Haircut One Hundred Rolls Back the Years in LAHaircut One Hundred is an interesting band. You hear that very-eighties name and, if you're yet to be initiated, your mind immediate goes to the glorious but undeniable silliness of the likes of Kajagoogoo. But then, anyone already ordained into the cult of Nick Heyward should no better. A keen student and fan of post-punk/art-rock collectives like XTC and the Talking Heads, Heyward has been a pop star and teen heartthrob for portions of his life, but he's also a very serious muso type.

The story of Haircut One Hundred is actually relatively short, despite stretching across multiple decades. There was only one album, 1982's Pelican West, before Heyward left to go solo. The rest of the chaps gamely attempted to soldier on, releasing the critically ignored Paint and Paint in '84. The recent reunion has yielded a new album, Boxing the Compass, which dropped in the summer.

Unsurprisingly, they don't play anything from Paint and Paint now that Heyward is back in the ranks. But the beloved debut and the new effort were both well represented at the Teragram Ballroom in Los Angeles.

They opened with new newies: "Someone" and "The Vanishing Point," before pulling out "Nobody's Fool." The set is a solid reminder of this band's jazz and world music influences; there's a undeniably funky groove to Haircut One Hundred that, even at the majority of the audience's vintage age, is impossibly danceable.

The hits were all present and correct. "Love Plus One" and "Fantastic Day" brought the venue to life, though predictably the highlight was the genre-classic "Favourite Shirts (Boy Meets Girl."

It's been so long, but it's great to have Haircut One Hundred back.

The post Haircut One Hundred Rolls Back the Years in LA first appeared on Music Connection Magazine.

HYBE’s Weverse Con Festival to make its international debut in India in 2027HYBE, home of BTS, calls Weverse Con Festival its “flagship global music festival”, featuring global, K-pop and Indian artists.
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The Hollywood Bowl Celebrates 90 Years of Buddy GuyThere are few finer sights in music than that of legendary blues man Buddy Guy walking onto the Hollywood Bowl stage, like a man a fraction of his age. Guy turned 90 in July of this year, and he's one of the few old school artists of any genre, never mind the blues, still performing.

At the iconic Hollywood Bowl, Guy was ably supported by Christone "Kingfish" Ingram, with special guest Joe Bonamassa. Those two men have done as much as just about anyone to carry the blues forward, and they sounded wonderful here. Kingfish in particular is a very natural player, bursting with groove and authenticity. He plays with a smile on his face, and it's easy to fall in love with his take on the genre.

But even Kingfish would concede that Buddy Guy is a class apart. He's a force of nature, and he seems to defy Father Time. The opening "Damn Right, I've Got the Blues" showcased the fact that Guy's throaty singing only gets better with age. The man simply purred through that song, plus the following "Hoochie Coochie Man," while his fingers danced across the fretboard.

There were excellent covers, including Denise LaSalle's "Someone Else is Steppin' In" and Cream's "Sunshine of Your Love," before a spectacular jam with the aforementioned Kingfish and Bonamassa.

Ultimately, this was all about being in the presence of greatness.

Photos by Alex Kluft

The post The Hollywood Bowl Celebrates 90 Years of Buddy Guy first appeared on Music Connection Magazine.

Google picks Base for Music for its Gemini Startup Forum – as $1.7M-backed French company says it uses AI to predict music marketing ROIMore than 100 startups taking part, from 17 countries, were selected from over 2,000 applications, according to Google
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Hatebreed Signs With BLKIIBLKDate Signed: January 2026

Label: BLKIIBLK

Band Members: Jamey Jasta, lead vocals; Matt Byrne, drums; Frank Novinec, rhythm guitar, backing vocals; Wayne Lozinak, lead guitar, backing vocals

Type of Music: Heavy Metal

Management: steve.ross@nonameworldwide.com

Booking: Tim Borror - Sound Talent Group

Legal: Scott Bradford

Publicity: Amy Sciarretto - Atom Splitter PR, amy@atomsplitterpr.com

A&R: Mike Gitter

Web: hatebreed.com

Metalcore titans Hatebreed have had deals with numerous labels throughout their 32 years of making noise, enjoying stints with Victory, Universal, and Razor & Tie among others. Now a staple on the hardcore circuit, Hatebreed has reportedly played over 3,000 shows since its inception.

One figure in the metal world they met during their travels is Mike Gitter. As Director of A&R at Roadrunner Records during Hatebreed’s tenure with the label, they had a great working relationship back in the day. “He’s been a part of heavy music and hardcore for like four decades,” notes Matt Byrne, the group’s drummer since 2001. “He’s a friend. He gets the band and understands us.”

Having most recently released a trio of albums with Nuclear Blast, Hatebreed wanted to make a change. “They’re a great team,” Byrne diplomatically points out. “We just wanted to switch it up a bit.” 

Gitter’s latest endeavor is BLKIIBLK Records, a metal and hard rock-focused arm of Frontiers Label Group. Word got around fast about the GRAMMY-nominated band being a free agent, and it wasn’t long before Gitter reconnected with the kings of hardcore. “It made the most sense to land with him and BLKIIBLK,” explains Byrne. “We felt they would give us the push and direction that we need.” FLG made the grand announcement as part of its 30th anniversary celebration.

Hatebreed feels at home being on the same roster as other hardcore legacy acts Megadeth, Cro-Mags, and Biohazard. They’re also confident that Gitter will be able to honor Hatebreed’s history while simultaneously helping them carve out their future. Artists with the longevity of Hatebreed are likely to experience diverging goals with their labels over time. “We’re more apt to do one-album deals now,” Byrne reveals, and that’s ultimately what they got with BLKIIBLK. 

The group is in the midst of recording a new album due this fall; it will be their first since 2020’s Weight of the False Self.  “They’re not pigeonholed into a certain style or genre of music,” observes Byrne regarding BLKIIBLK’s artistic mission. “Obviously, they’re dealing with heavy bands, but it’s fresh energy. Let’s work well together and see where we go.”The post Hatebreed Signs With BLKIIBLK first appeared on Music Connection Magazine.

UMG is now managing 130+ artists in Southeast AsiaGranite spoke during a fireside session at the Music Matters strand of the All That Matters conference in Singapore on October 5
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"The Scene Police Story" by Dennis P. Merklinghaus(paperback) $33.99

Much like Blijboom’s Rebellion book, The Scene Police Story is a niche punk rock exploration about a DIY punk collective. According to the blurb, “From sweaty squats and empty venues to landmark releases, endless touring, ideological clashes, broken vans, and mounting debt, this is a story about what happens when DIY ethics collide headfirst with reality.”

It’s a fascinating tale and, if nothing else, it vividly depicts the highs (and lows) that can be reached when a dedicated bunch of miscreants really put their minds to it. 

The post "The Scene Police Story" by Dennis P. Merklinghaus first appeared on Music Connection Magazine.

"Punk at Sea: A Rebellion Festival Photo Book" by Michiel Blijboom(paperback) $19.99

The Rebellion Festival is a punk fest that has taken place annually in the English seaside town of Blackpool since 1996, initially known as “Holiday in the Sun.” It swiftly became one of the highlights on the global punk calendar (should such a thing exist), and Punk at Sea is a pictural history of the whole thing.

Blijboom has done a great job of conveying the sights and smells of the fest, largely through dazzling photos of the bands and attendees. There are some words, including a Q&A interview with Jennie Russell-Smith, the woman who started it all. Whether you’ve been to Rebellion before or not, there’s a lot to enjoy here. 

The post "Punk at Sea: A Rebellion Festival Photo Book" by Michiel Blijboom first appeared on Music Connection Magazine.

Weird Al Yankovic at the Honda CenterComedy Music history was made on September 14th, 1980 when Weird Al Yankovic performed “Another Rides the Bus” on the Dr. Demento show just a month before his 21st birthday. Yankovic would meet Jon ‘Bermuda’ Schwartz who would keep the beat with Yankovic’s accordion case and has been playing with Yankovic the last 46 years. Yankovic a native of Lynwood, CA played the Honda Center in Anaheim, CA September 19th.  Yankovic released his debut album in 1983 and did a small tour of east coast and midwest venues under 1000 capacity along with Dr. Demento. On the debut album, Yankovic added in bassist Steve Jay a member ever since then and Rick Derringer who passed away in May last year played guitar on it and produced the first five Weird Al albums.

The second release was 3-D in 1984--this would be the first album with guitarist Jim “Kimo” West who has been a member since. From 1984 to 1991 the band would be Bermuda, Kimo, and Jay. During the Dr. Demento 20th anniversary special, Yankovic would meet keyboardist Ruben Valtierra and soon after he would join the band. Now nearly 35 years later, Yankovic has had a 4-piece band.

Yankovic’s last album was Mandatory Fun in 2014 and since then he would do a massive world tour on that album between 2015 and 2016 performing over 200 shows including two historic nights at the Hollywood Bowl with the L.A. Philharmonic. After taking off two years, Yankovic’s next tour would be the Ridiculously Self-Indulgent, Ill-Advised Vanity Tour  which was acoustic shows at intimate venues without all the costumes and production as the previous tours. The songs performed were all originals with the exception of a parodies medley, a different cover song for each of the 77 shows, and “Saga Begins” and “Yoda” as the closing songs. Yankovic would return again the following year (2019) with the Strings Attached with a local orchestra for each show.

Following the COVID-19 pandemic, Yankovic would return to touring in 2022 with the second  Ridiculously Self-Indulgent, Ill-Advised Vanity Tour which just like the first one featured a different setlist each night and cover song. Two years after that tour completed Yankovic came back with the Bigger & Weirder Tour. The Bigger & Weirder Tour began last year and was Yankovic’s biggest tour including stops at Madison Square Garden and the Forum. The tour returned this past May. Puddles Pity Party has been the opener since last the tour began last year.

In addition to Yankovic’s longtime band, there have been four more musicians added for this tour who all play multiple instruments and also have acting roles. The new additions to the band are Long time Brian Wilson guitarist Probyn Gregory, Men at Work and Dweezil Zappa Saxophonist/percussionist Scheila Gonzalez, vocalist Monique Donnelly who has been on numerous film, TV shows and albums as well as performing with Yankovic on the Strings Attached tour, and keyboardist/guitarist/vocalist Payton Rose Velligan who has toured with Boston frontman Tommy DeCarlo.

This tour has all the songs, humor, outfits, and classic video segments for the wardrobe changeovers any fan would want. Yankovic, now 66, still puts on a two hour show with all the costumes.

Just like on the Mandatory World Tour, Yankovic opened with “Tacky” which starts with him walking through the backstage and Puddles can be often seen with a pie being thrown on his face, This tour includes another six songs you can always expect to see performed with the exception of the two vanity tours which are “Smells Like Nirvana,” “Dare To Be Stupid,” “Fat,” “White & Nerdy,” “Amish Paradise,” and his usual closers “Saga Begins” and “Yoda.”

These have been his closing songs on every tour since Touring with Scissors in 1999 except the Straight Outta Lynwood tour when they were performed earlier in the set and the second vanity tour only Yoda” was performed. “Yoda” had first been a closer in 1985 and has been the closing song on nearly every tour since.

On opening night “Fat” was performed for the first time since 2016, “eBay” since 2003, “ “Stop forwarding the Crap to Me” since 2018, White And Nerdy,” and “Amish Paradise” since 2019. Also a few songs were performed for the first time whether they were recorded since the last tour or had never been previously performed on tours before this one, “Mission Statement” from Mandatory Fun, Yankovic’s latest polka medley “Polkamania!,” “Everything You Know is Wrong” from Bad Hair Day (1996),” Captain UnderPants” theme song, “Now You Know” from Weird: The Al Yankovic Story, the theme to the Disney animated series MiloMurphy’s Law It’s My World (and We’re All Living In It) as Yankovic said it’s the shortest song he’s ever performed. Although it’s been 11 years since Mandatory Fun, Yankovic has put out a Polka medley of songs from Broadway sensation Hamilton and “Polkamania!” which consists of covers going back to Taylor Swift’s “Shake It Off” (2014) to 2023 with Miley Cyrus’s “Flowers” and Olivia Rodrigo’s “Vampire,” and also included Billie Eilish’s “Bad Guy,” Adele’s “Hello,” “We Don’t Talk About Bruno” from Disney’s Encanto, Lil Nas X’s “Old Town Road,” Lusi Fonsi’s “Desposito,” Ed Sheeran’s “Shape of You,” Bruno Mars’ “Uptown Fun,” Cardi B. and Megan Thee Stallion’s “WAP,” and Ariana Grande’s “thank u, next.” For each song the actual music video for it appeared on the screen. Since Yankovic’s second album in 1984, he has put out a Polka medley of covers of the biggest hits at the time and this was a compilation of hits since his last album release.

There have been 13 Weird Al albums plus the UHF Soundtrack. Of the 13 albums There were one to four songs performed from all except for his fourth release Polka Party!. The most songs were performed from Dare To Be Stupid totaling four.

For the first five songs the outfits stayed the same minus Yankovic’s blazer for “Tacky,” and Yankovic put another blazer on for “One More Minute With You,” and on that song he comes through the audience singing right in people’s faces. The first video shown since the intro video was the “Another Rides The Bus” scene from Weird The Al Yankovic Story featuring Daniel Radcliffe as Weird Al, Rainn Wilson as Dr. Demento, and Jack Black as Wolfman Jack. When the stage lights came on there was Yankovic and the band dressed in their Nirvana outfits for “Smells Like Nirvana.” Yankovic spit water onto the front row during the gargle solo. The next video was various clips of Yankovic followed by him and the band coming out in their Devo style outfits for “Dareto Be Stupid.” This year marks 40 years of that song and album of the same name.

Another video played of various clips ending with Yankovic and The Simpsons to allow for the next wardrobe change for the parodies medley. The medley began with everyone dressed in suits and sunglasses for “Party In the CIA,” then Yankovic took his blazer off for “It's All About the Pentiums,” then removed his button down shirt and sunglasses and had black shirt under for “Bedrock Anthem”. During the Flintones clip from the music video Yankovic picked up the accordion for “My Bologna” and “Ricky” off his first album, at this point of the show it showed just how long of a career Yankovic’s career has had how much it has evolved since the first album.  During “Ricky,” Donnelly plays Lucy.  Next came “Ode to a Superhero” with one of his crew members holding the harmonica while he played it and accordion together. The medley continued with “I Love Rocky Road” also from his debut album. Yankovic put on his “Beat It” jacket for “Eat It” and did the Michael Jackson dance moves just like in the video and also switched to keyboard. This was the first time since the first vanity tour in 2018 tour it had been performed, however it was part of an acoustic medley that tour and the last time the entire song was performed was in 1985. The medley continued with another early hit “Like a Surgeon” which he wore a doctor’s cap for. Yankovic stepped away from the keyboard and moved around the stage for “Word Crimes” and then put on a red and white maple leaf blazer for “Canadian Idiot.”  The band played song to song without stopping.

Before “Fat” the opening from the music video played and out came Yankovic just as he looked in the music video. Yankovic would go back to a Hawaiian shirt for the next six songs and there would also be a cover of David Bowie’s Suffragette City.” For “Skipper Dan,” Yankovic wore a skipper hat just like you see on the Disneyland Jungle Cruise Ride. Following “Stop Forwarding That Crap to Me,” one of the best videos of the night played. It was a parody of the movie “Whiplash” with Yankovic on accordion and just like in the movie J.K. Simmons as the teacher. Next would be a Jeopardy clip with the late Alex Trebek and the categories were titles of Weird Al songs. Out would come Yankovic on a segway for “White and Nerdy” dressed as he did in the video with the band wearing short sleeve button downs with pocket protectors and pens as well as wearing glasses. There would be another wardrobe change for the last song before the encore which was “Amish Paradise” with everyone dressed just like they were in the music video. Yankovic would announce the band before they all left the stage. Rather than a video segment for the wardrobe change the stage went dark.

For the encore, Valtierra dressed as Emperor Palpatine from Star Wars came out and got the crowd cheering then plays Bach’s “Toccata and Fugue in D minor, BWV 565” followed by Yankovic and the rest of the band coming out in their Jedi attire just like in “The Saga Begins” video and now having female members, Velligan and Donnelly dress as Rey and Gonzalez as Princess Leia as well as members of local 501st Legion dressed as stormtroopers, a sand trooper, a scout trooper and of course Darth Vader.  At the Shoreline Amphitheater show there were two snow troopers, and a Chewbacca. At MSG there was a remote controlled R2D2. Yankovic also brought back “We All Have Cell Phones” as the beginning of the encore taken from an interview with R.E.M.'s Michael Stipe which is shown earlier in the show. Following “Saga Begins,” the legion exits the stage while Valtierra plays “Charge!” which you hear at baseball and hockey games and Yankovic, Jay, West, and Gregory all remove their Jedi robes and Yankovic picks up the accordion for the final time. During “Yoda,” Yankovic lets the audience sing the chorus and then him and band go A capella for three minutes with different chants, “Grim Grinning Ghosts’ from the Haunted Mansion Ride at Disneyland, The Rivington’s “Papa-Oom-Mow-Mow,” and more before finishing the song. Bermuda had two “drum solos” during the show and the joke was it was just a single hit on the snare drum.

Setlist:TackyMission StatementPolkamania!Drum SoloEverything You Know Is WrongOne More MinuteSmells Like NirvanaDare to Be StupidParty in the CIA / It's All About the Pentiums / Bedrock Anthem / MyBologna / Ricky / Ode to a Superhero / I Love Rocky Road / Eat It /Like a Surgeon / Word Crimes / Canadian IdiotFatIt’s My World (and We’re All Living in It) - Milo Murphy’s Law ThemeCaptain Underpants Theme SongNow You KnowSuffragette City- David BowieSkipper DanDrum Solo (Reprise)eBayStop Forwarding That Crap to MeWhite & NerdyAmish ParadiseEncore:We All Have Cell PhonesThe Saga BeginsYodaThe post Weird Al Yankovic at the Honda Center first appeared on Music Connection Magazine.

From Warner’s EMP sell-off to Universal Music’s Briegmann promotion… it’s MBW’s Weekly Round-UpThe biggest headlines from the past few days...

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The Music Connection October Spotify Playlist is Live!October is here and our monthly playlist representing each issue is back.

Listen along with us as we get wild with some of cover girl Slayyyter's biggest bangers and enjoy artists (new and legacy) covered in the issue's Live Reviews, Album Reviews, Signing Stories and New Music Critiques.

While you're there please like and follow Music Connection's profile and check out our brand new playlist feature Sound System.

The post The Music Connection October Spotify Playlist is Live! first appeared on Music Connection Magazine.

Less than three months after exiting Kobalt, Willard Ahdritz officially launches Ahdritz Capital PartnersEx-Lazard banker Stephen Langer and former SSE Ventures CEO Isabel Keulen join the Kobalt founder's new firm.
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Margot Sinclair at Cat's Cradle, North CarolinaWeb: margotsinclair.com

Players: Kyle Mix, vocals; Luke Sutherland, guitar; Carson Baer, guitar; Owen Rice, bass guitar, background vocals; Donovan Hess, drums, background vocals

A totally unexpected quartet of Orange County escapees—perhaps slightly bewildered to find themselves this far east—takes the stage and, within seconds, traps the room in an opening crescendo. The “wow” factor is immediately off the chain. Mutinous electrons ricochet off the walls, rafters and bar, coalescing into soaring minor chords, barre-chord power surges and enormous slabs of guitar before somehow resolving back into the major.

Meet Margot Sinclair. Their first three songs are a gut punch to the inner ear. Imagine some of the country-rock brilliance of Sweetheart of the Rodeo, the early Byrds when Roger McGuinn’s Rickenbacker was practically weaponized, and a dose of Henry Rollins-era Black Flag being fired through the same electrical grid.

After exploding through “POV,” “Boat” and “Napalm,” Margot Sinclair locks into a groove train that simply refuses to let go. “Jealousy,” “Excuses” and “Jester” become absolute heaters—big, muscular songs propelled by a band that already understands something many young groups spend years figuring out: how to move as one organism without everybody fighting for the same square inch of sonic real estate.

These guys are dialed in from the first note, and frankly, they seem way too good to be from this part of the galaxy. As the set gathers kinetic propulsion, the thin crowd begins moving closer, bodies collecting around the stage as if somebody quietly turned on a giant musical electromagnet.

The four-piece rock machine bounces, swerves and rides the ramjet hard into “Ween,” “Free” and “Watching,” a closing three-song rattlesnake that leaves the room smoldering and the walls suspiciously sticky with groove juice.

There is unusual cohesion in this quartet. They ride each sound wave to its crest, then hand off verses, intros, rhythmic accents and melodic ideas with impressive smoothness. Nothing feels accidental, yet nothing feels overly rehearsed. There’s muscle here, but also restraint—and that combination is considerably harder to manufacture than sheer volume.

Sutherland’s guitar work is especially notable. Not overbearing, not underwhelming—just the right amount, at the right moment, saying exactly what the song needs said. Having already been through the live-performance grinder at rooms like The Troubadour in Los Angeles and Rickshaw Stop in San Francisco, Margot Sinclair has clearly had time to sharpen the machinery.

Carson Baer and Rice kick this musical golf ball straight through the Garden Hose of Groove, supplying compression, clarity and dynamic punch while keeping the whole contraption moving forward. Then there’s Kyle Mix, with enough vocal range, presence and raw power to suggest that this band has considerably larger stages ahead of it.

If there’s a crack in the veneer—and you have to look pretty hard to find one—it’s this: once Margot Sinclair reaches full bore, they are so strong, so relentless and occasionally so overwhelming that your head and ears start begging for a little dynamic daylight. Give us a whisper. A crack in the door. Twenty seconds to locate our internal organs before firing up the engines again. But that will come. Margot Sinclair has a future so bright it hurts your eyes.

The post Margot Sinclair at Cat's Cradle, North Carolina first appeared on Music Connection Magazine.

Oasis archive recordings pulled from auction as band take legal action against former sound engineerThe claim was filed in the High Court in London on Tuesday (September 29)
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Megadeth Rocks The Grammy MuseumOn a warm Thursday night, right in the middle of Downtown Los Angeles amidst tall buildings, honking horns, and a thin layer of grey smog, Megadeth visited The Grammy Museum’s Ray Charles Terrace for a special Q&A and live performance, which proved to be almost too heavy for the usually quiet museum to handle.

For the sold-out event, excited metal fans lined up on the sidewalk of Figueroa Street, some waiting for hours prior to doors opening at around 6:30 p.m. Slowly, people were let in and made their way up to the fifth floor of the museum, home to an open-air patio with the beautiful cityscape in the background, and about 200 seats lined up in rows in front of a small stage, one that almost seemed too small for this band.

Bright red stage lights faced the audience, who waited until about 7:40 p.m. for the programming to begin. A small merchandise table was set up in the lobby near the venue’s entrance, selling about five Megadeth shirts and two different hats. None were official tour merchandise, but instead generic band items ranging in price from $40 to $100.

Beginning with a Q&A moderated by television host and music journalist Matt Pinfield, the band sat down in four seats on stage and answered questions related to their most recent (and supposedly final) studio album, the 11-track self-titled Megadeth. Frontman Dave Mustaine was a bit quiet for most questions until he was asked about the process behind recording the album and whether there were any extra songs written. He answered that the band has many megabytes of unused music from throughout their career that he’d still be interested in revisiting and potentially releasing, while specifically stating that it would not be for another studio album.

The band was then surprised with official plaques commemorating the album reaching No. 1 in nine countries upon its release - a clear sign that rock and metal are indeed alive and well.

After answering a few more fan-submitted questions, the band took about a 20-minute break while their gear, microphones, and setlists were brought onto the stage. Some audience members began standing up from their seats in anticipation, almost hesitantly wondering if the rest of the crowd was really going to stay seated for a Megadeth concert. That would be almost sacrilegious.

The night grew darker and the city lights began shining brighter as the band finally stepped onto the stage at 8:45 p.m., guitars in hand. They started with three tracks from their recent album: the three No. 1 singles “Tipping Point,” “I Don’t Care,” and crowd favorite that everyone was singing along with, “Let There Be Shred.”

It was an unusual audience for this type of show, with only a few true headbangers near the front and scattered throughout the small terrace. Most people stood completely still to film the performance, almost shocked at how loud the roar of the band’s guitars were. C’mon people, haven’t you ever been to a metal concert before?

Dave Mustaine said a few thank-yous between songs before proceeding to play some of the band’s older material. Another fan favorite, “Sweating Bullets,” came next, followed by “Symphony of Destruction” and “Peace Sells,” during which the band’s mascot, Vic, walked through the audience throwing Megadeth-themed money to everyone before joining the band on stage.

As an audience member, it most certainly felt like a private show and almost too good to be true for a ticket priced at only $65. The band then ended with a bang on “Holy Wars,” during which Mustaine introduced each member: Teemu Mäntysaari on lead guitar, James LoMenzo on bass, and Dirk Verbeuren on drums.

When the final chord rang out, the audience looked around at each other in amazement, feeling lucky to have witnessed this performance on such a small scale.

Overall, it was an amazing night at The Grammy Museum with, no doubt, one of the loudest metal bands to have performed there to date. Hopefully, the night inspired many audience members to stream the band’s new record, purchase some merchandise, and potentially even buy a ticket to see the band live again at one of their shows this coming weekend at BMO Stadium, opening for Iron Maiden.

Keep up with all things Megadeth on the band’s website, here.

The post Megadeth Rocks The Grammy Museum first appeared on Music Connection Magazine.