Sacramento’s Maximus Vohland. Photo by Align Media.
Although Sacramento has proven it can bring out record numbers for outdoor motocross at Prairie City’s annual Hangtown event, few riders generally stand a chance of making their name on the pro Supercross circuit, whether they’re from the Capital Region or not.
While many motocross fans have their eyes on plenty of upper-eschelon names – Cooper Webb, Malcolm Stewart, Christian Craig, Adam Cianciarulo and Jason Anderson to name a few – many Sacramentans are especially rooting for 19-year-old native son Maximus Vohland on his Red Bull KTM.
A fourth generation motocrosser, Maximus is the son of pro rider Tallon Vohland and counts well-known bike-master Tyson Vohland as his uncle. And while Maximus had a disappointing showing in the last Eastern Regional 250 Super cross season (42nd overall), he did end up finishing an impressive 6th overall in the outdoor motocross series.
On Feb. 18, Maximus will be racing with the #34 plate at the rescheduled 2nd round of the 250 Western Regional, an Oakland event happening not far from where he lives in Sacramento. This is a make-or-break year for the young Vohland as his factory KTM ride is set to expire unless his Supercross results turn around.
Maximus only turned pro back in 2021, but his name has been buzzing around Supercross circles ever since. If his lineage is any indication, the Bay’s upcoming Supercross event will be the race to watch. Doors are at 10 a.m. with the opening ceremonies kicking off at 4:30 p.m. Tickets can be purchased here, with cheaper seats starting at $22 and the more expensive tier topping out at $95. RingCentral Coliseum is located at 7000 Joe Morgan Way in Oakland.
Cat lovers unite! This gathering presented by the Loving Cats Worldwide group will span two days and highlight some of the coolest-looking breeds that locals can find anywhere.
Attendees can expect to see judging rings, special demonstrations and expert speakers, along with a tantalizing array of different feline types. There will also be vendors peddling their wares, cat treats and more, though some sellers only accept cash.
Of course, what would this kind of gathering be without an International Cat Competition that allows judges to show-off breeds like the Sphynx, Maine Coon, Bengal, and the British Short Hair. Rarer and newer breeds like Toyger, American Curl and the mysterious Lykoi – or “werewolf cat” – could make appearances as well. Four-legged contestants will vie for the coveted prizes of Best Household Cat, Best Alter, Best Kitten, and Best Cat.
The event’s Saturday door times are from 10 a.m. to 6 p.m., while its Sunday hours last from 10 a.m. to 4 p.m. Advance tickets can be purchased at www.lcwwgroup.us. Adult admission is $20; kids and seniors are $17; children under 12 pay $15. The Sacramento Cat Extravaganza takes place at the El Dorado Fairgrounds at the Forno Building. The fairgrounds are located at 100 Placerville Drive, Placerville.
Blind Illusion’s 2023 line-up. From left, Doug Piercy, Andy Galeon, Marc Biedermann and Tom Gears. Courtesy photograph
TMI Collaborations, a.k.a., Tina Mattis, delivers yet another solid sender that is sure to please on all fronts: Besides hosting an upcoming 2023 Wacken Battle of the Bands series (four shows in total) at various venues around Sacramento and in the Bay, Mattis is bringing progressive and extreme metal back to The Boardwalk in Orangevale on Jan. 20. She’ll do that by having Blind Illusion headline the festivities.
When singer/guitarist/bandleader Marc Biedermann released his national debut on Combat Records, The Sane Asylum, metalheads at home and abroad were equally in love with, and confused by, the band’s sound. Blind Illusion offers anything but typical heavy metal fare. Their songs change time-signatures while employing a groove that is unique all to itself.
The quartet on that album also featured bassist Les Claypool of Primus, guitarist Larry LaLonde of Primus and Possessed, and famed drummer Mike Miner. And while the line-up has changed significantly since 1988, that is not necessarily a bad thing. Joining Biedermann on the new Hammerheart Records release Wrath of The God – and also serving as the live band – are drummer Andy Galeon, formerly of Death Angel, guitarist Doug Piercy, who played with Heathen, and bassist extraordinaire Tom Gears.
Also on this heavy-handed bill at The Boardwalk are Cemetery Legacy and 24 Gore.
Tickets to the show can be purchased in advance at www.rocktheboardwalk.com for $15 and at door for $20. The Boardwalk is located at 9426 Greenback Lane in Orangevale. 21 and over patrons only. Doors open at 8pm and doors are at 9 p.m.
Blind Illusion’s 1988 line-up. From left, Mike Miner, Marc Biedermann, Larry LaLonde and Les Claypool.
Sacramento has proven it can bring out record numbers for SacAnime events, and the next upcoming weekend of fun looks to be a repeat performance.
Whether a fan of Asian culture, anime or manga, there is little doubt attendees will find something of interest at this year’s installment of the gathering between Jan. 6th and 8th.
In addition to an overwhelming number of vendors, signature booths, panels and workshops, there will also be plenty of games that children can join if they know their way around card decks or controllers.
SacAnime 2023 features Dave Wittenberg (Naruto’s Kakashi Hatake), Johnny Yong Bosch (Dragon Ball, Demon Slayer, Power Rangers, Bleach, Trigun), Troy Baker (Naruto, The Last Of Us, Uncharted, Bioshock Unlimited) and many more surprises for fans of all ages.
Event-goers should bring their wallets, satchels or backpacks to take advantage of all the tables selling one-of-a-kind clothing, books, trinkets, videos and other creative goodies.
Door times differ from day-to-day, but the exhibitor’s hall opens Friday starting at noon. Tickets can be purchased at www.sacasnime.com in advance for a small discount by January 2nd, or at the door for an extra $5 per ticket. Children under 11 are free. The SAFE Credit Union Convention Center is located at 1400 J Street in Sacramento.
Pamela Hayes and ‘The Nutcracker’ return will be showcased in Folsom Dec. 15th thru Dec. 18th. Photo by A&B Photography
For those looking for a holiday outing that won’t disappoint, do not overlook this weekend’s installment of The Nutcracker.
Backed by the Folsom Lake Symphony and Maestro Peter Jaffe, the addition of the Pamela Hayes Classical Ballet makes any of the scheduled day or night performances worth their weight and then some.
“Our goal is to offer an exceptional production capturing the beauty of the ballet and the magic of the season,” explains Hayes. “I am so proud of our dancers and the quality of the experience that we have been able to bring to our community for 22 years.”
Aided by her uber-talented daughter and Associate Artistic Director, Zara Hayes, Pamela will treat guests to a magnificent stage set, along with the talents of a whopping 75 local dancers. And while there are other performances of The Nutcracker this time of year, the two Hayes ladies deliver a show that always brings return customers and features the cream of the crop for local talent.
The show runs December 15th thru 18th at the Harris Center for the Arts. Ticket prices start at $28 and top out at $46 for Premium seating. They can be purchased in advance at www.harriscenter.net. Door times vary per-show, which are six in total, yet all ages are welcome for this exquisite family affair. The Harris Center is located in Folsom at 10 College Parkway.
Tim Solyan will drive the drums at Harlow’s on Dec. 2.
Victims Family plays Harlow’s Starlet Room in Sacramento on Dec. 2
Tim Solyan is the drummer for Victims Family, a punk-fusion trio formed in Sonoma County in the mid-80s that plays shows all too infrequently due to his crazy days working as a professional drum roadie for acts that include Primus, My Morning Jacket, Whitesnake, Roger Waters, Beastie Boys, Beck and more.
Solyan’s own band is rounded-out by founding members Ralph Spight on guitar and vocals and Larry Boothroyd on bass. Victims Family (yes, no apostrophe) is gearing up for three headlining shows during the first weekend of December in Sacramento, Petaluma and San Francisco, respectively. These performances will also feature their Portland friends, the raucous Nasalrod.
We caught up with Solyan during his well-deserved downtime to hear about his ever-changing roadie gig.
SN&R: What was your first paying gig as a roadie (even if a one-off gig)?
Back in 1988, I was getting into the music scene big-time. One of my favorite local bands at the the time was Victims Family. I was so into them I forced my friendship on them and became pals schlepping their gear into their van and into clubs and parties around the area for free.
At this same moment, I was working with a local promoter (Laurel Pine) as her stage manager/sound assistant/gear schlepperat all her local shows for free as a volunteer.
One band that was still quite unknown but causing a stir was Primus. They were face melting! I was floored and instantly became their biggest fan.
Somehow, I got the nerve to ask Les Claypool after a gig they played if he needed help. I said “dude, you are winding up your own cables and packing up your own stuff! WTF? You need a dude to help you?”
He replied “Hey hey hey man! Thanks for all the help tonight and yeah, we could use a roadie if you are interested! Give me your number!”
Sure, enough he called me the next week and off I went being a roadie for them like i was doing with VF. For the first bunch of shows I didn’t ask for any money but eventually Primus were starting to draw really well in the bay area local clubs. At this point Les started handing me $20-$40 after we packed up the van! He knew i was driving a good 40mins each way to help them so that became the norm which helped immensely on gas and bridge tolls
I consider that to be my first paying gig in 1988.
SN&R: What acts have you played dual roles for (i.e. roadie and tour manager)? Do you prefer them over just doing drums?
Many, many times on all levels of touring you have to do multiple roles. A lot of the time it’s due to budget and the group can’t afford more single duty crew. In a good situation you get paid a little bit more to take on a secondary role if it’s a significant role in the show production. Meaning if you are the drum tech and needed to also stage manage as well etc.
When I started at the club band level it was just me and the band guys doing everything. Load the van at rehearsal space, drive to the city and venue, unload, set up, do the the show, load out, drive then unload. The band guys at that level definitely help if you are not getting paid much as their helper but once they start paying you something more than ‘dinner and beer’, they stop helping as much and leave you to do most everything.
Once I escalated to the real paying tour level, it was and is very common to have dual or multiple roles at any level gig. With Beck I was always mainly the drum tech but for the first couple tours I was also stage right guitar tech. When the guitarist then needed a more focused tech I moved to Drums and DJ tech.
During the Sheryl Crow run, I was the drum tech but eventually did my last few years being the stage manager as well.
Currently on the Roger Waters tour, I am only the drum tech and do not do any other gig other than make Americanos (expresso coffee) for the drummer and a few select crew in my cafe under the stage.
Joey Waronker, Tim Solyan and Roger Waters.
SN&R:What’s the most labour-intensive drum kit you’ve worked on to date? Least?
Hands down the most labor intensive drum set up I have done was the drum kits for the Primus world tour for ‘Primus and the Chocolate Factory’ in 2015-16. At the start of the tour we built a very unique unconventional ‘kit’ that was more a percussive palette that (drummer) Tim Alexander created the rhythms for the versions of the songs. It was very time intensive to assemble and disassemble. Connected to that kit was Tim’s regular full sized Primus kit to play the encore of Primus songs on. The show was opened with a regular Primus set in front of the curtain hiding the Wonks show and that was a 3rd drumkit that was a condensed version of Tim’s regular Primus kit. So I was busy all morning setting up the 3 kits. It became an easier set up when I got rid of the opening set kit and set up the regular kit in front of the curtain then at set change got the local crew to help me quickly move the kit upstage into the Wonka set position. Was still quite an endeavour each show day.
The least intensive is any kit I’ve worked on that had zero electronics! haha! Beastie Boys’ Mike D drums were very simple. 4-piece kit with 2 cymbals. Set up takes a good 20mins tops!
SN&R: Roger Waters’ tour always has days off due to his age. What are some of the things you do in each city to keep your brain occupied?
As awesome as a lot of days off sounds, it’s actually not that great. Depending on what city you are in, it can be good or boring as hell. I try to meet up with friends when I can for food etc. I started running on days off in the last few years. Geocaching is fun and takes you to many off the beaten path to interesting places. Beer, wings and ramen seem to be my go-to boredom killer anywhere.
SN&R: Have you turned down gigs to stay with family?
Up until last year I never was in a situation that we could not juggle work and family when gig offers come in. I try to stay with the same artists as long as possible and have always avoided the tour-to-tour-to-tour with any band life. You pretty much have to be single to handle that life.
I was offered the Counting Crows last year and it would of been my second tour after the world of music re opened but because of the timing and demanding schedule in my moment at home, I turned it down to stay home and continue to be with my family and wait for the Roger Waters tour to start. It was a very mind cleansing moment that I was actually able to say no because my family was indeed more important then.
SN&R: What’s the longest run you’ve ever been on (days away, not just total gigs)?
Normally a 6-week run is standard. Sometimes you get on a Europe run that goes 2 months and that can be tough.
On the Roger Waters ‘Us and Them’ tour, the first North American segment was 3 months without a break. That was the longest at that time. This current tour we are doing, ‘This Is Not A Drill,’ the North American segment that just ended was a few days shy of 4 and a half months!! When we got to the west coast, we were 3 months in and all of us west coasters got to run home for a couple days on the days off in our cities and all of us had that relieving feeling of ‘tour leg is over! time to chill!’ but no, we still had 5 weeks to go! Insane but we got through it.
SN&R: Are you able to fly your wife and daughters out to stay with you when they want to visit?
This was always something that happened now and again with my wife before we had our girls. Our oldest came out with my wife a few times in her first year but once daughter 2 came along it was impossible to get it to work out and was very expensive. Now that our girls are late teen and 20yrs old, my wife came out a bunch of times this year for a week at a time! It was awesome since we always have so many days off on the Waters tour. Both daughters made it out to see me and hang solo too. It was very awesome after rarely ever getting to see them in the tour world outside of west coast Bay Area pass throughs.
SN&R: After this current Waters’ tour ends in early October, do you have more lined up until next year’s overseas dates or are you going to opt to stay and run the family business, Brew Baker’s Coffee House (located in downtown Grass Valley)?
Roger Water’s tour will start up again in early March 2023 with a three-month run across Europe, Scandinavia and the UK.
My wife and I were able to employ some people at the cafe with our girls managing the place. The cafe was never intended to be my ‘get off the road’ situation but it sure was key when there was not any road work due to the pandemic. The cafe was our investment to get fresh avenue for my wife. She has been working in the music biz as long as I have (35 years). We have other ventures started and in the works so what our future will hold is still getting stirred up as we speak.
Has there ever been a time where you screwed up a drum kit set-up? Any major catastrophes in a live setting?
No. I have never ‘screwed up a drum kit set up’. That is not in my job description, so I make sure that never happens. You will never see cymbals fall down or off or anything crazy thing like that on a kit I’m working with. I make sure the ship runs tight.
Any catastrophes I have ever encountered were not of my inadequate tech skills, but due to product failure or the drummer simply breaking stuff, which is rad.
Tommy Aldridge and Tim Solyan.
If you could work with any large-scale drummer today (aside from those you’ve worked with already), who would it be?
I can’t think of anyone I really.
Neil Peart would have been a great resume listing.
In 2019 I was fortunate to get the Whitesnake gig and was tech for Tommy Aldridge for a year. That was surreal in the sense that I was a fanboy in the 80’s as a kid when I heard the first Ozzy records. He is an amazing dude. Great fun and challenging to work with his giant kit.
Who are your favorite lesser-known drummers?
Easy. John Wright from Nomeansno is my hero! His style and ferocity is everything i love in a drummer! I stole everything I could from his playing!
The original drummer from my band Victims Family, Devon VrMeer, was my mentor and catalyst to my style of playing. If anyone, he deserves all the credit in my eye to who I am as a drummer in my style.
SN&R: Are you hoping to retire from the touring life soon, or are you playing it by ear? I assume the cafe is a profitable business, but you did endure closure due to COVID in 2020 and 2021, correct?
It’s always on mine and my wife’s mind to get off the road. Having built such a successful career at it, it’s quite difficult to try to start all over in my 50’s. We are definitely taking the steps to find new avenues of future money-making endeavours that are not music biz orientated. I do like the road but mostly because it’s the meat of my life’s work. I am getting very tired of the touring. It definitely wears on you with a tour like Roger Waters where there are so many days off. I think that it will be impossible for me to 100% walk away from working at some level or part time something with bands etc.
The cafe definitely got us through the pandemic moment. We were closed completely for 6 months. I used that time to re do a bunch of stuff with rebuilding the counters and moving everything around to be a more worker friendly space. Once we’re opened the music industry was shut down completely so my wife, our daughters and me were the only employees running it for a year and a half! The overhead was at a minimum with no real payroll. It took a good 6 months for the biz to pick up but were able to pay all the bills and not get into any financially burdening situations with it. I did quite a bit of construction/handyman work in the area as well, so we survived.
Ralph Spight, Tim Solyan and Larry Boothroyd.
SN&R: How long does it take you to learn a new drum kit (i.e. Scorpions’ one-off show)? Are there ever print outs or online instructions that might make the job easier?
It takes one day to learn a drum kit. I mean, you show up and usually you get a little help with the first set up from the tech you are replacing or the drummer then you’re off. Figure it out every second as you go.
Ideal situations with big kits is you get into tour rehearsals for 1-4 weeks and you are with the kit everyday fixing, bettering, learning it etc. Sometimes kits are easy. Just because it’s some new drummers set up does not make it some strange new instrument you know nothing about.
Sometimes I do get emergency fill in calls where you show up, do a few gigs and then you’re out. Scorpions call this year was a good example of that scenario. I became friends with them and their awesome drum tech Leo when Whitesnake opened a bunch of shows for them. There was a visa issue with him to do a last minute added on NYC concert at MSG and he called for help. Easy stuff actually because he is pro and everything was marked and he sent photos and I think we did a couple facetime calls just to be sure all was good.
Mikkey Dee is an amazing dude too! He knew what the deal was so he expected some stumbles on my part but there were none. It was as if Leo was still sitting behind him.
Ive never seen printouts or instructions anywhere. Its drums. I know drums. I know how to play them and set them up and tear them down. It’s what I do! I can look at a photo of a kit set up that Im about to take on and get it up and running first try. It’s not that big of a deal for me.
SN&R: Any acts that were more appreciative of the crew than others?
All bands are appreciative of their crew. If they are not, I will not work with them. I will say I turned down the Prince gig twice knowing how hard he is on his crew. I have no need in my life to be unappreciated when sacrificing my time and my time with my family. Especially if you are working as hard and pro as you can to make an artist look and sound his best.
Abstract Entertainment presents Victims Family, Nasalrod, and locals Frack! on Friday, December 2nd. Doors open at 7pm and the all ages show starts promptly at 8pm. Tickets are $15 advance and $18 at the door and can be purchased at www.harlows.com. The Starlet Room is located above Harlow’s at 2708 J Street in downtown Sacramento.
For those living under a rock, Sacramento’s legendary Downtown venue Old Ironsides officially re-opened its doors to live entertainment a few weeks ago after revamping the bar’s food menu with great effect. New talent buyer, Justin Nolan, has an impressive line-up of shows and it appears he’s just getting started. Regular 98 Rock listeners will know that Third Eye Spiral – a Tool tribute featuring bassist Jeff Cox, drummer Mike Monroe, guitarist Nate Higgins, and singer J Rock – is the headliner at Friday night’s upcoming festivities. The quartet plans to deliver a heady set of Tool classics in addition to live rarities. Special guests Nevermind (a Nirvana tribute) will open. Tickets can be purchased in advance at www.theoldironsides.com for $12. Doors open at 8pm and the show starts at 8:30pm. 21 and over patrons only. The Old Ironsides is located at 1901 10th Street in Downtown Sacramento.
Steev Esquivel (left) and Marc Grabowski at the first-ever Interthrashional in Northern California. Photograph by Raymond Ahner
Those lucky enough to catch the Bay Area Interthrashional’s first U.S. appearance last Saturday watched a ton of talent grace it stage, even if band members from Exodus, Possessed and Slayer were sorely missed.
Originally the idea of guitarist/bandleader Craig Locicero (Forbidden, Dress the Dead, The Boneless Ones, Man Made God, Spiral Arms), the thrash-collective was able to play the prestigious Dynamo Metalfest in Holland earlier this year and received heaping amounts of praise from fans and critics alike. Because of the serendipitous timing and many other acts playing in the area, BAI also showcased performances that included Randy Blythe (Lamb Of God), Phil Demmel (Vio-Lence), Katon W. De Pena (Hirax), Kayla Dixon (Dress the Dead and Witch Mountain) – all in addition to the collective’s core players.
Craig Behrhorst, Craig Locicero, Harald Oimoen set the crowd on fire at Interthrashional. Photograph by Raymond Ahner. .
Although confirmed for months, Interthrashional’s sold-out show at the Great American Music Hall felt like a homecoming as members of countless Bay Area bands showed up for their longtime followers. Some attendees noted it was their first live concert since the pre-COVID days.
As the show got underway, the night’s core players were guitarist Steve Smyth (Nevermore, Testament, Forbidden), drummer Mark Hernandez (Vio-lence, Forbidden, Dress the Dead), bassist Matt Camacho (Forbidden), in addition to bassist Harald Oimoen (D.R.I., Blind Illusion) and drumming beast Chris Kontos (Attitude Adjustment, Machine Head, Death Angel, Verbal Abuse, and The Boneless One).
Drummer Will Carroll – a.k.a. DJ Bleeding Priest – spun some of the best heavy metal fare, ranging from popular to obscure while kicking the night off. Later, one of the many stage ensembles launched into the Stormtroopers Of Death classic “March Of The S.O.D.,” which incited a circle pit and feeding frenzy.
Will Carroll at his best. Photograph by Raymond Ahner.
The night’s music was divided into three sets: American heavy metal, International and Bay Area Thrash, bringing something for everyone. Members of Sacrilege B.C., Death Angel, Defiance, Hatriot, Hellfire, Warbringer and Demonica all contributed to a tune or more. With a set list of 38 songs that utilized nearly 60 players, the Bay Area Interthrashional collective pulled off a four-plus-hour feat that few in metal world had seen before.
Highlights of the night included a stellar version of Metallica’s “Phantom Lord,” along with Savatage’s “Sirens,” which was fronted by Sacramento’s own Norman Skinner III.
Newbury Park’s Warbringer played Sepultura’s “Inner Self” and Dark Angel’s classic “Merciless Death,” proving the newer thrash metal wave can hang with the big boys of early thrash. Also worthy of mention is their precise interpretation of Forbidden’s “Chalice Of Blood” and Vio-Lence’s “Serial Killer.”
Sean Killian points his microphone at the crowd. Photograph by Raymond Ahner.
This writer’s favorites of the night included Craig Locicero and company crushing Voivod’s song of the same name, as well as Death Angel drummer Will Carroll fronting a truly all-star band for Celtic Frost’s “Into Crypts Of Rays” and “Procreation Of The Wicked.” Both songs were played at perfect tempo, replete with all the Tom G. Warrior’s mannerisms.
Keeping the festivities light-hearted and Halloween-themed, there was even a costume contest for late Metallica bassist Cliff Burton and late Exodus singer Paul Baloff. Each of the lucky winners received an autographed guitar.
Only one question remains: When is the next one, guys?
Gary Wendt, Zack Garcia, Harald Oimoen. Photograph Raymond Ahner
King Diamnd leads Mercyful Fate’s raging show at Hard Rock Live in Wheatland. Photograph by Raymond Ahner.
For the 2,500-plus heavy metal heads that made the sojourn to Wheatland’s newest music venue, Hard Rock Live, few in attendance would say they didn’t get their money’s worth.
Mercyful Fate’s show there on October 30 was one of the area’s most-anticipated events since it was first announced; and while the band skipped the Bay Area to play in Sacramento’s greater market, plenty of fans from San Francisco made the trek to Wheatland’s open range.
For the uninitiated, the Danish group was formed in 1981 and took the metal world by storm as it featured a lead singer calling himself King Diamond (his real name is Kim Bendix Peterson). The king sings in a falsetto and wears white corpse makeup ala Kiss yet with decidedly satanic overtones.
Kim Bendix Peterson is the man behind King Diamond. Photograph by Raymond Ahner.
These days, Mercyful Fate’s lineup includes guitarist Hank Shermann, guitarist Mike Wead, drummer Bjarne T. Holm and touring bassist Becky Baldwin (filling in for Joey Vera who had prior commitments with Armored Saint).
From the eerie and unsettling intro of “The Oath” to the show closing “Satan’s Fall,” fans were treated to songs solely from the band’s first three commercial recordings. One exception to that was a new song, “The Jackal of Salzburg,” which still received a rousing applause.
Highlights of Mercyful Fate’s performance included “A Dangerous Meeting,” “Melissa,” “A Corpse Without Soul,” as well as a revved-up version of “Evil.” Although the group has released more records beyond the ones that those songs appear on, it was clear they’d come up with a set list to resonate with longtime fans.
Mike Wead and Becky Baldwin let it rip in Wheatland. Photograph by Raymond Ahner
The band’s over-the-top production was as sinister as its music, featuring two, heaving staircases, an upside down cross and a pentagram insignia. A changing background highlighted different songs blasting through the speakers.
As for the live sound, the band’s mix was unparalleled, which only augmented the near-perfect execution of its older material. And while it may have taken more than two decades for Mercyful Fate to play live again, fans can expect a new album in 2023 – one preceded by yet another King Diamond solo release.
Although most music fans know John Petrucci for his main band, Dream Theater, there’s no shortage of rock enthusiasts who follow his own solo recordings. At present, Petrucci is more than halfway through his national tour featuring ex-Dream Theater drummer Mike Portnoy and bassist Dave LaRue. Fans can expect to hear his latest album, ‘Terminal Velocity,’ as well as his previous effort, ‘Suspended Animation.’ Judging from the set lists at recent shows, Petrucci’s upcoming 11-song concert is sure to please even the biggest curmudgeon. Opening the show is the all-female – and recently reunited – Meanstreak band. Doors open at 7 p.m. and the show starts promptly at 8 p.m. Tickets start at $25 and go up to $175 for a Platinum Reserved Seating and can be purchased at www.crestsacramento.com or via promoter, SBL Entertainment. The Crest Theatre is located at 1013 K Street in Sacramento.
Eddie
Sacramento’s Maximus Vohland. Photo by Align Media.
Photograph by Karina Vorozheeva
Blind Illusion’s 2023 line-up. From left, Doug Piercy, Andy Galeon, Marc Biedermann and Tom Gears. Courtesy photograph
Pamela Hayes and ‘The Nutcracker’ return will be showcased in Folsom Dec. 15th thru Dec. 18th. Photo by A&B Photography
Tim Solyan will drive the drums at Harlow’s on Dec. 2.
Steev Esquivel (left) and Marc Grabowski at the first-ever Interthrashional in Northern California. Photograph by Raymond Ahner
King Diamnd leads Mercyful Fate’s raging show at Hard Rock Live in Wheatland. Photograph by Raymond Ahner.
Courtesy