Category: Media

Pitbull brings the “Party After Dark” Tour to the Mohegan Sun Arena

After multiple shows in New York during the summer/fall leg of the “Party After Dark” Tour, Pitbull brought the tour north to the Mohegan Sun Arena in Connecticut. The sold-out crowd had options to see Pitbull at five locations during the summer and fall legs before he looped back around ahead of a European leg. Unlike the summer, special guest T-Pain did not come for this show leaving Pitbull the lone performer for the evening.

Before Pitbull graced the stage, one of his DJs hyped the crowd up by playing music and getting the fans in the right mood. With the DJ on stage, there was a rush of fans trying to get inside for “Mr. 305.” The entire audience contained people of all ages. Whether it was people in their 60s or little kids, Pitbull had a diverse audience spanning a generation or two.

Once Pitbull hopped on stage and began “Don’t Stop the Party,” off of 2012’s Global Warming: Meltdown, the dance party inside the casino arena started. For an hour and a half, Pitbull delivered hit after hit leaving the audience wowed and out of breath. When Pitbull ran on stage in the dark, from the back of the arena you could see a sea of phones leading to the barricade. The last time he was in the general area was Sept. 13 in Hartford and Sept. 12 on Long Island. Even if it was three short months, the excitement was in the air.

The Mohegan Sun Arena is home to the Connecticut Sun. So the lower bowl seats are pulled out on metal stands. Throughout the night, fans danced with each other or by themselves. They also jumped to the music, the stands swayed back and forth. Like the lower bowl, the upper deck was also having a party. They did not sit down for one second during the show.

During each song, the screens off to the sides and behind Pitbull and his seven-piece backing band and six backup dancers showed the audience. Each concertgoer had the same surprised and happy look on their faces. They were singing along and dancing to each show and you could just see the raw and pure joy on their faces throughout the night.

Throughout the show, Pitbull and his dancers would run off stage after certain songs to change into different stage clothes. This led to Pitbull’s on-stage DJ playing music to keep the good energy alive. Whether it was Aerosmith & Run DMC’s “Walk This Way,” or Bell Biv DeVoe’s “Poison,” the DJ did a great job at not letting the show come to a screeching halt.

When Pitbull and the dancers returned, they all had corresponding colors. Pitbull looked as snazzy as ever in his black, white, and red suit jacks. He dawned a charming smile each time a new color was debuted. His amazingly gorgeous dancers also had matching colors as they strutted around the stage for the entire 90 minutes. Pitbull was able to cleverly play off the dancers and vice versa to create a cheeky yet mesmerizing show.

It’s impressive that Pitbull has a backing band behind him. Sometimes popstars and rappers do not carry any other on-stage personnel with them. But the previously mentioned seven-piece band was spectacular. There was guitar, bass, saxophone, drums, keyboards and percussion that all created a beautiful live wall of sound behind Pitbull. Having a band play live enhanced the pop sound that Pitbull has polished off so well. It adds another complex but necessary layer to the live performance.

It was great to see Pitbull give a nod to other artists. Covering others’ tunes was his way of acknowledging their impact on him. Pitbull rapped a beautiful and clever version of Elic Crespo’s “Suavemente” which had the fans dancing all over the arena. He also included a cover of “Gasolina” by Daddy Yankee in his set. Hearing the familiar intro had fans looking at each as to say “I know this one.” It was great to hear Pitbull’s rendition of people’s favorite tracks.

In between each song, Pitbull would give some advice to the audience and give them a pep talk while also thanking them for coming out to the show. At one point, he talked about how his one teacher, Hope Martinez had changed his life. He then told the sold-out crowd that he had built 12 schools nationwide as part of the S.L.A.M! program. S.L.A.M stands for “Sports Leadership, Arts & Management.” Those schools are “non-profit educational organization supporting the expansion of K-12 tuition-free, public charter schools in underrepresented communities nationwide.”

Upon hearing this, the crowd roared in approval. It’s hard to imagine what The Beatles at Shea Stadium sounded like back in the 60s. Or, if you’ve never been to a Taylor Swift “Eras” Tour show, you might not be able to imagine what a roaring audience sounds like. A close third is any Pitbull show. He had the audience in a frenzy at the start of each song and at the end of the night.

At the tail end of the show, the setlist got swapped around slightly. Instead of ending on “ Give Me Everything” off of 2011’s Planet Pit, he ended on the smash hit “Fireball” off of 2014’s Globalization. The quick change in songs at the end of a great subtle switch flowed nicely into the end of the show. When fans left the area, they all had smiles around.

Pitbull is an entertainer that can easily fill up any arena, theater, or amphitheater. His hard work, drive and dedication for a great show spills out into the audience. It leaves the crowd with a lasting impression. The entire show is perfectly choreographed and the musicianship just doesn’t stop at “Mr. Worldwide.” He also surrounds himself with the best dancers and band to make sure that the show is as best as humanly possible. Seeing Pitbull live is an experience that everyone must do once in their life. Do yourself a favor and see him as soon as possible, you’ll witness one of the best and most pure entertainers on the road.

Pitbull setlist: Don’t Stop the Party, Hotel Room Service, International Love/Bounce Generation Sweet Child o’ Mine/Rain Over Me (Guns N’ Roses cover), Whoop! (There It Is) (Tag Team cover), I Feel Good, Suavemente (Elvis Crespo cover), The Anthem, Gasolina (Daddy Yankee cover), Culo, I Know You Want Me (Calle Ocho), On the Floor/I Like It/DJ Got Us Fallin’ in Love, Timber, Time of Our Lives, Give Me Everything, Fireball.

December 31, 2024
In Focus: Phish Return to Madison Square Garden

Phish kicked off their annual New Years Run at Madison Square Garden, the band’s 16th overall at the ‘World’s Most Famous Venue’ and a feather in the cap of a band who have had a remarkable 2024.

With shows at Sphere in Las Vegas and a stellar summer tour culminating at Mondegreen festival in Delaware (plus 4-night Mexico and Dicks runs) the foursome from Vermont have much to live up to at MSG, where the most recent performance by the band last New Year’s Eve featured a two-set stage production of the band’s Gamehendge rock opera, the holiest of Phish grails.

So while the bar is set high – let’s face it, Phish fans eternally set the bar high for the band – and the band doesn’t always reach that bar. It would be impossible to do so, but they gave it the ol’ college try on Saturday, December 28.

The show opening “Simple” would end up being the longest jam of the night, clocking in at 13 minutes, and when that’s the case, there’s a lack of flow that follows. “Free” followed and had some meat to it, but gave way to a sedate “Farmhouse”. Throw in “Poor Heart” and “Tube” plus a rare “Driver,” and the crowd was content to fall into a well placed first set “Reba,” with a beauty of a bliss jam within. A late first set “Oblivion” thankfully did not jam out for a change, and instead gave way to “Antelope” to close, as it so often has at the Garden.

Set two looked to get things started with “Back on the Train,” and while things were headed in the right direction, “Axilla (Part 2)” limped out of the gate, with Anastasio being a bit ahead of the band. The song struggled until the outro, which worked its way nicely into “A Wave of Hope,” a jam to enjoyably get lost in. “Round Room” – which let’s be honest, needed a little more practice – was performed for only the seventh time ever, and first since 2016, yet an apropos song for Madison Square Garden.

Just as the excitement over “Round Room” died down, “I Always Wanted it This Way” (aka, Page EDM) took over mid-set, and after that, the rest of the set played out with a standard “Twist,” a pleasant “Mango Song”, “Blaze On”, “Cavern” and to close things out, “David Bowie.”

For the encore, “Mountains in the Mist” to start meant a multiple song encore was in the works, but the bar was set high when you’ve seen “Mountains” at Sphere. “Fuck Your Face” followed and random, but possibly influenced by a recent tech CEO tweet. “46 Days” to close was on par with much of the show – fun and energetic, but nothing incredible to write home about.

Phish fans have three more nights left in 2024, including the 25th anniversary of Big Cypress to celebrate. What does Phish have in store to close out 2024? Stay tuned!

Setlist via Phish.net

Set 1: Simple, Free, Farmhouse, Poor Heart, Tube, Kill Devil Falls, Driver, Reba[1], Oblivion > Run Like an Antelope

Set 2: Back on the Train, Axilla (Part II) > A Wave of Hope > Round Room, I Always Wanted It This Way > Twist > The Mango Song > Blaze On > Cavern > David Bowie

Encore: Mountains in the Mist, Fuck Your Face > 46 Days

[1] No whistling.

Reba did not contain the whistling ending.

Round Room was played for the first time since June 22, 2016 (322 shows)

Photos by Taylor Weinberg

December 29, 2024
The Phish Before The Storm: December 30, 1995 at MSG

Nineteen ninety-five was as formative and important a year for Phish as they come. So, it should come as no surprise that it ended at Madison Square Garden, a venue the band today calls “home.” However, the New Year’s run for 1995 would mark only the second and third times Phish ever played MSG. Even though New Year’s Eve ’95 may get all the “glory,” it’s lead-in from the night before has a lot to offer as well.

The show began with the relatively new “Prince Caspian,” from then yet to be Billy Breathes album. It’s a relatively quick and nondescript version. But immediately at its conclusion, some familiar feedback ensues, the signature drum beat kicks in and Phish is off and running with a rare first set, “Also Sprach Zarathustra,” or simply “2001” as it’s commonly referred to today. Phish packs a decent punch in this arena rocker that certainly is a short version when compared to contemporary ones. Yet again, the next song begins before “2001” can even finish. This time it’s “Suzy Greenberg” with Page McConnell leading the way on piano, completing a unique opening trifecta.

Another quick, familiar-sounding feedback jam slows things down a bit before Phish takes off again. This time it’s fueled by Jon Fishman’s signature drum intro to “David Bowie.” This gives the band their first real opportunity to explore the New Year’s space at MSG, and they do just that. A patiently crafted jam is accentuated with some brilliant Anastasio-provided guitar licks, which grow slowly in ferocity. This yields a hearty response of approval from the crowd as the first real jam of the night.

The first set also features a “Kung” sandwich, with the opening and closing sections of “It’s Ice,” ably serving as the bread. There’s even a nod to Gamehendge, courtesy of the ensuing “The Man Who Stepped Into Yesterday” sequence, with the Mike Gordon-led “Avenu Malkenu,” placed right in the middle per usual. Emotions then come to a peak in the first set with an absolutely rousing “Divided Sky” that features a noticeably long “pause.” A quick romp through “Sample In A Jar” brings a first set that seemed to pull a little bit of everything from the band’s mid-90s repertoire.

Native New Yorker, Mike Stone, got to make the chess move, on behalf of the audience prior to the start of the second set. This was the second of two chess matches between the band and their fans in 1995. These wound up being split. And for those unaware, the rematch looms.

While the second set doesn’t offer up as much in the way of rarities as the first, it more than makes up for it in execution. “Ya Mar” opens the second stanza and includes a perfectly placed “Auld Lang Syne” tease from Trey. Another fairly new song still finding its legs in “Free” follows this. But the highlight of the set, and possibly the show, is the triumphant “Harry Hood” that comes next and builds to an incredibly emotional peak. When this is paired with a thunderous “AC/DC Bag,” it creates one of the earlier special Phish moments at MSG.

“Lifeboy” serves as the well deserved ‘breather’ song after this impressive sequence of music. But that’s the last of its kind for this show. “Scent Of A Mule” sees a particularly drawn out “Mule Duel” between Trey and Page before its maniacal klezmer-esque finish. And the set ends in fine fashion with a double closer of sorts. A standard take on the Picture of Nectar classic “Cavern” begets an absolute whirlwind of a “Run Like An Antelope” and the typical musical chaos that comes with it.

For an encore, Phish trotted out “A Day In The Life,” a Beatles cover that was also new to 1995. This would be the only non-instrumental cover of the evening. An impressive performance of nearly all originals, both new and old, defined the second ever Phish show at MSG. And it certainly laid the groundwork for what would be the third time’s “charm” the following evening.

Phish MSG New York, NY 12/30/95

Set 1: Prince Caspian > Also Sprach Zarathustra > Suzy Greenberg > David Bowie, Simple > It’s Ice -> Kung -> It’s Ice > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Divided Sky, Sample In A Jar

Set 2: Ya Mar, Free > Harry Hood > AC/DC Bag > Lifeboy, Scent Of A Mule > Cavern > Run Like An Antelope

E: A Day In The Life

December 29, 2024
In Focus: Hayley Jane and Laura Leigh Warm up Ophelia’s in Albany

Hayley Jane and Laura Leigh paired up for an unforgettable night of music at Ophelia’s in Albany on the bitter cold night of December 21st.

Photo by Pat Rogers

The show capped off a week that saw Ophelia’s welcome Slidin’ Dirty relocating from Troy and serving up a deep menu of top notch burgers and more.

Photo by Chris Bobillo

The evening was presented by Guthrie/Bell Productions and also the final Jam for Tots show of the holiday season. (thanks to all who brought an unwrapped toy!)

Photo by Pat Rogers

A natural pairing for this show, Hayley Jane and Laura Leigh have performed shows together since 2022. Hayley pulls inspiration from so many styles – 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass – and offers a no holds barred approach to her sets. This made each song a performance, nothing less. Hayley Jane’s passion and energy are expressed out to the audience, bouncing back off and driving each show to new heights.

Photo by Chris Bobillo

Opening up, Laura Leigh’s set picked up steam slowly and offered no break once the wheels were turning. Hailing from Cambridge in Washington County, Laura Leigh has gone from busking around the Capital Region to performing on local stages to a growing audience. Her 2021 album Livin’ in Cambridge painted a picture of her small town, and newer songs since written offer a glimpse into a songwriter’s journey.

Learn more about Hayley Jane and Laura Leigh.

Photos by Chris Bobillo

Photos by Pat Rogers

December 28, 2024
Hearing Aide: Ross Goldstein Releases Fifth Studio LP “Blunders”

Ross Goldstein released his brand new album, Blunders on November 15 on OddCat Records. The nine track, polished LP takes a deep dive into the world of psychedelia and features producer Eric Goulden (Wreckless Eric). This is Goldstein’s fifth full-length record, following his 2021 release Chutes and Ladders.

Artwork by Robert Beatty

Recorded in Catskill, NY at Goulden’s home studio, Blunders was co-produced and engineered by Wreckless Eric. Both Goldstein and Goulden are credited with playing almost every instrument on the record. Despite a morose subject matter, there’s a noticeable warmth that encapsulates Blunders.

Goldstein refers to the LP as “bummer psychedelia” and states that he was “aiming to achieve a cinematic mood and a feeling of being alone and lost on the road in America. Living on the road and feeling lonely and isolated are central themes of the record – attempting to pick up the pieces after relationships fall apart – both accepting and embracing failures.”

Goldstein cites 60’s and 70’s pop, artists like Neil Young, The Beatles, and Grateful Dead as his primary influences as a songwriter. He also references Holland, the 1973 release by The Beach Boys as a major source of inspiration.

Goldstein’s arrangements, eclectic songwriting and heavy use of imagery in his lyrics allow for each song to stand alone – yet they are pieced together in a way that not only establishes his goal of cinematic musicality, but creates a captivating piece of art from Blunders’ first note, to its last. From the country americana, tinged by psychedelia vibes of “My Slippers”, to the dreamy, albeit uneasy soundscapes on tracks like “The Village”, this record has a welcoming yet dark in nature attitude.

His eccentric tones, emotional guitar solos, goosebump inducing textures and production techniques are reminiscent of bands like Pink Floyd and Ween. His use of spoken word on “Carrizozo” and “Ticker Tape”, the funk grooves of “Odd Man Out” and the seemingly not so lyrically serious “I Forgot To Comb My Hair” are just a few examples of how this genre-blending, borderline defying release synthesize under an umbrella of psychedelic folky goodness.

Blunders is currently available on all streaming services – learn more and support Ross Goldstein here.

December 27, 2024
“Twas the Night Before Christmas” Celebrates 201st Anniversary of Publication

The latest episode of Troy Story: A Podcast for the Collar City, marks the 201st anniversary of “‘Twas the Night Before Christmas” by Clement Clark Moore.

The favorite holiday tale was first published in The Troy Sentinel on December 23, 1823 as a poem. It would later go on to shape modern conceptions of Santa Claus and many familiar holiday traditions.

The episode features guest Kathy Sheehan—Executive Director of the Hart Cluett Museum and historian for Troy and Rensselaer County—who explains the story behind the iconic “Twas the Night Before Christmas” and its place as American holiday lore, the more recent debate over authorship, and the poem’s more than two-century connection to the Collar City.

Troy Story: A Podcast for the Collar City is a monthly oral history podcast produced and hosted by John Salka—longtime Troy resident and former Communications Director for the city of Troy and advisor for two mayors.

The full episode is available on Apple Podcasts, Spotify, YouTube, and all major podcast platforms.

December 24, 2024
Philly Invasion: City Wide and Wax Jaw take on NYC’s Bowery Ballroom

It’s only right for 2024 to end with a slew of high-energy concerts. On Friday, December 20, two Philadelphia based bands, City Wide and Wax Jaw, journeyed to Bowery Ballroom. The two shared similar goals: charm local New Yorkers and supportive listeners through dynamic and compelling music.

Before these two Philadelphia based bands hit the stage, the night started off with The DTs. This modern pop duo, consisting of David Cacciatore and Tom Losito, channeled a variety of sounds. Melding into rock, punk and blues, The DTs sought to bring their hometown of Jersey to the forefront. They experimented with harmonies, catchy lyrics and rockin’ guitar riffs. The DTs also performed their new single, “Cherry,” an uplifting track, with roots in adolescent memories.

Slowly as the DT’s set came to a close, more people started to trickle into the venue. Just after 9pm, Wax Jaw took center stage, ready to bring the energy. This past year, Wax Jaw has rapidly made its mark in the Philly music scene, drawing inspiration from punk and new wave genres. Evoking a sense of nostalgia while highlighting trans voices, the band is made of the singer Shane Morgan, drummer Ian DiBruno, bassist Greg Blanc, and guitarists Sean Vannata and George Fenton. Throughout this leg of the tour, Ben Manning replaced DiBruno’s spot on the drums.

Right off the bat, Fenton took over the microphone, calling out to the audience to gather close and get ready to dance. Upon hearing his words, fans pressed close to the edge of the stage, tilting their heads back and forth in tune to the music. Known for their album, Between the Teeth (2023), the band played hits such as “Be the Man,” “Mirror” and “Attitude.” Morgan kept the crowd entranced, each song more powerful than the last. With a focus on lyricism and balanced instrumentals, the driving drum beats grounded the audience. Halfway through the set, Fenton urged everyone to gather close to the ground. Reaching crescendo, band members and fans jumped up in the air, clapping hands and singing along.

Wax Jaw’s high-octane performance set the mood for the rest of the night. Fans split into groups, chattering in anticipation about the previous bands until 10:30 rolled around. At this point, the front of Bowery Ballroom was packed. City Wide entered only a few moments later, earning a roar from the crowd. Vocalist Emily Goldenberg immediately made her presence well known, her strong and captivating vocals pairing perfectly Simon Sheintoch, Evan Brink and Patrick Crosgrave. Ben Manning joined once again on the drums, sticks flying as he pounded the bass and snare.

Placed into the alternative genre, City Wide draws inspiration from classic rock and upbeat melodies seen in tracks by The Lumineers and Mt. Joy. They honed a charismatic stage presence and their hit, “Countdown” seemed to resonate with frequenters of the Ballroom. Goldenberg declared this song was meant to pay homage to the upcoming New Year, counting down from10 in the midst of the chorus. City Wide also made sure to balance out the night with some songs on the slower side, including “Higher & Higher.”

The evening concluded with City Wide returning for an encore. Each member donned Christmas themed sunglasses to cover Chuck Berry’s “Run Rudolph Run.” A whirlwind of energy overtook the room, bodies swaying in time to the rocking, fast paced rhythm. Ending 2024 right at Bowery Ballroom, both Wax Jaw and City Wide hope to play NYC once again in the coming year.

December 22, 2024
In Focus: Saint Levant Brings DEIRA Tour to Terminal 5

Palestinian singer-songwriter Marwan Abdelhamid, known professionally as Saint Levant, showcased his debut full-length album DEIRA with a powerful performance December 13 at Terminal 5.

Photo by Molly Higgins

The packed venue was dotted with Palestinian flags and traditional keffiyehs, and fans shouted in English and Arabic alike as they eagerly awaited Levant’s entrance. After an opening set from fellow Palestinian singer-songwriter Lina Makoul, Levant kicked off the evening with “On This Land,” the first song on DEIRA.

Backed by a group of dancers performing soldier-like choreography, Levant alternated seamlessly between rapping in English and singing in Arabic in one of many musical tributes to his homeland: “We are a nation of displaced dreamers/Heritage keepers,” Levant’s lyrics profess.

“Deira is the name of the hotel that my father, Rashid, an architect, built with my mother in 2000 when they moved to Gaza,” Levant told Variety when he released the album’s title song. ““Deira means the Kasbah or the old city…Deira is anchored in Algerian culture through its sound (where my mother is from) and in Palestinian culture through its words (the land of my father). Deira represents represents a mix of my parents’ cultures.”

Levant’s Terminal 5 performance showcased his versatility as a musician—in musical style, language, vocal range, dance, and as an instrumentalist: halfway through his second song, Levant traded in his microphone and began riffing on the saxophone as fans screamed their support.

Levant played the final performance of his DEIRA tour December 16 in Chicago.

Saint Levant – Terminal 5, Manhattan – December 13, 2024

December 17, 2024
Daughtry brings “Adrenaline Gone Ballistic” Holiday Tour to Del Lago

Daughtry brought their “Adrenaline Gone Ballistic Tour” to Del Lago Resort & Casino in Waterloo on Saturday, December 14, bringing a mix of nostalgia, adrenaline, and excitement to the stage.

Daughtry opened the night with “The Reckoning”, a newly written song on their EP Shock To The System (Part One). The packed venue rose to their feet as head singer and North Carolina native Chris Daughtry entered the stage.

The thrilled Del Lago crowd wanted more from Daughtry, shouting requests in between songs. Chris interrupted the setlist to fulfill the crowd’s request, playing a heartfelt rendition of his acoustic song “September”, written in 2009. The fans didn’t just come for a show, they came for an exciting interaction.

The alternative rock band was formed in 2006 after Chris Daughtry made it to the finals in the fifth season of American Idol. His vocals and newly formed recognition earned him a record deal with RCA Records, and the band’s self- titled debut album would go on to sell more than a million copies after just five weeks of release, becoming the fastest selling debut rock album in Soundscan history.

As Daughtry waved the crowd goodbye and thanked the Waterloo fans for having him, the crowd stuck around as they cheered for an Encore, wanting more. With the eager fans on their feet, Daughtry rushed back out on stage to close out the show with their song “Artificial”, the first single to reach the number one spot on the Mainstream Rock chart. The band will gear up for upcoming shows in Nebraska and Minnesota, concluding their 2024 tour in Green Bay, Wisconsin.

December 17, 2024
Metallica 1989 Concert at RPI Field House Revisited on Troy Story Podcast

The newest episode of Troy Story: A Podcast for the Collar City revisits the first and only time Metallica performed at the RPI Field House, on Wednesday, March 15, 1989, with opening band Queensryche.

Joining host John Salka is world-renowned drummer and lifelong Capital Region resident, Jason Bittner (Shadows Fall, Category 7), who – a 19-year-old college student at the time – attended the show on a holiday break from Berklee School of Music.

Troy Story: A Podcast for the Collar City is a monthly oral history podcast produced and hosted by John Salka, former Communications Director for the city of Troy and advisor for two mayors, bringing a firsthand perspective to recent Troy history.

Rampaging across America on their “Damaged Justice Tour”, Metallica was in support of their latest studio album (and eventually selling more than 9 million albums) …and Justice for All. The show was also the band’s second-ever performance in the Capital Region.

During the episode, Jason discusses with John, thoughts on the audio production for the “… and Justice for All” LP; speculation on how someone managed to bring a camcorder into the Field House to record the Metallica and Queensryche sets; performing with some of his favorite bands touring the world, including Overkill and Anthrax; the reunion of Shadows Fall, his new band Category 7, and previous work with local Capital Region hardcore band Stigmata; attending Metallica’s 1986 show at the Glens Falls Civic Center with Cliff Burton on bass guitar, and meeting drummer Lars Ulrich for the first time, and seeing other legendary metal bands like Ozzy Osbourne, Megadeth, Slayer, Anthrax, and Metal Church at various Capital Region venues.

Live bootleg audio from Metallica and opening act Queensryche at the RPI Field House in Troy is featured throughout the episode to immerse the listener in the story. Additional photos, video and archive materials is available on the Troy Story website .

Future episodes will feature RPI alumni and WRPI DJ Toast Eric Haskins who was part of concert security staff that night, and then-high school student and Metallica fan Kevin O’Connell – both attended the show that night in 1989 and will share their recollections of the gig.

The full episode is available on Apple Podcasts, Spotify, YouTube, and all major podcast platforms. Connect with the podcast on social media, including Facebook, Instagram, and YouTube.

December 16, 2024