New year, Happy 2026

Good evening ladies and gentlemen. Happy 2026! It's already been wild this year but we must keep pushing on with our goals and work. 

Personally, I've been tired a lot this year so far but I try to balance out a lot of rest with a lot of work at the job and activity at home. I've been reading a lot and listening to a lot of music. I discovered Bach cantatas and I found a correlation between Bach's cantatas and Mozart's opera work, its downright fascinating. I've also been tuned in to Small's jazz club in Greenwich Village NYC, tuning into a lot of live performance music as well as their nightly jams. There's a community online there and we chat and talk a lot about music, everything from straight ahead jazz to avant garde jazz to classical and sometimes even rock. There was a funny moment during Christmas where a random jammer at Smalls went viral for having a breakdown and cursing out the other jammers. It went to the heart of how people that have breakdowns in public often get made fun of and criticized even though it could happen to anyone, and that we need to be more understanding of others. Other people thought he was rude and probably on drugs. The incident went viral and lots of youtubers made response videos about it. Yeah, that was a interesting phenomena during Christmas. 

In addition, it wasn't really that the guy was terrible. However, he brought an acoustic guitar to the jazz jam, which is a no-no, but he said in a interview video he's been struggling financially and doesn't have money for a regular electric guitar, which goes to him struggling mentally and apparently even being homeless for a while. I would agree that the hardcore jazz elite who shamed this guy publicly on YouTube got it wrong, and that we should be more understanding of this guy and his problems. He wasn't really that good at jamming, and he's not really a 'jazz guitarist,' and he doesn't know the songs per se, but his rhythm comping to the tunes and under the soloists was decent enough to be there onstage and I thought a lot of the jazz elite were publicly shaming him, to their own detriment. I think, even as hardcore musical afinados, we should be more understanding of different musicians and their ability to play the music, especially jazz, because not every jazz musician is a Charlie Parker or a Wes Montgomery. I've seen high caliber jazz fusion musicians perform at The Baked Potato in Studio City, LA, and a lot of times even their playing was uninspired and mediocre albeit tuneful and tasty.

Moving on, more importantly, everyone I know who has a heart has been disgusted by the murder-killing of Rene Good by an Ice Officer. What can I say about this? It's an outrage and should be denounced by our government but of course with Trump and the Trump administration he has decided to double down and say that Rene Good was in the wrong and that the Ice Officer did the right thing to do what he did. Compare the way the Trump Administration is treating Rene Good with the way they treated Charlie Kirk, that pretty much sums up the divide between the so-called woke far-left and the maga Trump republicans. But the way its being talked about through the media is that this is left-wing versus right-wing but the truth of the matter is that its more about the way American citizens are treated by Ice Officers and those in law enforcement like cops. It's more like a George Floyd killing than anything particularly political, but the media has us all divided on the issue as if it matters that she was a left-winger. I suppose in a way, it does matter, but for me personally, I see Rene Good's killing as like a George Floyd killing, for white people. 

In addition, I think race matters here in this context because I believe white people think that they have certain rights when it comes to law enforcement. Well, this incident rebukes the whole idea that white people have rights when it comes to law enforcement, because we see in this particular incident that Rene Good didn't have rights and that she was seen as something 'less than human,' and this particular Ice Official decided it was in his best interests and that it was okay for him to deny her her human rights, and kill her, murder her. 

Downright chilling stuff. Her story should chill us and warn us that we're not in Kansas anymore. This shows us Americans that Ice has been politized and policed against us as Americans and that if you or anyone is on their list you are in for a lot of trouble. We're probably too far already down the Maga Republican rabbit hole to get out of this deep backwater that we're in. What's the answer to this? I guess the Democrats would have to come to up with some deep strategy to win and take back control in 2028. But there are lots of problems with voting such as the fact that most voters aren't even politically aware or smart enough to make decisions that would be in their own best interests. One man's vote has to equal one man's education and without that, the system develops an outsider character like Trump to somehow win the White House for the second time after being convicted of rape and being two times impeached. And don't forget about the Epstein files. 

Lastly, there's a lot going on and it's hard to follow if you're just one person trying to live your life, provide for yourself and your family, and to be a productive intelligent member of American society. After all, if you're too busy struggling to make money at a job, providing for yourself and your family, and don't have enough time to dedicate to learning and educating yourself, then there's no way you can actually think about how things are so bad in America right now. You have to sort of have some kind of privilege to be able to read the news everyday, learn more about what's really going on in society, read books, educate yourself, these are things that not everybody really has time or space for. In fact, you'll find other people my age are spending their time playing video games, working nonstop at their 9-5 jobs, maybe they drink and/or smoke weed, they gamble, they're doing stocks, they're doing crypto/bitcoin, but most of them aren't politically aware or class conscious to the fact that things are going south very fast, probably faster than I can keep up to even write about in these blogs. Let me rephrase that, they're politically aware, but they're struggling so much that they can't do anything to change the System from within. Even from the last post I wrote, a lot has happened. 

In conclusion, there's a lot we can do but most people are going to be too busy trying to survive and maintain and cope with the life they've been given. We as young people are struggling to maintain the lives we've created for ourselves and our families. Not everybody can sit around and write blog posts about their thoughts or even read the news daily. And this ends up working in the bad guys' favor, because we have developed into an uneducated underclass that is too busy playing video games, gambling, and too busy working all the time in order to survive, that if you even think about the idea of questioning the status quo or the government, or the system itself, you will looked upon as like some kind of weirdo. "Is that a conspiracy too?" You tell me.  

Things I learned From Playing Guitar Live in Los Angeles

 

So what is it like, playing shows live onstage at small bars and clubs in Los Angeles, from the guitarists' perspective? 

First, you have to realize, that playing guitar live onstage in Los Angeles is very common. There are a million guitar players in Los Angeles. Why? Because its a warm climate and guitars do much better in warm climates than in cold climates. Therefore, there are a million guitar players in Los Angeles. So, you must realize that if you want to play guitar in Los Angeles, you are competing with a million other players, many of which, may be good, very good, so-so, and/or amazing. 

So you've decided to play a guitarist in Los Angeles? Okay, so here are the next steps in your sound once you get on stage in whatever capacity: in a band, in a cover band, or in an original band, or just playing a jam session. 

Second, the type of guitar you use is important. So when you get onstage, the type of guitar you bring to the performance matters most more than anything. You need a cheap but comfortable guitar that you can play at any moment's notice. Cheap, because most bars aren't the most safest for your good gear. And comfortable because you need to be able to play very well in any moment's notice. 

Third, the type of amp matters a lot too. Let's say you're playing in a metal band. I would recommend some cheap solid state amp [digital] that you could haul easily. If you're playing country and western then you want something older like an old small tiny Fender tube amp that you can really crank up. Classic rock? Well, you could do a solid state amp [digital], or a tube amp. 

Or, there's another option. You could run the guitar through the PA, and have the sound technician turn up the guitar loudly. But this is a last resort option, only if somehow you have no amp and you must perform. 

Fourth, you as the player matter. What kind of styles of music are you more inclined to? If you're a metal player, you might play fast three-notes-per-string scales like Malmsteen or Steve Vai. If you're more blues, you might be sounding like Jimi Hendrix or Jimmy Page. If you're more country you're going to sound more like Joni Mitchell backing up Emoulou Harris. So, you, as a player matter a lot. 

Moving forward, you must ask yourself, why am I playing guitar in bars in Los Angeles? Do you need money, do you play for fun, are you trying to be famous, or are you just trying to chill and have a good time? You must have a purpose to what you're trying to do. 

However, because there are a million other guys playing guitar in bars in Los Angeles, you'll find that its difficult to make it in the business. Especially because the music industry and music business has changed so much from when I was a kid [2011] to now [2025], so you'll find its tough no matter how good at guitar you are. 

So, you'll learn that guitar in Los Angeles isn't the most necessary or important, or required instrument in bars. Because the music scene here is so oversaturated with guitar players, you'll find out that its better to be a multi-instrumentalist instead. 

Next, you'll find that you'll have to wear many hats and know how to play musical chairs. 

In conclusion, what do you have to do in order to be a musician [guitar player] in Los Angeles? This will take all of your musical abilities start from whatever age you first became attracted to music. Most musicians get interested in music around the age of 9 or 10 years old. 

So you'll find that you'll have to be a multi-instrumentalist. Most bands won't need a guitarist, so you'll have to be able to be a singer [while also strumming piano or guitar or bass or drums at the same times], or a bass player [non-singing], or a drummer [non-singing], or piano [non-singing] and you must also have the ability to be able lift heavy sound equipment for your band. 

Lastly, you'll also want good old fashioned sound engineer ability as well. For, as you see, its very complicated playing guitar at bars in Los Angeles. 

Rent-Due, Still Playing Clubs

Things I learned From Shows in Los Angeles

Letter from the composer: [sends me chords to play on piano]

Me: Thanks, I'll check them out. 

Happy New Year. Kind of bummed out with a work situation at the moment. But the music is keeping me going. The last couple nights I've been going to shows at the bar and figuring out how the sound technician gets all the sounds. I figured it out. 

There are monitors, subwoofers inside the bar on the top of corners on the ceiling. 

The owner only wants the sound tech to only use the brand new [digital equipment]. But he doesn't want to because he likes a more traditional system. 

The owners says the traditional system is too loud. So he can't use it every night. So he's been loading different equipment [a more fancier analog system] all by himself for different nights in a large SUV style van. Not good because the guy is 64 years old. 

The answer to this dilemma is that he must use a smaller sound system for each and every night. But he doesn't want to because he wants to do what he wants, and is reluctant to do anything the owner says because they've been working together for a long time and they have some sort of dispute about it. 

However, the sound technician showed me the older more basic [analog log system that's very small] and I saw that everything that it had was acceptable and could work within the small confines of a small local Encino bar. 

So, you find that the sound systems used to record music are not important at all to the sound of the recording. 

Rather, it is the direction of sound that is placed or pointed at the audience that determines the sound more than anything else. 

In conclusion, theoretically speaking, you could record a classical music album on an iphone 12. 

Keep in mind, this guy used to run sound for Black Flag.

Happy New Year! 

Live Jazz Performance! 12/2/21!

Happy Friday ladies and gentlemen, 

Check out our live performance from yesterday https://www.facebook.com/orlando.figueroa.3150/videos/607302963652309

We didn't play during Thanksgiving week and here we are back at it again. Things to note on this particular performance, I was more feeling/thinking more in the realms of rhythm, trying to think of the guitar as more of a drum, rather than a guitar sometimes when I'm strumming chords. My solos still go off into Mars here a lot, but my main focus was keeping that steady pulse. 

Thanksgiving week was tiring at work but I managed to get a lot of sleep that week and even today. Life is good! Happy holidays to you and yours. 

God Bless

Your Most Humble Guitar Player, 

O. Figueroa 

Live Music Session 11/11/21!

https://www.facebook.com/orlando.figueroa.3150/videos/1062070257878268

This was recorded on November 11, 2021, on my phone. Featuring myself, Orlando Figueroa on guitar and Jason Tomas on alto saxophone. 

We've been practicing together for about a year during the pandemic. We've done a few open mics but mostly we jam and record everything like a jam band. We play standards but also just do jams based on jazz chord changes in a straight ahead context. 

When performing today, I was thinking a lot about filling up the space with lots of strums, and give Jason complete melodic control with his horn. Like a drums/singer sort of combination. 

During a lot of this session I was thinking about playing in terms of a modal sort of style. The straight ahead jazz sound signature. 

I used my Jackson Dinky 6-string with a floyd rose whammy. The tone selector allows a plethora of sound options from thick full bodied tone sound, more typical of a jazz box sound, as well as allowing the other option for more clean bright chord sounds, typical of blues, funk, and rnb. Although I initially bought the guitar to be a heavy rock and roll machine, it's also come to be one of my best guitars for jazz improvisation. 

Gracias por escuchar! 

Jazz jam session 11/4/21!

https://www.facebook.com/orlando.figueroa.3150/videos/474208377194713

Here's footage from my jam session today. Featuring Jason Thomas on alto saxophone and Orlando Figueroa on guitar. 

Jason and I have been jamming for about a year now. At the moment we've been playing on my balcony and attracting all the neighborhood with our duo instrumental straight ahead jazz sessions. We play once a week for an hour but its been consistent enough for us to develop together musically. 

My jazz guitar style has improved a lot, and I've learned a lot about chord voicings, taking solos, and how to tell a story with a solo. 

In addition, another aspect of the music that I've been adding is the nature of the feelings of the moment. The time of day is a factor, my mood or attitude is a factor, Jason and his feelings are another, these sorts of variables that have been added to the music is something I've learned from other kinds of improvisational music, like world music, especially Indian ragas. 

At this point in the pandemic things have become much more strict. At Starbucks today, I had to show my vaccination card to sit down and dine in. I've decided to quit playing video games and spend my time focused on guitar, reading, and writing. 

Gracias por eschuchar. Bonne Nuit.

End of May Jam Tracks

Hello everyone! Another month has gone by, and I've been playing a lot of guitar. Here are some tracks from the last open mic I played, at the end of May. We're doing the same material I've been doing, however, I like to think I've improved all these tunes a lot. I'm proud of my vocals, not because they are great or anything, but because I've learned a lot about performing rock and roll live through singing whilst playing guitar. We did the Wayne Shorter jazz standard entitled Footprints, and the usual Hey Joe [Hendrix] and Sunshine of Your Love [Cream]. One of the keys to singing slightly better for me was realizing that I should never hit those high notes [lol]. This was a better jam than usual because I got to play with this old timer, a great blues/rock guitar player. Enjoy the music. 

https://soundcloud.com/orlando-figueroa-17/footprints-live-may-20 
https://soundcloud.com/orlando-figueroa-17/hey-joe-live-may-20 
https://soundcloud.com/orlando-figueroa-17/sunshine-of-your-love-live-may-20 

Orlando Figueroa: Guitar/Vocals
Jim X: Drums 
Dan: Bass
Ken: Tambourine
Dave: Harmonica  
Old Timer: Guitar

Chris Madsen/Adam Larson Quintet

So tonight I ended up going to a great jazz concert for only 12 bucks! Beat that LA. Chicago is a great town for live music, there's always somebody playing somewhere. The Constellation is a great, intimate venue. Its basically a warehouse converted into a studio space, looking like a basement but with amazing acoustics and natural reverb. Last year I saw my former UW-Parkside jazz teacher perform with a quartet, a trumpet player by the name of Russ Johnson (look him up on YouTube). 

Tonight I saw a double tenor saxophone quintet perform, the Chris Madsen/Adam Larson Quintet. They play modern straight ahead jazz. These guys aim to please, they never hit a bad note nor an ugly note. They play pretty. At their best I would say that they're a modern evolution of the post-Coltrane, post-Brecker sound. That is, a deep, throaty, emotive, and expressive tone. 

Adam Larson is a young tenor player from Normal, Illinois. At the concert, the music was split 50/50 Larson and Madsen tunes. Of the two I would say that Larson's music was more exciting. His melodies are very angular, which is my way of saying that its modern, and has that Giant Steps 'sheets of sound' aesthetic. At the end of the concert they played one of Larson's tunes, and it was so memorable that I was able to recall the melody on the bus trip home. His playing was great, in fact I believe that he could become one of the front runners in his generation (same as mine) for really great tenor sax players. 

Chris Madsen's (from and based in Chicago) tunes were more spiritual and expressive. He writes better ballads (if I can say they were ballads, they probably weren't considered such by the composer) than Larson, which is understandable because I believe Madsen is older and more accomplished, being apart of acadamia. He teaches jazz music at University of Chicago Illinois and lives here, whereas Larson is a Manhattan School of Music New York jazz musician. Madsen's onstage persona was more expressive and solemn as well, just like his music. 

On piano was Rob Clearfield, on bass was an older gentlemen (oldest guy in the band, probably the unoffical leader) named Curt Bley (who said it was great that I came from California to hear that), and Greg Artry the drummer and only black guy in the band. 

Clearfield's piano playing was one of accompaniment. He had one solo that stood out as virtuosic but not as expressive as the tenor playing. The comping was quite good though. He was pretty much comping most of the time the whole concert, laying out occasionly for extended sax solos. 

Arty's drumming stood out for me. Not only was he a drum and cymbals virtuoso but he played with emotive style and grace. Sometimes he would go into double and even quadruple time on the kit, stunning artistry. I would say he plays the modern Brian Blade style of drumming. Brian Blade has been the drummer for Wayne Shorter's band for a long time now and he's been a big influence on modern jazz percussion, and for good reason, he's one of the younger leaders of the style. There were many moments when I had to tap my foot to the swinging beats, and I would move back and forth in my seat to the sound. It was infectious. Him being the only black guy in the band gave the band more jazz credentials, after all jazz is a black American art form. The guy had chops to burn and the tenor players, presumably the leaders here, let him play with wanton abandon. He owned the rythmn, alongside the bassist, Curt Bley. 

Bley was obviously the oldest member of the band, tall, balding, with plastic rimmed glasses. He played as any great bass player would play, he filled the space with low notes, and mostly stuck to the chordal structures of the tune. He only had one solo per say, which was just an introduction to a tune. It was very short and he spent most of the concert comping. His bass tone was so natural and loud, using only a very small amplifier, which probably broadened the natural acoustic tone of his instrument, a acoustic double-bass. 

It was an eventful day and night. I spent the entire day talking with my music mentor Frank Abbinanti, a new music composer based in Chicago. You can check out his album Labor Studies on YouTube, also check out a tune he wrote for me that I recorded back in March called Poachers, which you can find under my YouTube channel name Megafigueroa007. 

Anyways, it was a great concert, memorable for my Chicago trip. I plan on checking out more music from Madsen and Larson when I get back home. Apparently Larson has an album from 2017 that got four stars in Downbeat and favorable reviews in Jazziz, two magazines that I read often. Its good to see that jazz music is alive and well in the windy city.

Jazz in Chicago! 

Dan Bruce Beta Collective live at the Constellation

Last night I saw a pretty cool jazz band with my bro. I looked up shows around Chicago and I noticed that my jazz instructor (from six years ago when I was at University of Parkside-Wisconsin) Russ Johnson was playing with this band at this modern jazz club called the Constellation. Russ is a great trumpet players that is involved with various groups probably all around the Midwest and New York. He's pretty well known in the jazz community. Anyways, the group is led by a guitarist composer named Dan Bruce and the band features Russ Johnson (trumpet), Chris Madsen (tenor saxophone), Rob Clearfield (keyboards), Clark Sommers (bass), Jon Dietemyer (drums).

We only stayed for the first set because we took two buses and the train and it took like an hour and a half to get there. In addition, my brother has work in the morning. However, that first set was pretty great! Dan Bruce took the majority of the solos but there was a great tenor sax solo that was just about reaching into free jazz territory. I heard some squeaks! It was great hearing that because this is more of a new jazz concert. By that I mean the music sounds very modal and its all original music. This was an album release concert after at. Very few people in attendance. Think Ole Coltrane if it had electric guitar, effects, and electronic keyboards. For the most part they were reading the music off manuscript paper but it was obvious when they went off the cuff and started to truly improvise.

Dan Bruce is a great guitar player with plenty of chops but it seemed like his improvisations were a little too perfect. Too rehearsed. I would've liked to hear some mistakes from him. I like to hear some struggle sometimes from jazz musicians. That's not to say he isn't a good improviser at all because what I heard was all great stuff, very musical and tasty as they say. I would say I was more impressed with his chord voicings and comping rather than say his composing ability or single note lines. I thought it was cool that he was using some electronic effects with his guitar too. I wish he would've used more of that, at least during the first set. After all whats the point of effects if you're only going to use them very sparingly?

Chris Madsen on tenor sax had a great solo that really stood out. There was a musical buildup slowly to a climax with squeaks thrown in there. It almost seemed like what he was playing was out of time, out of sync with the band but it still sounded great. He was even doing this blowing technique where you blow very lightly into the horn and get this sort of raspy tone. He also had a lot of bebop licks thrown in there too. That was a turning point at that part of the set.

Russ Johnson was mostly playing in harmony (melodies) with the guitar and sax but he did have a pretty great solo on the last tune. I was pretty impressed. He's the elder statemen of the band being the oldest so he probably has the most experience in playing jazz and he's probably been on more records and stuff than the other guys. His solo started off with a couple flubbed notes. My brother said "he needs practice" but my brother doesn't know enough about jazz to realize that what he was doing is actually a trumpet technique. I believe he was doing the same thing Madsen was doing, that technique where you blow into the horn but just barely enough to make some raspy tones.

Anyways, his solo was probably the best. He built it upon a theme, expanded upon it, and ended it with some virtuoso fast stuff. His high notes sounded superb. I used to be a trumpet player in high school so I know how difficult that is to do. His solo almost had a Spanish vibe as my brother said.

There was also a keyboards solo but I think it was more of "set the mood" sorta thing rather than a solo. And there was also a bass and drum solo but in a way they were kind of overshadowed by the compositions. It seemed like their solos were shorter than the others but I may be wrong.

After the show I talked to Dan Bruce and said,"great guitar playing man, that was like masterclass on chord voicings". I geeked out pretty hard seeing such great guitar playing. Then I asked if Russ was around and I talked to him. He remembered me from UW-Parkside, which I briefly attended about five years ago. It didn't work out at that college but the fact that I saw him at the show was probably a shock for him. Of course he asked,"what are you doing here?" Lol, it was kind of funny. We shook hands and I told him I've been practicing a lot of guitar, working on jazz standards, and that I've started a band. He said to keep shedding, a musicians catch phrase to keep practicing. Great moment of the Chicago trip so far. Who would've thought right?

It was a great set and I'm really glad my brother enjoyed it even though he isn't a fan of jazz guitar as he says. Maybe I'll get to see more great live music out here in Chicago, particularly jazz.

Jazz isn't dead. It just smells funny. -Frank Zappa

Metal Show Extravaganza at the Regent

I went to a metal show last night at the Regent, this venue in LA. At first I wasn't going to go because lately I haven't been listening to a lot of metal but my friends persuaded me to go. I'm so glad I went because it was super fun! Let me tell you about it.

The opening band was the band that we went there to see specifically. The Agonist is a female fronted metal (metalcore/deathcore/death metal) band that my friends really love. Its easy to see why. The chick fronting the band has such charisma, style, and a great voice for cleans as well as screaming. I would say that The Agonist sounds even better live than they do on record, and I've heard them a lot on record because of my friends. Seeing them perform was a first for me in the sense that it was the first time I'd ever seen a woman singing super aggressive metal live and doing it with such grace, style, and sonic fury. It was pretty amazing. Definitely a memorable experience!

The next band was called Winter Plague or Plagues, something like that. I can't remember because their name was nothing remarkable. They were more of a stereotypical sort of metalcore band where they played lots of fast heavy riffs with a guy screaming over the top of all of it. The best part was when the keyboardist girl sang a song. The lead guitarist had some better solos than the guitarists in The Agonist but overall their band was a bit too cliche for my metal tastes. Totally the opposite of the next band...

Next up was Death Angel. These were the grandmaster metal musicians of the night. They were older, cooler looking, more talented, and way more metal than all the other bands, even The Agonist. They were my favorite band. The band featured two Asian (most of them are Filipino) guys on guitars and they absolutely shredded through heavy metal guitar riffs and solos. The lead guitarist was so fast and maniacal. There was a sense that anything and everything could happen at anytime during his solos, it was very daring and adventurous even though he was making mistakes and hitting bum notes at times. This set him apart from the other guitarists of the night who seemed to be playing stock solos that they play every night at every show.

Their drummer was a fat white guy bigger than me but who was so fast and technical. He was probably good enough to play in Dream Theater or something, his double bass drum patterns and fills were so spot on. The singer was good but his voice didn't exactly stand out as much as the other musicians. Also, the singer looked a lot like Tom Araya, singer/bassist of Slayer. That was funny because they're both in thrash metal bands from the 80's. Their set was definitely the best of the night. There was a sense that most of the people there went to see Death Angel and their fans really shouted and moshed in the pit hard for them. How could a band called Death Angel not play great heavy metal music?

Finally, after standing around all night we got to hear the headliner. Devil Driver is a popular metal band that plays such stock cliche gun metal gray (to quote Marty Friedman on Megadeth) music that it was too bland to enjoy. Their singer didn't have a great voice, their riffs were generic and fast but not technical enough to be interesting, and the songs didn't really go anywhere. The good thing that I can say about them is that they played their entire set almost as if they were playing an album live in the studio. They didn't even stop to say anything in between songs. It was just start, finish, start, finish, and repeat. I like that sense of urgency from musicians. They played the longest set and after a certain point I wanted them to stop playing and they kept going on and on. Eventually they ended the show. And that was that.

As you can imagine I was really tired after the show ended. I'm actually super tired right now the day after. Thinking about it all now I'm still not the biggest fan of modern metal and I would go so far as to say that Devil Driver was annoying. But still, I'm glad I got to see The Agonist and Death Angel. Also, you'd be surprised how many hot girls were at this show. Seems like metal musicians probably get a lot of hot girls. But that's a story for another post.

Think I'm gonna lay low off loud things and heavy metal music for a while. Till the next concert that is. Btw, that's a young picture of Death Angel.