Blog — Page 7 of 282

Chat Pile are about to wrap up their US West Coast and Canada tour with Gouge Away this week. I was fortunate enough to catch the sludgy rockers when they came through Pomona last week.

Kansas City's Nightosphere has opened the shows every night. The trio's unique blend of shoegaze and slowcore is fit for moody long nighttime drives. Second on the bill is Hardcore Punk act Gouge Away, who released Deep Sage last year—their first new album in six years. The juxtaposition between the two bands made for an interesting night. Gouge Away filled the room with their ferocious sound and Christina Michelle's boisterous vocals. 

Chat Pile took to the stage with the Austin Powers theme song blasting from the house speakers before jumping into "The New World." The crowd responded with push-pitting and fist pumps. Between songs, frontman Raygun Busch would divulge trivia about movies filmed in the city of Pomona, like That Thing You Do! being filmed at the nearby Fairplex, or Mike Myers' Cat in the Hat filmed downtown. When he wasn't spouting facts about movies, he was meandering around the stage like an anxious animal at the zoo while his arms freely flowed around like a ribbon dancer. The set mostly consisted of tracks from their new album, Cool World, like "Shame" and "I am Dog Now" but they still threw in older songs like "Why?" from God's Country and "Rat Boy" from their 2019 debut EP.

The band will continue to promote Cool World when they head to Europe for a full tour with HIRS Collective and Agriculture. You can find dates below as well as a gallery from the night!

In a time of a lot of bullshit going on, spending Valentine's Day with my wife and Cursive at my favorite venue was a great escape. Cursive are out on the road in support of their newest album, Devourer, with support from Boston-Rock quartet, Pile. I hadn't previously heard of Pile and was surprised to find out how long they've been around and the number of releases they currently have. I was blown away by their blend of Noise-Rock, Indie-Rock, and Post-Hardcore. When they closed out their set reviling Stephen Miller, I made my way to the merch booth to buy the album. The band also announced they'll be putting out a new album this year on Sooper, so be on the lookout for that.

Cursive walked out on stage and jumped right into "Up and Away" off their new album Devourer. They threw in a smattering of tracks from the album, including "Botch Job," "Dark Star" and the savagely pensive, "Age of Impotence." However the band was very generous with how diverse the rest of the set was. The covered the fan favorites like "Some Red Handed Sleight of Hand," "Art is Hard," "The Martyr," and "The Radiator Hums" from their critically acclaimed albums The Ugly Organ and Domestica, while playing deeper cuts like "Into the Fold" from Happy Hollow and "What Have I Done?" off Mama, I'm Swollen. They covered the early era of Cursive with "The Rhyme Scheme" off their second album The Storms of Early Summer, and their later era with "I Am Goddamn" from 2019's Get Fixed.

Cursive ran the numbers on how many times they've played The Glass House and concluded that this was their Sweet 16. I've lost count of how many of those 16, I've been to, but they've delivered every time and this set was a great celebration of all those years playing this venue. Here's to 16 more! Be sure to catch Cursive when they roll through your town if they haven't yet. You can check out a gallery of photos below.

Luke Combs 
01 February 2025
Accor Stadium
Sydney, Australia

On a balmy February evening in Sydney, country music fans from across NSW flocked to Accor Stadium for what promised to be a historic night. Luke Combs, the global superstar who has redefined modern country music, made history as the first country artist to headline a full stadium tour in Australia and New Zealand. The scale was undeniably massive, the crowd was electric, and the hits were plentiful - but beneath the spectacle, there lingered a sense that something intangible was missing.

From the moment the lights dimmed and the first chords reverberated through the stadium, it was clear this would be a night of singalong anthems and polished production. Combs, backed by a technically flawless band, took the stage with the confidence of an artist at the top of his game. His setlist was a well-curated mix of crowd-pleasers and tracks from his latest album, Fathers & Sons, a deeply personal record that explores themes of family, legacy, and resilience. Songs like Remember Him That Way and the encore Ain’t No Love in Oklahoma resonated with emotional depth, their lyrics offering glimpses into Combs’ evolution as a storyteller.

There’s no denying Combs’ ability to connect with his audience. His down-to-earth charm and everyman appeal have always been central to his success, and tonight was no exception. The crowd hung on his every word, erupting into deafening cheers at the opening notes of hits like Beautiful Crazy and When It Rains It Pours. His rendition of Fast Car, the Grammy-winning homage to Tracy Chapman, was a poignant moment, though it felt more like a faithful tribute than a reimagining.

Yet, for all the technical precision and crowd-pleasing moments, there was a lingering sense of predictability. The show felt meticulously planned, each song and stage cue executed with clockwork precision. While this ensured a seamless experience, it also left little room for spontaneity or raw, unscripted energy, i.e.the kind of moments that transform a great show into a legendary one.

The production values were undeniably impressive with visuals played across massive screens, and the lighting design added a cinematic quality to the performance. But for all the spectacle, the most striking image was the sea of fans, their voices rising in unison, their energy palpable. It was a reminder that, at its core, a Luke Combs show is about community, i.e. a shared love for music that tells real stories about real lives.

As the final chords of Beer Never Broke My Heart rang out and the crowd roared their approval, it was clear that Combs had delivered exactly what his fans came for: a night of big hooks, heartfelt lyrics, and stadium-sized singalongs. For many, it was a dream come true. But for those hoping for a touch of unpredictability, a moment of unpolished magic, the night felt like a well-oiled machine - reliable, impressive, but missing that spark of rawness that could have made it truly transcendent.

Wardruna
25 January 2025
Enmore Theatre
Sydney, Australia

In the humid haze of a Sydney summer evening, the Enmore Theatre became a portal to another realm, a sacred space where time and place blurred. On January 25, 2025, Wardruna delivered a transcendent performance that not only captivated but transported its audience into the heart of Nordic mysticism. Anticipation had simmered since the band’s tour announcement in April 2024, and as the crowd gathered, clad in intricate folk-inspired attire, the atmosphere felt less like a concert and more like a ritualistic homecoming.

The stage design set the tone: drapery shimmered like torn, blood-soaked skin under shifting lights, evoking an eerie yet inviting atmosphere—more medieval dungeon than modern theatre. As the runic symbol of Wardruna glowed center stage, the crowd hushed in reverence. The opening notes of Kvitravn broke the silence, the haunting strains of the violin casting a spell over the packed hall. The silhouettes of the band appeared against an ever-changing backdrop, as Einar Selvik and Lindy-Fay Hella’s voices wove a tapestry of sound that reverberated with the theatre’s pristine acoustics.

The performance unfolded like a story told through shadow and light. From the pounding heartbeat of Hertan to the feverish energy of Skugge, each track was a revelation. The textured drapery became a living canvas, projecting eclipses, fiery peaks, and ethereal snowfields, amplifying the emotional depth of each song. Wardruna’s mastery of atmospheric soundscapes was palpable; smoke rose from the stage, blending with the visuals to immerse the audience in a multisensory experience that felt both ancient and otherworldly.

Selvik’s versatility was on full display—chanting, drumming, and playing the kravik-lyre with an intensity that seemed to channel the spirits of old. Lindy-Fay Hella danced like a shaman, her movements feverish and free, as if conducting the energy flowing between the band and the enraptured audience. Tracks like Lyfjaberg and Heimta Thurs showcased the ensemble’s collective brilliance, with every instrument and voice contributing to the unfolding ritual.

The climax came with Helvegen, a song about death and crossing over. As the stage bathed in red light and runes reappeared, the crowd was invited to sing, their voices rising in unison like an ancient choir. The atmosphere was electric, reverent, and deeply personal—a moment of shared catharsis.

And then, in a final intimate gesture, Selvik returned alone for an encore, offering Snake Pit Poetry in a stripped-back, skaldic mode. His gratitude to the audience was heartfelt, his words a reminder of Wardruna’s mission: to reinterpret the past in ways that resonate with the present. 

In its essence, Wardruna’s performance was a bridge between worlds. It left the Enmore Theatre vibrating with the echoes of ancient chants and modern marvels, a shared experience that transcended language, culture, and time. 

Sometimes I get all introspective and ask myself why I do this.

Not very often, but the answer is always because I like music. It's that simple. I like to discover new stuff and I like to share it.

Every year, the staff at Scene Point Blank sink a ton of time into 3 big Year End features. Part of that includes a personal top 25 albums of the year.

I've made a playlist to my albums list. Enjoy.