore, as Halford roared onto the stage on his motorcycle to tear through “Hell Bent for Leather” and “Living After Midnight.” By the end of the night, one thing was clear: Judas Priest have adapted to the modern age without compromise, matured without mellowing, and proven once again that true metal never dies — it just gets louder.
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– October 14th, 2025 –
Tickets On Sale Now
Photo by Chance H. / Side2side.Imagery
Pennsylvania deathcore merchants and recent Metal Blade Records signees THE LAST TEN SECONDS OF LIFE will join Left To Suffer on their 2026 North American Winter tour. The three-week journey runs from January 22nd in Atlanta, Georgia through February 19th in San Antonio, Texas. Additional support will be provided by Fr3ak as well as Your Spirit Dies and LarcɆnia RoɆ on select dates.The tour follows a special one-off performance supporting Oceano on their final show ever. Tickets are on sale now! See all confirmed shows below.
THE LAST TEN SECONDS OF LIFE
w/ Oceano, Monsters, Hold My Own, Aight Bet:
12/06/2025 The WC Social Club – West Chicago, IL
w/ Left To Suffer, Fr3ak, Your Spirit Dies:
1/22/2026 Masquerade – Atlanta, GA
1/23/2026 Conduit -Winter Park, FL
1/24/2026 Oscura – Tampa, FL
1/26/2026 Radio Room – Greenville, SC
1/28/2026 Local 506 – Chapel Hill, NC
1/29/2026 Metro Music Hall – Baltimore, MD
1/30/2026 Meadows – New York, NY
1/31/2026 Palladium – Worcester, MA
2/01/2026 Empire Live Underground – Albany, NY
2/03/2026 Preserving Underground – Pittsburgh, PA
2/04/2026 Garrison – Toronto, ON
w/ Left To Suffer, Fr3ak, LarcɆnia RoɆ:
2/05/2026 Sanctuary – Detroit, MI
2/06/2026 Reggie’s – Chicago, IL
2/07/2026 7th Street Entry – Minneapolis, MN
2/08/2026 X-Ray Arcade – Cudahy, WI
2/10/2026 Marquis – Denver, CO
2/11/2026 Launchpad – Albuquerque, NM
2/12/2026 Launchpad – Mesa, AZ
2/13/2026 Glass House – Pomona, CA
2/14/2026 Cornerstone – Berkeley, CA
2/15/2026 Goldfield Trading Post – Roseville, CA
2/17/2026 Eagle Hall – Las Vegas, NV
2/19/2026 Vibes Underground – San Antonio, TX
THE LAST TEN SECONDS OF LIFE was forged in 2010. Within a year, they were touring regularly and had self-released their debut album, Know Your Exits. By 2013, independent metal label Density Records unleashed their second album, Invivo [Exvivo]. Further touring ensued with the likes of I Declare War, Fit For An Autopsy, Thy Art Is Murder, and Kublai Khan. The prolific act would go on to release five more full-lengths, each earning Billboard chart placements and reaping critical accolades both stateside and abroad. Of the band’s most recent output, 2024′s No Name Graves (Unique Leader Records), Knotfest wrote, “THE LAST TEN SECONDS OF LIFE are reasserting their position as innovators and leaders in the deathcore genre. Their approach to music is not just about creating sound but about crafting an experience that challenges and captivates their audience.” New Transcendence concurred, “With moments defined by a low, moody atmosphere carefully peppered with punishing aggression and moments that are outright raunchy, ruthless oblivion, No Name Graves is a cinematic, crushing experience that redefines THE LAST TEN SECONDS OF LIFE, making it clear that lightning can strike the same place (or same band) twice.” Added No Clean Singing, “At its gnarliest and nastiest – as epitomised by the likes of the brutish, bone-grinding title-track and the apocalyptically heavy ‘Broken Glass Incantation’ – there’s a there’s a primal intensity and potent, primitive nihilism to these tracks which recalls the likes of Black Tongue, latter-day Acranius, and even the more post-deathcore leaning approach of Humanity’s Last Breath, but stripped down even further until only the barest and most unforgiving essentials remain.”
THE LAST TEN SECONDS OF LIFE:
Wyatt McLaughlin – guitars
Tyler Beam – vocals
Andrew Petway – bass
Dylan Potts – drums
https://www.thelasttensecondsoflife.com
https://www.facebook.com/thelasttensecondsoflife
https://www.instagram.com/tltsol
– October 13th, 2025 –
Hostile Wasteland + Kill to Live – Both Out Now On Metal Blade Records!
Photo by Therese Öhrvall
Formed in 1995 in the small Swedish city of Mariestad by key players from Sweden’s legendary hardcore scene, WOLFBRIGADE (known as Wolfpack until 1999) remains among Scandinavia’s most respected, influential and reliable purveyors of real-world, brute-force, political hardcore punk.
The band’s disparate influences are drawn together with unifying solidity – the remorseless rhythms of Discharge, the blue-collar rock ‘n’ roll of Motörhead, the heads-down bludgeon of classic Entombed. The quintet defines their main driving force as “the eternal quest for the ultimate song. We constantly explore the space we can create for progression within our pretty slim framework. Even though our personal tastes are very eclectic, we want to stay true to the WOLFBRIGADE core, but at the same time apply as much pressure as we can to push it further. We’ll mix any influences that we please. War on rules. That has been the concept since the very start of Wolfpack.”
In celebration of their 30th anniversary, WOLFBRIGADE delivers Hostile Wasteland, an EP with a ferocious raw mix originally recorded in 2000 at the legendary Sunlight Studios, while they still went under the name Wolfpack. In addition, they unleash Kill to Live, an album of special live renditions of classic tracks, recorded in 2025 in the band’s own Wolfden Studio.
The band comments, “Over the years we have talked about releasing the last recording we did under the name Wolfpack to present it the way it was originally intended. Until now, it has remained more or less buried, only surfacing as bonus tracks on a few limited releases. As we celebrate the band’s 30th anniversary, we went through our archives and unearthed a stack of old DAT tapes which we transferred to digital. Among them we found this raw mix that sounded great. Bloodfilled and savage. And it felt like the right moment to finally give it a proper release.
“When we started out, we were five guys from different punk and metal bands who came together. The fusion of d-beat, punk, and death metal came naturally. That this hybrid beast is still alive three decades later feels insane. And at the same time inevitable. The band has burned itself into our DNA. Over the years some songs turned into staples in our live sets, others never really came out the way we wanted on the recordings, some changed shape with time, some we almost forgot. When we finally had proper recording possibilities in our rehearsal space, our guitarist Jocke Rydbjer’s own Wolfden Studio, we thought: ‘Why not give these songs another chance? Record them live, document how we actually sound as one. Five friends in a room. Nothing polished. Nothing dressed. Just naked to the bare arse.’ This is Lycanthro Punk 2025. Since 1995.”
Watch a visualizer for the track “Hostile Wasteland” HERE and “Enter The Gates” HERE.
Both Hostile Wasteland and Kill to Live are available now digitally at: metalblade.com/wolfbrigade
Hostile Wasteland Track Listing:
01. Hostile Wasteland
02. Living in Vain
03. Global Lunacy
04. Day After Day
Kill to Live (Recorded Live at Wolfden Studio) Track Listing:
01. March of the Wolves (Originally Found On Wolfpack – Lycanthro Punk, 1998)
02. Power and Greed (Originally Found On Wolfpack – Allday Hell, 1999)
03. No Heart Bleeds (Originally Found On Wolfbrigade – In Darkness You Feel No Regrets, 2003)
04. Road to Dreams (Originally Found On Wolfbrigade – Damned, 2012)
05. Mindprowler (Originally Found On Wolfbrigade – Prey To The World, 2007)
06. Enter the Gates (Originally Found On Wolfpack – A New Dawn Fades, 1996)
07. Bastards (Originally Found On Wolfpack – Allday Hell, 1999)
08. In Darkness You Feel No Regrets (Originally Found On Wolfbrigade – In Darkness You Feel No Regrets, 2003)
09. No Future (Originally Found On Wolfpack – Allday Hell, 1999)
10. Barren Dreams (Originally Found On Wolfbrigade – Comalive, 2008)
WOLFBRIGADE 30th Anniversary Show:
10/18/2025 Kollektivet Live – Stockholm, SE w/ Skitsystem, Paranoid
WOLFBRIGADE Lineup:
Micke Dahl – vocals
Erik Norberg – guitar
Jocke Rydbjer – guitar
Johan Erkenvåg – bass
Dadde Stark – drums
https://www.instagram.com/wolfbrigadeofficial
https://www.facebook.com/lycanthropunks
Los Angeles based shoegaze collective Mo Dotti totally captured my heart when I caught them live at the 4 Star Theater on my recent visit to San Francisco. The band’s sound is truly a wonder, with blissed out melodies fighting for air amongst ocean deep chord changes and seismic, swirling feedback.
With a stunning debut album under their belt and a UK tour fast approaching, the band’s lead vocalist and guitarist Gina Negrini very kindly agreed to talk to the blog…
Hi Gina, thank you so much for chatting to heavymetalkids.uk. For folk here in the UK who may just be discovering Mo Dotti, could you tell us a little about the band’s origin story?
Mo Dotti started out as a solo project for me to play guitar and sing in. I used to play bass in a few bands, but I have always wanted to sing and play guitar. After experimenting with looping pedals and wacky demos, I felt myself becoming more confident on guitar; the project quickly evolved into a four piece. We all met playing the same venues in Los Angeles (in our old bands) and we also became closer working at the same movie theater. Guy and I first started playing music together in his old project which he fronted called Socorro. Mo Dotti is somewhat an evolution of Socorro (we really just combined our bands) with me as the singer. Greg Shilton (bass) used to be in French Vanilla, Post Life, and Jody. Andrew (drums) used to play in Moaning and currently plays in Fashion Club. Early incarnations of Mo Dotti used to play shows with all of those bands a lot. Currently, my sister Sophie who has a band called Janelane is our third guitar player. Experimenting with textures!
Opaque is a wonderful debut album. I find song titles such as Whirling Sad and Pale Blue Afternoon incredibly evocative. What do you consider to be your key songwriting influences?
Thank you Fran… When I think about how these songs make me feel, they make me pretty emotional. I don’t always understand how I am feeling. It’s more comfortable for me to work out what’s going on in my head in music. The Magnetic Fields, Ride, and Cocteau Twins are my biggest influences when it comes to songwriting style. Guy is especially inspired by Swervedriver and Dinosaur Jr. when it comes to his guitar playing style.
I was blown away by the recent 4 Star Theater show in San Francisco. How was the US tour? Is it live performance or studio craft which gives you the biggest artistic buzz?
Thanks for coming, Fran. We were so glad your San Francisco vacation aligned with our stop up there. The tour was great, we came home in one piece (Guy and I caught colds), and we played really well. I would say that we feel that specific buzz during the exact moment we are playing- but leading up to the show or after it I’m usually a ball of nerves. The most gratifying aspect of playing music is writing a song I am proud of. Recording an accurate representation of the music is probably second to that.
I believe all of your music thus far has been self released. Is this an ethos you’re keen to continue with, or are you looking for label support for future releases?
Yes! We are control freaks… but, after the response from the LP, we plan to seek label support for LP 2. While it’s really gratifying to connect directly with our fanbase, it was a challenge to distribute overseas. We could have sold a lot more if the record was more accessible abroad. We are currently recording demos for the second album and are about half way finished.
Lastly, I’ve experienced firsthand on my travels how important mutual respect and support is amongst the underground independent scene. Are there any bands local to you or that you’ve played with on tour that you’d like to shout out to my readers?
April Magazine and Pink Breath of Heaven (who we both played with on this tour) absolutely blew me away. April Magazine played our SF show, and we played 3 shows on the road with PBOH. I came home feeling very inspired by them both. I love the sonic tapestry that April Magazine weaves: they take their time getting to a high vibrational frequency. It’s very effective on the audience. Liv from Pink Breath of Heaven has an amazing voice, I really feel like she took me to heaven. Her band also looks (and are) super cool. There were so many musicians I love in the audience at the SF gig, that made me especially happy. It’s always nerve wracking to play for people you regard highly, but we had a wonderful time. Los Angeles bands I’d love to shout out are Host Family, Shaki Tavi, and Valley Porno People. There are so many bands in California making really interesting guitar music today. In a time that feels so hopeless for so many reasons, the fact that people are getting together making music makes me super hopeful for the future of the California indie rock underground.
Thank you so much Gina for taking time out to talk to the blog. Check out Opaque here. The band’s double EP set Blurring/Guided Imagery is available here. You can catch Mo Dotti live across the UK this December, dates and ticket links are listed below…
Wednesday 3rd December
Bristol, United Kingdom
Thursday 4th December
Manchester, United Kingdom
Saturday 6th December
The Old Hairdresser’s @ 7:30 PM
Glasgow, United Kingdom
Sunday 7th December
Coventry, United Kingdom
Monday 8th December
The Shacklewell Arms @ 7:30 PM
London, United Kingdom
Black Sands brings a refreshing genre-bending energy on their new country pop single “Rock Me”.
It effortlessly fuses heartfelt storytelling with a modern, radio-ready polish that makes it instantly addictive. From the opening guitar strums to the soaring chorus, it feels like the kind of song made for the world to hear and enjoy. The vocals carry a raw sincerity that perfectly matches the song’s blend of country soul and pop sheen, while the production adds just enough shine to make it feel current without losing its rootsy warmth.
The writing captures that intoxicating mix of love, freedom, and nostalgia all in one to make a timeless masterpiece. Black Sands brings more than just a sound to hear, but a sound to feel on this authentic, anthemic, jam built to stay on repeat.
Check out Black Sands “Rock Me” below and follow them on Instagram. Stay Global my Friends!
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