The Radio Room in Greenville, SC, hosted an incredible night of heavy music as Maylene and the Sons of Disaster kicked off their summer tour alongside Atomic Rule, Across Five Aprils, New Rituals, and local openers Reviler.
The crowd grew throughout the night, and by the time Across Five Aprils hit the stage, the room was packed. It was my first time seeing all five bands, and each one brought something different to the lineup.
Greenville’s own Reviler got things started with a solid hometown performance. New Rituals followed with a strong hardcore set, and it was fun seeing Josh Scogin in the crowd supporting the band.
Across Five Aprils proved they haven’t lost a step. Steve Taylor joked that the band only plays a few shows each year and called their music “hardcore adjacent,” but they sounded great. One of the coolest moments of the night came when the band discovered it was a six-year-old fan’s birthday. The crowd wished him a happy birthday before helping him experience his first crowd surf in a safe way.
The biggest surprise for me was Atomic Rule. Their sludgy, groove-heavy sound immediately got the crowd moving with the first pit and crowd surfers of the night. Featuring former Every Time I Die guitarist Andy Williams, the band was incredibly tight and definitely earned some new fans.
Then came Maylene and the Sons of Disaster. Dallas Taylor still brings an unbelievable amount of energy to the stage, and every member of the band looked like they were having the time of their lives. The crowd responded with nonstop singing, pits, and crowd surfing throughout the set.
The best moment may have happened after the show. Dallas Taylor stayed to meet fans, take pictures, and spend time with everyone, especially the kids. It’s always encouraging to see artists invest in the people who support them.
Overall, this was an outstanding way to kick off the tour. Great bands, a great crowd, and another reminder of why the heavy music community continues to be one of the best around.
Following the release of Trials and Tribulations, Evan Ryan Canady returns with Providence, an eight song album that boldly places Scripture at the center of its message. Combining heavy guitars, soaring melodies, and thoughtful songwriting, this release offers more than just another metal record. It is a collection of songs rooted in biblical truth and personal faith.
The album artwork immediately captures the eye. A lone tree stands in the middle of a barren desert beneath a brilliant night sky. While open to interpretation, it beautifully reflects the album’s title. Even in the driest places, God can bring life and hope.
The opening instrumental, On the Road to Damascus, wastes no time showcasing Evan Ryan Canady’s impressive guitar work. Following a solid drum introduction, soaring guitar melodies blend seamlessly with a tasteful piano section, creating a powerful beginning that sets the tone for the rest of the album.
The biblical themes continue throughout the record. Rise Before the Fall calls listeners to repentance with the challenge to “tear down the wall of immorality” while the addition of female background vocals and spoken passages adds depth to an already powerful song. Return of the King features crushing guitar riffs, creative time changes, and one of the album’s strongest lyrical moments as it speaks of walking with the Spirit while carrying the sword and shield of God.
The title track reminds listeners that God’s plan is often beyond our understanding. Its memorable guitar solo and encouraging message to “trust in providence” become the spiritual centerpiece of the album.
One of the record’s most emotional moments comes with The Life I’m Meant to Lead, a song addressing domestic violence while drawing inspiration from James 1:6 and Matthew 5:4. The Storm on the Sea of Galilee revisits Christ calming the storm from Mark 4, challenging believers with the timeless question, “Oh ye of little faith, why are you afraid?”
Closing tracks Alleluia and Sons of Perdition continue exploring biblical themes, ending the album on a thoughtful and sobering note.
Although Providence contains only eight songs, it feels complete from beginning to end. Evan Ryan Canady has crafted an album that balances impressive musicianship with an unapologetically Christ centered message. For fans of melodic Christian metal that values substance as much as technical ability, Providence is well worth adding to your playlist.
The Tabernacle remains one of my favorite venues, with excellent acoustics and a setting that always makes a show feel special. I made the trip with two of my regular concert buddies, Brian Tanguay and Steve Morse, and this was my first time seeing all three bands on the bill.
Heal The Hurt made the most of a short opening set. I had interviewed Trevor Tyson about a year ago and had met him at a Cleansing of the Temple and With Blood Comes Cleansing show in Greenville, so it was good to finally catch the band live. Trevor spoke between songs about hope, reminding the crowd that they are loved and not alone. That message matched the band’s performance, which was energetic, heartfelt, and strong enough that my friends actually preferred them over Wolves at the Gate that night.
Wolves at the Gate delivered exactly what you would expect from a veteran Christian metalcore band. Their mix of screams and clean vocals hit hard, and their set kept the energy moving. The frontman worked the stage constantly and did a great job engaging the crowd, while the band continued to show why they have set such a high standard for heavy music with substance.
This was my first time seeing Flyleaf, and getting to see them with Lacey Sturm made it even more memorable. The band is celebrating the 20th anniversary of its self-titled debut album, and there was a real sense that Atlanta was witnessing something special as the first night of the tour. Before Flyleaf took the stage, “The Red” by Chevelle blasted through the PA in tribute to their late sound engineer Rich Caldwell, a meaningful moment that gave the opening even more weight.
Flyleaf’s set mixed nostalgia, emotion, and gratitude. Lacey spoke openly about hope and reminded the packed room that they are loved and not alone, and it came across as sincere rather than rehearsed. One of the biggest moments of the night was hearing “This Close” played live for the first time ever. She also shared how thankful she was that Sameer Bhattacharya was able to be there after recovering from a motorcycle accident. Meanwhile, Pat Seals brought nonstop energy on bass, and the whole band looked fully locked in.
Songs like “All Around Me,” “I’m So Sick,” and “Fully Alive” had the crowd moving, while “Cassie” and “Sorrow” brought plenty of singalongs. Flyleaf’s catalog has clearly held up, and this lineup still knows how to connect with a crowd.
After the show, it was good to see Cindy Blankenship, aka The Mothership, another familiar face from several concerts this year. It was a fitting end to a memorable night and a strong opening date for Flyleaf’s anniversary run.
Suffer Not The Witch is more than a one-man extreme metal project. For Jarrod Butler, it’s a ministry born from personal experience. Having spent years in the death and black metal scene, Butler now uses his music to share the Gospel with the same community he once called home. We spoke with Jarrod about his testimony, his music, and why he intentionally takes Christ into some of the darkest corners of the metal world.
From the Occult to Christ
Jimmy Lamar Sorrells: Tell us about “Witch’s Den.”
Jarrod Butler: “Witch’s Den” is my personal testimony in song form.
The strongest line in that song that really summarizes what it’s about is:
“I went from the witch’s den to born again.”
Having a background early on in black metal, I got heavily into witchcraft, all kinds of different forms. I got into Satanism from the black metal scene. I have an obsessive personality, so I got really heavily into it.
I was seventeen when I was saved.
The strange part of my testimony is that even after I was saved, I kept playing extreme metal. I toured Europe with death metal bands and sang about gore and fornication. I joined black metal bands and didn’t care what the lyrics said because I was being intentionally ignorant.
I thought, “I’m saved. It doesn’t matter what I sing about because I don’t believe it.”
That wasn’t true.
I found out the hard way.
Eventually it caused me to walk completely away from the metal scene for at least a decade.
When I came back, I gave everything musically to Christ. That’s what brought me back into metal.
Originally it was through America Inc., but Suffer Not The Witch became one hundred percent dedicated to Christ, using my testimony as a ministry weapon.
The Meaning Behind the Name
Jay Goodwin: Tell us about the name.
Jarrod Butler: It comes from Exodus 22:18.
The obvious meaning grabs your attention. Being black metal, you’re not subtle.
But there’s another meaning.
“Crucify and Deny” is about denying your flesh. Crucifying your old man.
My old man is a witch.
So anytime that old man tries to rear his head, I’m to suffer not that witch to live.
I’m to crucify him.
Kill him.
Be gone.
That’s what it means for me, and that’s the conversation I can have with members of the occult when they come to talk to me.
Taking the Gospel to Black Metal Shows
Jimmy Lamar Sorrells: You’re intentionally playing secular black metal shows?
Jarrod Butler: Absolutely.
I intentionally play at the darkest black metal shows I can because I want to minister to the community I was saved from.
I know how to talk to them.
I know about it.
I equate it to escaping a collapsed mine and taking the light. Because I know the way out, I can go back in with the light and show everybody else the way out too.
A Life Changed
Jimmy Lamar Sorrells: Have you seen lives changed already?
Jarrod Butler: Yes.
The bass player from that satanic band wanted to talk afterward.
We started texting back and forth.
He had all the hard questions you would expect.
Then he disappeared.
Later I found out he started coming to every Suffer Not The Witch show.
Today he and his mother have both given their lives to Christ.
Praise God.
A Warning and an Invitation
Jimmy Lamar Sorrells: What would you say to someone involved in witchcraft, Satanism, or Masonry?
Jarrod Butler: The reason people fall for witchcraft is because it works.
People don’t like hearing that, but it’s true.
The question is, at what cost?
What is happening to your soul?
All the things you’re looking for…
You know you haven’t found them.
You’re still empty.
The only answer you’re going to find is Christ.
If you’re willing to dig into witchcraft…
If you’re willing to memorize everything you do as a Mason…
You have it in you to dig gloriously into the Word of God.
Everything you’re searching for is there.
The world makes complete sense when you have Scripture in front of you.
Supporting the Ministry
Jimmy Lamar Sorrells: What can the Christian metal community do to support the ministry?
Jarrod Butler: Buy merch. Buy music on Bandcamp. Come to shows.
Jarrod Butler’s solo project Suffer Not The Witch delivers three tracks of uncompromising Christian extreme metal that blend blackened aggression with a bold Gospel message. A veteran of the extreme metal scene, Butler uses his experience and testimony to create music that confronts darkness while pointing listeners directly to Jesus Christ.
The EP’s lyrical focus is clear from the opening moments. Songs like “Rains on the Wicked” celebrate God’s mercy and grace, while “Crucify and Deny” highlights transformation through the Holy Spirit. The standout track, “Witch’s Den,” shares Butler’s journey from spiritual darkness to redemption through Christ, culminating with the powerful declaration, “I went from the witch’s den to born again.”
Musically, the EP delivers everything fans of Christian black metal and extreme metal could want. Crushing riffs, fierce vocals, and a dark atmosphere provide the perfect backdrop for a message centered on salvation and freedom in Christ.
This is another strong entry in the growing New Wave of Christian Extreme Metal movement. Short, intense, and unapologetically faith-driven, Suffer Not The Witch proves that extreme metal and a Christ-centered message can coexist without compromise.
Anniversary tours have become a major part of today’s concert scene, but sometimes the right lineup comes together and creates something that feels bigger than simple nostalgia. That was the case on May 28, 2026, when Anberlin, Emery, and Watashi Wa stopped at The Senate in Columbia, South Carolina.
I attended the show with Joshua Gilmore, Joshua Thomas, Joey Noyes, and my son Max, which made the night even more memorable. Concerts are always about the music, but they are also tied to the people you experience them with and the memories attached to them years later.
Watashi Wa opened the evening and immediately reminded fans why their return matters. This was the band’s first tour in a long time, and there was a noticeable excitement from the crowd to see them active again. Fans sang along throughout the set, showing that the band’s music has continued to connect with listeners even during their long absence from touring. The performance carried a positive and heartfelt energy that set the tone for the rest of the night.
Emery followed with a shorter but high-energy set that quickly turned the venue into controlled chaos. The band has always balanced melody and aggression well, and that chemistry was on full display live. Their closing song, “Walls,” became one of the biggest moments of the night. The crowd instantly erupted into a massive mosh pit, creating more pit action during that one song than the entire rest of the concert combined. Fans screamed every word while bodies collided across the floor in classic post-hardcore fashion.
The night closed with Anberlin performing on the twentieth anniversary tour for Never Take Friendship Personal. Surprisingly, this was my first time ever seeing the band live, and they did not disappoint. Much of the attention surrounding the current version of Anberlin has centered around Matty Mullins taking over vocal duties, and after seeing the performance firsthand, it is easy to understand why he was chosen.
Mullins faces the difficult task of stepping into a role strongly associated with Stephen Christian, but he handled it extremely well. What stood out most was his vocal versatility. He has the range necessary for the melodic and harmonized style of Anberlin while still maintaining the intensity fans know from his work with Memphis May Fire. Rather than feeling like a replacement trying to imitate the past, Mullins helped the performance feel both respectful to Anberlin’s history and fresh at the same time.
During the show, I also found myself reflecting on The Senate itself and how certain venues become connected to different seasons of life. This was the third memorable concert I can remember attending there. The first was Stretch Arm Strong performing the twentieth anniversary tour for Rituals of Life. The second was P.O.D.’s twentieth anniversary tour for Satellite. Now this Anberlin anniversary tour joins that list. It is interesting how venues can quietly become part of your personal music history over time.
Overall, this was an outstanding night of live music filled with nostalgia, energy, and appreciation from both the bands and the audience. Watashi Wa’s long-awaited return, Emery’s explosive ending with “Walls,” and Anberlin’s anniversary celebration all combined to create a concert experience that reminded fans why these bands still continue to matter decades later.
The 1990s Christian alternative scene produced its share of influential bands, but few family connections ran as deep as the one between brothers Joel Hanson and Jade Hanson. Through PFR and Believable Picnic, the Hanson brothers helped shape an era that blended melodic alternative rock with emotional honesty and artistic creativity.
While both musicians eventually moved in different directions, their music still carries weight with longtime fans who continue rediscovering those records decades later.
Joel Hanson and the Return of PFR
Joel Hanson remains the more publicly active of the two brothers. Best known as the voice and guitarist behind PFR, he has spent the last several years reconnecting with fans and revisiting the band’s catalog.
A major turning point came in late 2024 when Joel helped spearhead a successful Kickstarter campaign to remaster and re-release Disappear. That momentum has continued into new recording sessions for an upcoming PFR project reportedly titled Target & The Arrow.
Fans following Joel on Instagram at @pfrist have seen updates from the studio, live acoustic performances, and occasional behind-the-scenes glimpses into the creative process.
Beyond PFR, Joel’s musical history stretches into projects and collaborations connected to bands such as Inside Out and Takehold, along with years spent creating worship music and performing solo material.
Even after all these years, Joel still sounds passionate about songwriting and the connection those albums continue to have with listeners.
Jade Hanson and the Cult Following of Believable Picnic
While Joel stayed closer to the public eye, Jade Hanson took a quieter route.
Believable Picnic became a hidden gem of late 90s Christian alternative music, combining melodic rock with introspective lyrics and strong pop sensibilities. Though the band never reached massive commercial success, albums like Famous earned a loyal underground following that still talks about the band today.
After Believable Picnic ended, Jade moved into a different musical direction with the Nashville-based power pop group The Luxury Stars. The band stepped away from the Christian music label and explored a broader indie and alternative sound.
Jade has also been tied to collaborative projects connected to the wider PFR circle, including Takehold and other studio contributions over the years.
Unlike many artists from that era who disappeared completely, the Hanson brothers still remain connected to music in different ways. Joel continues recording and performing, while Jade’s work continues gaining appreciation through online fan communities revisiting the overlooked corners of 90s Christian alternative rock.
A Legacy That Still Matters
PFR and Believable Picnic may not have dominated mainstream charts, but their impact runs deeper than sales numbers. Their songs connected with fans searching for authenticity, vulnerability, and creativity during a unique season of alternative rock.
Today, vinyl reissues, streaming rediscoveries, and social media nostalgia have introduced both bands to younger listeners who missed them the first time around.
For longtime fans, the music never really went away.
Philadelphia chaotic hardcore band Pipe Bomb just dropped one of the coolest underground vinyl releases I have seen in a while with Hell Hole through Resuscitation Records. This is the debut full length LP from the band and the physical presentation alone makes this feel like much more than just another vinyl pressing.
Limited to only 150 “Chaotic Cobalt” copies, the 180 gram vinyl instantly stands out visually with its opaque blue finish matching the dark atmosphere of the album perfectly. The artwork by Jonathan Zboray grabs your attention immediately and feels chaotic, uncomfortable, and thought provoking in all the right ways.
The album was mixed and mastered by John Naclerio of Nada Recording while Rob Colwell handled the vinyl mastering. The result is a record that sounds huge, raw, and alive spinning on wax. The bass feels warmer, the feedback breathes naturally, and the chaos feels more immersive than streaming the album digitally.
Musically, fans of The Chariot, Norma Jean, Project 86, Botch, and Every Time I Die will immediately connect with the band’s blend of metallic hardcore, chaotic mathcore, punk energy, and emotionally heavy lyrics.
What really separates this release though is the packaging. The deluxe 12 page lyric booklet is loaded with high quality photos, lyrics, and personal comments from Mitchell Layton explaining the meaning behind many of the songs. Those reflections add an entirely new layer to the listening experience.
“Under God’s Heel” hits especially hard once reading Mitchell’s comments about struggling with hopelessness and learning to fight through it. “Choke” tackles compromise and distorted truth while “Hell Hole,” featuring former No Treaty vocalist Danny Thomas, explores mental illness, destruction, and broken relationships with brutal honesty.
Mitchell handles all vocals, guitar, and bass duties on the album while Steven “Bean” Layton absolutely crushes it on drums. The chemistry between the two creates an intense wall of panic driven aggression and emotional tension from start to finish.
Executive production for the vinyl release was handled by Erick Lee, founder of Resuscitation Records, along with Jonathan Calderon from Empty Grave Parade. Their attention to detail is obvious throughout the entire release.
This is the kind of vinyl release collectors and hardcore fans appreciate because it feels personal and intentional instead of mass produced. Hell Hole is chaotic, emotional, spiritually honest, and physically packaged in a way that actually enhances the music itself.
The Masquerade in Atlanta hosted a powerful lineup as Demon Hunter, Convictions, and Cultist brought the “There Was A Light Here” tour through Georgia. This was my first time seeing both Demon Hunter and Cultist live, and I got to experience the night with my sons Leo and Max along with my friends Steve Morse and Trey.
Cultist kicked things off with nonstop energy. Having two lead vocalists could easily feel overcrowded, but they made it work perfectly. Both singers stayed in constant motion, engaging the crowd and bringing intensity to every song. Even as the newer band on the tour package, they definitely gained new fans that night.
Convictions kept the momentum rolling with crushing breakdowns and a crowd that clearly knew every word. Their frontman did an incredible job keeping the audience hyped from beginning to end. One of the coolest moments personally was watching my son Leo experience his first mosh pit during their set. By the end of the night, he walked away with both a Convictions and Demon Hunter setlist.
When Demon Hunter took the stage, the atmosphere completely shifted. Their lighting setup relied heavily on dark red, white, and blue backlighting that created an intense visual experience throughout most of the set. Spotlights only appeared between songs and during the acoustic moments, making those sections stand out even more.
The band performed “The Brink” acoustically along with another stripped down song later in the set. Those moments added variety to the massive 20 song performance and almost felt like intentional breathers during such a long and demanding show.
Ryan Clark’s stage presence was impossible to ignore. During the acoustic songs, the lighting finally revealed more details including his tattooed torso, hand painted overcoat, and customized microphone stand featuring a metal cross attachment.
After 25 years, Demon Hunter continues proving why they remain one of the most respected bands in heavy music. Hearing the crowd sing nearly every word showed just how much their music still connects with fans today.
I was also excited to leave the venue with a Cultist vinyl in hand to remember an unforgettable night of music.
The 2026 lineup featured longtime members Ryan Roxie and Tommy Henriksen alongside drummer Glen Sobel and new guitarist Anna Cara, who is filling in for Nita Strauss during maternity leave. Cara absolutely crushed it. Her playing brought fresh energy to the show while still fitting perfectly into the classic Cooper sound and stage production.
The setlist balanced classics with surprises perfectly. Songs like “No More Mr. Nice Guy,” “I’m Eighteen,” “Feed My Frankenstein,” and “Poison” kept the crowd fully engaged all night. The production featured everything fans expect from Cooper including horror-inspired theatrics, giant stage props, costume changes, and appearances from Sheryl Cooper during the theatrical dance segments.
One of the coolest moments came during “School’s Out,” which included a snippet of Another Brick in the Wall, Part 2 woven into the performance. The addition fit the song perfectly and gave the classic anthem a fresh twist live.
What really surprised me was that this was the first time I have seen Alice Cooper not end the show with “School’s Out.” I actually loved that they kept going and played more songs after everyone expected the concert to end. I have never personally seen Cooper do an encore before, so it caught the crowd completely off guard.
Then came the biggest surprise of the night: a cover of Smells Like Teen Spirit. Taking on such an iconic song is risky, but the band absolutely nailed it. The performance felt edgy, energetic, and became one of the highlights of the night.
I took my oldest son Max to the show, and we met up with Steve Morse, Brandon Weeks, and several other friends there. We have all seen Cooper multiple times, but we kept saying afterward that this may have been one of the best Cooper shows we have seen.
Max summed it up perfectly. He said the concert was “awesome and fun,” loved the Nirvana cover, called it his favorite Cooper show, and ranked it among the top five concerts he has ever seen.
At 78 years old, Alice Cooper still knows exactly how to entertain an audience. The “Alice’s Attic” tour proves that Cooper is not simply relying on nostalgia. He continues to evolve while still delivering everything fans love about classic shock rock.
