Category: Concert Photography

All dressed in red with everywhere to go, Vana’s Lady in Red Tour came through Saint Louis last weekend at Delmar Hall. Bringing a veritable bevy of new talent to the stage, the crowd was spurned to a frenzy with each passing set.  

RedHook, straight from Australia, started the night off with a quick set of metalcore. Lead singer Emmy Mack energized the crowd and the heavy riffs of guitar reverberated through the hall.  

As soon as their set ended, Deadlands took the stage, setting fire to the air and pushing Kasey’s raw vocals into everyone’s heads. Their NY style of metalcore caught with the crowd, driving home heavy bass beats and dropping thicc guitar riffs.   

Chandler Leighton took stage for a bass heavy but down-turned breath to catch up. Big vocals from this amazing artist kept the crowd enthralled and staring at the stage.   

Finally…the lights dimmed and Vana stepped out. Pink doused the hall, and the brutal breakdowns started. Mixing contemporary, almost pop-like lyrics with heavy drums and guttural guitars, she engaged the crowd and got them moving. Going from sultry and seductive to rage and power in massive swings as she switched between verse and chorus pushed the jumping crowd even further, keeping control and pulling their strings as she went. She is a bright future for metal as it continues to merge with other influences.

Puscifer and Dave Hill stopped by The Factory in St. Louis on April 30, 2026 on the Normal Isn’t Tour. Take a look at photos from the show.

It was no typical Tuesday night at Amos Southend. No one would not believe the amount of energy that Charlotte had for Quarters (formerly known as Quarters for Change) on their 2026 North American Tour. The city was one of their last few cities on their tour, and the crowd made sure to show up LOUD!

Joining the band among all of the noise were none other than two iconic openers, Trophy Wife and Malice K, who hyped up the crowd, and got them ready for an unforgettable night. 

“It’s our first date with Quarters,” exclaimed McKenzie Iazzetta, the lead singer of Trophy Wife. 

The night began to accelerate at the speed of light. Quarters brought everything and more to the stage. What got the fans even more excited was hearing songs off of their latest album I HOPE THIS ISN’T THE END OF THE WORLD live. For me, along with their latest music, the band playing past songs such as  “Tightrope” and “Kiwi” was just the icing on the cake.

Ending the show with “T Love” tied the entire night together and had me screaming the lyrics. 

Listen to Quarter latest album I HOPE THIS ISN’T THE END OF THE WORLD on Spotify and Apple Music!

It was a night of pent up emotion thrown into the ether, screaming to be released! I See Stars took the stage in St. Louis after amazing performances by Diamante, Until I Wake and Mothica. The night built in waves.   Diamante started us off, shining in sparkling light with a short set of six songs of her signature rock sound and dazzling voice, giving the night a strong push before handing off to Until I Wake.  

Until I Wake quickly took the stage, bringing their hard hitting and grinding metal sound to the night. The crowd continued to build and push, incited by Cody Jaimson’s lyrics and onstage performance.   Eight songs pounded the night, mostly from Inside My Head, leaving the fans clamoring for more, before ceding the stage to Mothica. 

Mothica may have been my favorite of the night. The twelve songs, were a a fantastic introduction to her library of music, but more importantly, she took time between songs to connect with the crowd.   Her history, her trials and what drives her as an artist. With her arms splayed like moth wings flapping as the night drove on, the crowd gobbled it up. She mixed strong vocals and thematic design to give the audience a breather before receding to the dark, and I See Stars took the stage.

With that, I See Stars initialized and pounded the stage. A great mix of songs, mainly from The Wheel, Treehouse, and New Demons, brought the crowd into a writhing ruckus as smoke and lights filled the stage and floated through the crowd. “Ten Thousand Feet” started their set off, and things didn’t slow down from there. Bright lights and dazzling antics brought energy and life to the stage and crowd. The crowd returned to a calm state only after the band closed out the night with “Anomaly.”  

Canada native Jeffrey Abel, professionally known as Excision, brought an unbelievable experience to finish off his two-night residency at San Francisco’s Bill Graham Civic Auditorium. Lasers and pyrotechnics were a notable feature of Excision’s set. His stage design also featured a large screen that displayed many visuals throughout his set that were synced with the lasers scattered throughout the venue.

Excision began his set around 10:45 PM. He did not hold back on the production, as his first song featured pyro in the shape of X’s and lasers that shot to the back of the venue. His set featured many songs that had an incredible amount of bass that could be felt even outside the main venue room. The crowd got especially loud for “Zombie”, with Wooli and Illenium, featuring Valerie Broussard, as you were able to hear the crowd sing along to the lyrics. Towards the end of the set, Excision played “Dimension.” There was a big visual of a mammoth on the large screen on stage, and confetti shot out into the crowd. Blue and green flames shot out of the stage, on beat with the song, and created a surreal atmosphere. Excision exited, saying, “Thank you so much, San Francisco!”

From Netflix’s Building The Band to center stage of The Underground in Charlotte on their 2026 World Tour, Midnight Til Morning and Alex Porat did something incredible for their first time in the city: exceeded my expectations. The night for the band was the perfect mix of back flips, upcoming music, and chaos (the good kind, of course.) 

Opening for Midnight Til Morning, Porat brought her pop star energy, setting the stage for the night, and a wave of nostalgia washed over me. Her set reminded me of simpler times, when we would tune into Disney Channel, and await the premiere of a new Hannah Montana or Vanessa Hudgens music video. Every song was special, and made me want to dance, which I did. 

For Midnight Til Morning, I can honestly say this: the talent and charisma that the band had on Building The Band has manifested into something even greater. From start to finish, their shared dream of performing and inspiring others, as well as the friendship they had formed on the show, radiated throughout the audience. Aside from the songs that Midnight Til Morning has released, hearing the stories behind some of their unreleased music deeply moved me and made me want to sing along with them. After each song, I immediately thought, “When will these songs come out?”

In the middle of their show, the band performed a bittersweet cover of “Midnight,” as a tribute to the late former One Direction member, Liam Payne. As someone who is a Directioner themselves, I was completely touched by their tribute. 

Before his untimely passing, Payne served as a mentor to the contestants of Building The Band, including Midnight Til Morning. Upon their elimination, Payne had shared encouraging words with the boys.

“One Direction came third,” Payne had said. “People thought we won! We didn’t win, but we didn’t lose.”

Though Midnight Til Morning may not have won Building The Band, they definitely won a whole lot more –  the hearts of fans from around the world, including the ones in Charlotte. Mine included. And while saying their goodbyes to the city, the band shared one last message. 

“We want everyone to feel welcome, safe, and comfortable because we love you,” said Conor Smith. 

Midnight Til Morning’s World Tour continues through May across three continents, so you still have time to grab a ticket.

Fans at the Underground in Charlotte were “kicking their feet” in excitement as both Ruel and Arthur Hill took the stage to make their first impressions on the city. Everyone welcomed both performers with open arms (and awesome dance moves)! 

Ruel graced us with his entrance by literally opening the door and greeting his fans to set the tone for an unforgettable night. Throughout the night, I was mesmerized. From songs such as “Dazed and Confused” off of his first EP Ready to “Not What’s Going On” from his newest album Kicking My Feet, and a breathtaking cover of Justin Bieber’s “Stuck in the Moment,” I was beyond impressed by how far he has come as the artist we know today. 

The sold-out show started at 9:30, and you could feel the momentum building up as Jordan Ward stepped on stage. He opened with “Stranger,” then rolled right straight into “Noisy Neighbors” and “Ross Fit,” setting a late-night R&B vibe that carried through the rest of the set. The 1 hour and 15 minute set leaned heavily into his newest album, BACKWARD, running it nearly from front to back, allowing the fans to enjoy his newest project fully. As the night almost came to an end, “FAMJAM4000” came on, voices rose, and phones lifted, drawing one of the strongest responses of the night as the crowd sang along in unison.

The production remained minimal, mirroring his “apartment,” and transforming the stage into a lived-in, personal space. A television, mini treadmill, and two chairs were arranged across the stage. Accompanied by a live band, the production felt intentional. The combination of the apartment-inspired set and live instrumentation created a performance that felt both immersive and artistically cohesive.

Ghost summoned…and they came. The Ritual in Peoria Civic Center roiled with anticipation as the hour approached. Slowly, the elements came together. The ritual music started…lights began to dim…incense filled the air. Ghouls around the hall came to a stand still and turned to face the stage as it went black. The Swedish rock band played with the curtain still up just for a minute before it crashed down and revealed the Skeletour stage setting and ghoul band members dressed to fit the theme, all in support of the Skeletá album. The opening song “Peacefield” played on, followed quickly by “Lachryma,” mixing old with new.

In all, Papa covered most of their works, but focused on albums Meliora and Skeletá. The fans soaked it in, dressed to impress in the tour’s new visages and garb. They moved, reached out, grasping for the sound as it came to them. Playing on to a monster set (23 songs) including “Mary on a Cross,” “Dance Macabre” and “Call Me Little Sunshine.” No ghoul went away unsatiated.