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.

For contact:
https://linktr.ee/pipebomb

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.

People say emo is dead. I don’t buy it.

Emotion Is Dead by The Juliana Theory still holds up just as strong today as it did 25 years ago. The melodies, the emotion, and especially the breakdowns in “To the Tune of 5,000 Screaming Children” and “Is Patience Still Waiting?” are some of the best the genre has ever produced. That album is as close to perfection as emo gets.

But even that statement gets debated. Some hear emo. Others hear a mix of 90s alternative, pop, and rock influences all colliding into something bigger than a single label. And honestly, that’s part of the point.

Emo has never been easy to define.

For me, bands like Stavesacre, Underoath, or As Cities Burn were not the first names that came to mind when I thought of emo. But the more you listen, the more you realize this style touches everything. It stretches from indie to hardcore to alternative and even into spoken word with bands like Listener, who carved out their own lane entirely.

Then you have albums like The Question from Emery. I recently saw them perform it front to back for the anniversary, and it was a reminder of what this music really does. The room was packed with every lyric being sung at the top of everyone’s lungs. That kind of energy doesn’t come from nostalgia alone. It comes from connection.

A lot of this scene grew out of other movements. Hardcore kids found emo. Punk fans found emo. Indie fans found emo. As one fan said, “Emo is for the hardcore kid who grows up.” That line hits because there’s truth in it.

You can trace the roots through bands like Jimmy Eat World, Sunny Day Real Estate, and The Get Up Kids. From there, it branches into so many directions. Further Seems Forever, Mae, and Copeland leaned into melody and atmosphere. Beloved, Embodyment, and Dead Poetic pushed heavier sounds. Noise Ratchet, Twothirtyeight, and Cool Hand Luke carried that emotional core into their own unique spaces.

And then there are the bands that lived just outside the lines but still shaped the culture: Anberlin, The Almost, Thrice, Brand New, Sullivan, and more. Some people include them. Some don’t. That debate alone proves the point.

Emo isn’t a box. It’s a spectrum.

What really stands out when talking to people about this era is how personal it is. For some, it was walking into a record store and discovering Emotion Is Dead, The Moon Is Down, and Bleed American all at once. For others, it was late nights, youth groups, burned CDs, and weekend shows that shaped their entire music taste.

That late 90s to mid-2000s run was different. It felt like every week there was another album worth sitting with from start to finish. And that matters, because emo was never about singles. It was about the full experience.

So is emo dead?

No.

It just evolved. It spread. It became something bigger than a genre label.

And if you’ve ever stood in a room full of people screaming every word back at the band, you already know the truth.

Emo isn’t dead.

It never was.

Pipe Bomb, the solo project of Mitchell Layton, delivers raw, Christ-centered chaotic metalcore that hits hard and refuses to let up. Drawing influence from early 2000s chaos bands like The Chariot and Norma Jean while pushing into modern aggression, Hell Hole is both nostalgic and fresh.

Tracks like “Under God’s Heel” and “Straight Edge Hate” are short, direct, and confrontational, while “Choke” showcases sharp, thought-provoking lyricism. The title track paints vivid imagery, and “I Will Kill the Worst Parts of Myself” builds intensity with a slower, crushing approach that feels straight out of the late 90s scene.

This is not polished or radio-friendly. It is gritty, honest, and rooted in real struggle. Lyrically, the album tackles mental health, faith, and personal accountability with conviction.

If you are into Zao, Project 86, or The Chariot, this will hit home.

Hell Hole is intense, chaotic, and full of purpose.

👉 https://linktr.ee/pipebomb

February 20, 2026
Bon Secours Wellness Arena – Greenville, South Carolina

Winter Jam returned to Greenville with a packed arena and a lineup that covered a wide range of Christian music styles. I attended with my kids Max, Leo, and Thea, along with their friend James. It was also special to have my friend Carl Moorhead from Australia visiting and able to join us for the night.

We arrived early and the arena was already filling up. Outside there were games set up for kids while everyone waited for the doors to open, which was a nice addition for families who came early. Carl pointed out how well organized the event felt and how encouraging it was to see families, church youth groups, and community groups all filing in together to fill the arena.

The night started with the pre-jam featuring Jeremy Rosado, Heath Brothers, and Cliff Preston. The early sets had the relaxed feel you would expect while people were still entering the arena and finding their seats, but the crowd that arrived early had plenty of music to enjoy before the main show began.

Emerson Day helped get the main portion of the evening started and connected well with the crowd. Her performance was pretty good and helped set the tone for the rest of the night.

Hulvey brought a different energy with his pop leaning hip hop style, which connected especially well with the younger crowd.

Then it was time for Disciple, who were on ten as always. This marked the nineteenth time I have seen them live, and they continue to be one of the most consistent bands out there. Tight musicianship, high energy, and a clear message. It was also Carl’s first time seeing them live, and that quickly became one of his highlights of the night. He especially loved how they engaged with the crowd and wished they could have played a couple more songs.

My son Max summed it up simply.
Disciple should have more play time. The whole show was really good.

Zane Black followed with one of the more impactful moments of the night, sharing a strong message and leading an altar call encouraging people to follow King Jesus.

NewSong, who have been doing this for a long time, showed exactly why they remain a staple of the tour. Their musicianship is tight and seasoned, and many in the crowd clearly knew the lyrics.

Matthew West ended up being one of the surprises of the night for me. As more of a metalhead, I was not expecting to like his set as much as I did, but he was funny, talented, and very engaging. One of the standout moments was when he brought his daughter on stage for an acoustic duet. Carl also really enjoyed Matthew West’s set and mentioned that he was right there with the crowd, making the performance feel uplifting and personal.

Katy Nichole delivered both musically and personally. She spoke openly about her struggles with mental health and encouraged anyone in the crowd who might be struggling to reach out and get help. That honesty gave her set added weight and made her time on stage connect in a deeper way.

The night closed with Chris Tomlin, who led a straight worship set that had the entire arena singing together and brought the evening to a fitting close.

For Carl, one of the most meaningful parts of the night was seeing so many people gathered to worship Jesus together while also hearing the Word of God preached. He described it as a fantastic experience and the kind of event he would gladly attend again and again.

For our group, Winter Jam was a night of music, ministry, and memories shared together. Between seeing my kids enjoy it, having Carl there for his first Disciple show, and taking in such a wide range of artists, it was another memorable stop for Winter Jam in Greenville.

Hailing from San Antonio, Texas, Saving Jackie continue their mission of blending rap and rock with a message of faith and perseverance. Formed in 2019 by former members of Jackie On Acid, the band features front woman and lyricist Jenny 4C Ramirez, drummer Anthony, bassist John Cortez, and guitarist Raul Garza and Rick Lee. Their music reflects personal struggles they have overcome and the hope they now share through their songs.

Their newest single, “Warfare,” released February 19, 2026, kicks off with a sweet bass line that immediately sets the groove. The track blends driving rock instrumentation with rap influenced vocal delivery, creating a strong foundation for the song’s bold message.

There is no wondering where the band stands lyrically. Lines like “Imma Christ lover, His daughter don’t forget it” make their faith unmistakably clear. The chorus reinforces that determination with the declaration, “I’m not quitting, I’m still fighting, I’m not quitting, I’m excited to live,” capturing the heart of the song’s message about perseverance and spiritual battle.

“Warfare” is a confident statement from Saving Jackie, combining energetic rap rock with a clear message of faith and resilience.

Listen to “Warfare”:
https://www.reverbnation.com/savingjackie/song/34744292-warfare

Mental Health Conversations in the Christian Heavy Music Scene

Mental health has become one of the most important conversations happening in the Christian rock and metal community. For years, heavy music has provided a space where people can be honest about anxiety, depression, trauma, and doubt.

Bands like August Burns Red, Memphis May Fire, Wolves at the Gate, Islander, and Demon Hunter have helped bring those struggles into the open through their music and their conversations with fans.

One phrase that has begun to resonate throughout the scene is #choosetolive — a reminder that even in the darkest moments, choosing to stay and keep fighting matters.

Several artists and advocates from the Christian heavy music community recently shared their thoughts about mental health, faith, and supporting the people who connect with their music.

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Honesty in the Struggle

For Trevor Tyson of Heal the Hurt, learning to recognize mental health struggles was a turning point.

“Awareness has become one of the greatest tools in my life. You cannot heal what you refuse to acknowledge.”

Life on the road and in a band can be rewarding, but it can also be emotionally demanding.

“Band life is both beautiful and demanding.”

To help manage that pressure, his band has made openness a priority.

“We have built a culture in Heal The Hurt where honesty is normal. If someone is struggling, we talk about it. Brotherhood is not pretending everything is fine. Brotherhood is making sure no one carries weight alone.”

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Creativity and Mental Health

For James, anxiety became a reality at eighteen after experiencing a severe panic attack. Since then, he has learned to manage it through faith and practical habits.

“Honestly, what helps me most that I’ve noticed is diet, and sleep,” he explains.

At the same time, emotional struggles often fuel his songwriting.

“During those times is when I’m the most creative… almost like my body wants to release whatever is happening.”

His album Testimonies reflects many of those experiences, exploring doubt, grief, and faith.

“As a Christian, I tie the hope of Christ into it as best I can.”

For James, the message behind #choosetolive is simple.

“#choosetolive for me means to never give up the fight.”

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Turning Pain Into Purpose

Christian solo artist Matthew Sassano has built much of his music around confronting difficult topics like anxiety, abuse, and identity.

“A large portion of my catalog centers around mental health or related struggles,” Sassano says.

He believes faith and professional help can work together rather than compete.

“Counseling, accountability, routines, and prayer aren’t in competition with each other — they’re meant to work together.”

Through performances at recovery events, prisons, and outreach festivals, he has seen how universal these struggles are.

“What I’ve learned is that pain is universal.”

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Breaking the Stigma

For Matt Davis, founder of The EHAMIOTAID Project, the biggest barrier to healing is often silence.

“Know, acknowledge, and accept that you have mental health issues,” Davis says.

His work encourages people to talk openly about what they are facing and seek help when needed.

“Come out of hiding. To come out of denial and into acceptance is a great place for healing to begin.”

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Choosing to Live

Mental health struggles affect people everywhere, including the Christian music community. What makes this scene unique is the willingness of artists to talk honestly about those struggles and encourage others to seek help.

As Trevor Tyson reminds people who may feel alone:

“You are not too far gone.”

Sometimes the most powerful step a person can take is simply choosing to stay.

Choose to live.