Cool Cover: Anohni and the Johnsons‘ Breaking
Details: I can’t find anything about who made the cover art for Breaking, but isn’t it adorable? Look at those little teeth. So fierce. Cats always seem to curl their tongues up when yawning. There must be some reason for this – but not something called the Flehmen Response – that little face they make when they smell something really great.
~Dagmar
SEATTLE (May 14, 2025) – Japanese rock legends ONE OK ROCK returned to Seattle on Tuesday night for the second stop of their North American Detox Tour, igniting the WAMU Theater with a high-energy performance that left fans buzzing long after the final encore.
The band, whose last Seattle appearance was in 2022 at Showbox SODO while promoting their album Luxury Disease, is now touring in support of their latest release, Detox. Opening for ONE OK ROCK is Australian punk outfit Stand Atlantic, who warmed up the crowd with a vibrant 45-minute set featuring both fan favorites and fresh tracks.
Before the concert, the members of ONE OK ROCK made a surprise appearance next door at T-Mobile Park, where they threw the ceremonial first pitch at the Seattle Mariners game against the New York Yankees. Accompanied by the Mariners Moose for a group photo, the band enjoyed some Major League Baseball action, met with cheers from fans who recognized them in the stands.
Excitement began building early in the day, as lines of enthusiastic concertgoers wrapped around the WAMU Theater. Fans began arriving hours before doors opened at 7 p.m., eager to claim prime spots near the stage. By early evening, the crowd had grown into the thousands, stretching down the length of Lumen Field. Conversations buzzed with anticipation, as fans swapped stories of past shows and shared thoughts on the new album.
When the venue doors opened, fans surged inside, some rushing to the barricade, others to the merchandise tables to grab tour swag before the show began.
Stand Atlantic took the stage at 8 p.m., delivering a high-octane set that had longtime fans singing along and new listeners quickly joining in. Their energetic performance set the tone for the night.
At 9:15 p.m., the lights dimmed and ONE OK ROCK took the stage, launching into “Puppets Can’t Control You” from Detox. The crowd erupted as the band followed with fan favorites “The Beginning” and “Save Yourself”, both of which were met with deafening sing-alongs and roars of approval.
The stage setup was sleek and minimal, three risers at the front, a higher drum riser in the back, and a large screen displaying visuals and lyrics. Throughout the night, lighting effects, lasers and fog machines added to the theatrical atmosphere, enhancing the band’s powerful performance.
Frontman Taka paused between songs to connect with the audience, speaking passionately about the band’s lyrics, the state of the world and the importance of unity and standing up for change. True to form, he also addressed the Japanese-speaking portion of the crowd in his native language, drawing cheers from international fans.
Bassist Ryota Kohama took his turn on the mic, hyping the crowd and challenging Seattle to prove its reputation for having one of the loudest audiences on tour. The response was a thunderous, arena-shaking roar that seemed to meet the challenge.
The night was not without its surprises. Midway through the set, a bra was thrown onstage. Taka, amused, picked it up and quipped, “Are we still doing this in 2025?” He then humorously modeled it for a few moments, laughing along with the audience before the band jumped back into the set.
Later, in a heartfelt encore, the band returned to the stage wearing customized Seattle Seahawks jerseys bearing their names, prompting an emotional reaction from fans and cementing the band’s appreciation for the local crowd.
From the first note to the final bow, the audience was electric, jumping, dancing, singing and cheering with unrelenting energy. As the house lights came up, smiles and tears filled the room, a testament to the unforgettable experience shared by all in attendance.
The North American Detox Tour continues with 13 more dates. The next show is set for Friday, May 16, in San Francisco. For fans of live rock music, this is a tour not to be missed.
Post punk/noise icons The Jesus Lizard presided over a pair of shows at Seattle’s Neptune Theatre this past weekend. Vocalist David Yow, guitarist Duane Denison, bassist Dave Wm. Sims, and drummer Mac McNeilly have been recording and touring off and on since the late 80’s. After a lengthy sabbatical 2024’s excellent and well-received release Rack has ignited a motivating fire under the band. They played a series of dates after the album’s release last year and followed them up with a US tour this spring that concluded with the Seattle show reviewed here. The Jesus Lizard is now off to Europe and the UK followed by dates in Asia later this fall and a visit to the east coast toward the end of the year.
It’s no intended slight to state that a lot of bands 30+ years into their career have settled into a routine and stage show that, in service to longtime fans, focuses on ‘the hits’. A potential downside to this sort of ‘legacy’ approach can be stagnancy with recorded output and live performances becoming rote after many years leaving not a lot of room for fresh ideas. Perhaps the Jesus Lizard escapes this fate by having had slight radio exposure over the course of their career (i.e. ‘no hits’). The Jesus Lizard’s music doesn’t fall easily on the ears at first listen given Yow’s shouted exhortations (some might question the signifier ‘singing’ in reference to his vocal technique), angular, distorted washes of guitar, and a nimble but exceptionally heavy rhythm section. It can take a bit of adjustment for listeners typically attuned to more traditionally glossy fare to find identifiable landmarks by which to navigate in the Jesus Lizard’s dense and sometimes challenging work but the band’s longtime fans are devoted, enthusiastic, and onboard for everything they serve up. There are hooks and melodies aplenty seeded throughout their catalog but they’re heavy hooks and aggressive melodies, certainly more so than what is typically played on the radio in 2025. Nirvana is an apt reference point (a band the Jesus Lizard split a single with in mid 90’s), with the Jesus Lizard pushing the guitar discordance, unexpected time changes, and edgy vocals up a few notches. It gets slippery when it comes to identifying the genre space they inhabit. Art/Noise/Punk rock with an almost metal adjacent attack, The Jesus Lizard somehow forge a unique identity out of a large and varied collection of influences.
Sunday’s show interspersed songs from 2024’s Rack with material from releases spanning the band’s entire career. Frontman Yow made multiple forays into the very active audience, crowd surfing and singing throughout his excursions. David Yow is 64 years old, exactly a month older than me. His commitment to his presentation, not to mention his apparent durability, is nothing short of astonishing. His stage presence at times carries a hint of, if not danger at least unpredictability, which can shift to a charming, avuncular goofiness without warning, often within the confines of a single number. He is a riveting band leader and the band that he fronts is a true force. Loud, tight, menacing, in short, the perfect foil for their singer’s vibe. The Jesus Lizard are a powerful unit and their performance Sunday carried a palpable weight and impact. Their almost 90 minute set, including two encores (8 songs!) left the crowd happy, satisfied, and spent.
Seattle’s Anthers played a well-received set to open the show. This is the third time I’ve seen them play and they’ve been markedly better on each occasion. Anthers fit the bill perfectly Sunday evening and the combination of bands made for a fantastic night of heavy and exciting music.
SEATTLE (May 7, 2025) — South Korean rock band ONEWE electrified Seattle with a raw, soul-stirring performance at El Corazon, marking a long-awaited stop on their North American tour. For fans who had been patiently waiting years to see the group live in the Emerald City, it was more than just a concert, it was a full-bodied experience of musicianship, humor and heartfelt connection.
Originally debuting in 2015 under the name MAS 0094, the five-member group rebranded as ONEWE in 2019 and has steadily built a loyal global fanbase. The lineup, Yonghoon, Harin, Kanghyun, Dongmyeong and Giuk, delivered on every front, from musicianship to stage presence, proving why they stand out in the ever-evolving Korean music scene.
Despite a slightly delayed start, with the lights going down at 7:20 p.m. instead of the scheduled 7:00, anticipation only heightened the crowd’s energy. The band opened with “Rain to Be,” launching into tight riffs and playful bass slaps that immediately ignited the room. Fans packed shoulder-to-shoulder in the sold-out, standing-room-only venue responded with deafening cheers.
After three high-octane songs, the band paused to introduce themselves and share a laugh about the unexpectedly warm greenroom, mirroring the heat radiating from the fervent crowd. When a fan shouted, “I love you!” the venue erupted in cheers, setting the tone for an evening filled with intimate fan interaction and spontaneous moments.
ONEWE continued their set with “EVILDOER,” showcasing their signature blend of gritty rock edge and melodic precision. Unlike many K-pop tours, where the focus often lies in choreography and pre-recorded elements, ONEWE delivered a fully live show, playing their own instruments, singing with jaw-dropping skill, and giving fans a concert experience rooted in authenticity and artistry. It was rock ’n’ roll through and through, with a Korean twist.
The set flowed effortlessly between high-energy bangers and emotional slow burns. “Kiss the Rain” offered a well-timed breather, a swooning ballad that had the audience swaying in unison. A minor hiccup during the song, vocalist Yonghoon coming in late on a line, was met with laughter and applause. A reminder to the audience that “Live is live”.
Mid-show, Dongmyeong left the stage briefly due to feeling unwell, but the band didn’t miss a beat. They treated the audience to a surprise run of English-language covers, including Billie Eilish’s “Tough Guy,” Shawn Mendes’ “There’s Nothing Holdin’ Me Back,” and more. Dongmyeong made his triumphant return during “Roommate,” receiving a warm welcome from fans who yelled out “괜찮아?”, asking if he was ok.
After performing “Roommate,” the group shared the story behind the song’s lyrics, written with their fans, known as WEVE, in mind. The emotional resonance was palpable, and the band’s gratitude sincere.
In between songs, the band’s personalities truly shined. Yonghoon teased one fan who was yelling, “No money, no boyfriend,” in a joking tone reply said, “Oh, so sad. Are you okay?”, eliciting laughter from the crowd. Kanghyun chimed in with mock sympathy, “So sorry,” while Harin joined the front of the stage to join in the playful banter.
As the show neared its finale, Harin delivered a fiery drum solo that segued into a surprise instrumental tease of Nirvana’s “Smells Like Teen Spirit,” a fitting tribute to Seattle’s grunge roots. From there, the band launched into “Crazy Good,” whipping the crowd into a frenzy with call-and-response chants and synchronized jumps.
They closed out the night with the soaring “Eraser,” wrapping up a long set that proved ONEWE isn’t just a band to watch, they’re a band to remember.
Seattle marked the penultimate stop on the group’s North American tour, which wrapped in Vancouver, B.C., on May 9.
SEATTLE (May 5, 2025) — Disturbed’s 25th anniversary tour, celebrating their landmark 2000 album The Sickness, brought a hard-hitting lineup to Seattle’s Climate Pledge Arena on Sunday night. The tour, which features support from rock powerhouse Daughtry and progressive alt metal outfit Nothing More, is a full throttle celebration of the past, present and future of modern rock and metal. For longtime fans and new listeners alike, the show delivered a night of raw emotion, blistering performance and high powered stage production.
Nothing More opened the evening, returning to Seattle for the first time since their April 28 show in Oklahoma City, where frontman Johnny Hawkins was sidelined by a vocal injury. Advised to rest his vocal folds, Hawkins took time off, and it paid off. Back on stage, he sounded revitalized, kicking off the set with “House of Sand” and charging through six more tracks with intensity. Known for their theatrical live performances, the band brought relentless energy that the crowd met in kind. They wrapped up their set with “This Is the Time (Ballast)” from their 2014 self titled album, leaving the stage to roaring applause.
Daughtry followed with a dynamic set bathed in shifting lights, from stark white to moody blue, to vibrant oranges and yellows, all heightened by CO2 bursts that added drama to each drop and chorus. Chris Daughtry’s powerful vocals and stage presence were on full display as he delivered hits like “It’s Not Over” and “The Reckoning,” along with a well received cover of Journey’s “Separate Ways (Worlds Apart).” Midway through the set, the band slowed things down with a moving acoustic rendition of “Home,” as fans lit up the venue with phone flashlights. The performance closed with the pounding rhythm of “Artificial,” sending the audience into a frenzy.
As the crowd buzzed with anticipation, Disturbed took the stage in theatrical fashion. Before the lights dropped, KISW’s Ryan Castle warmed up the crowd, joking, “Who planned a Disturbed show on Cinco de Mayo? Metalheads are here to party,” prompting a wave of cheers and laughter. A massive screen behind the stage flashed rotating visuals, the iconic The Sickness album art, slogans like “Spread the Sickness,” and nostalgic band photos, building the tension to a fever pitch.
The first act of Disturbed’s set was a complete playthrough of The Sickness, performed in order, something fans had waited 25 years to witness. Frontman David Draiman was wheeled onstage in a black DOC jumpsuit, strapped into a straitjacket and wearing a muzzle. As the restraints were removed, Draiman stood tall, spread his arms, tilted his head back while rolling his eyes, and let the opening notes of “Voices” wash over the crowd. The arena erupted.
The stage itself was a spectacle, a catwalk extended deep into the crowd, while lights, a towering demonic figure, CO2 cannons, video monitors and bursts of pyrotechnics transformed the space into a sensory overload. This time, thankfully, the fire effects avoided any mishaps, unlike the scorched banners at their Chicago stop. The band tore through The Sickness with brutal precision, with bassist John Moyer and guitarist Dan Donegan igniting the crowd as they leapt across the stage, traded solos and stormed down the catwalk. In a fun moment, Moyer knelt down and Donegan playfully patted his head before they launched into a synchronized jump, smiling as they connected with fans just feet away.
The second act turned the dial forward, delivering some of the band’s most beloved modern tracks. While not as thematically unified as The Sickness, this portion of the show let Disturbed showcase their evolution. Songs like “Ten Thousand Fists” and their emotional cover of “The Sound of Silence” proved the band’s range, while “The Light” inspired a massive crowd singalong, with Draiman encouraging fans to raise their voices and shine through the darkness.
By the end of the night, the crowd was spent but satisfied. With a career spanning performance, unforgettable visuals and powerful moments of connection, Disturbed’s anniversary tour proved to be more than a celebration, it was a reminder of the band’s enduring impact on hard rock and heavy metal.
