IRON BUTTERFLY play The Coach House Jul 9; promo photo

Sixties psychedelic group, Iron Butterfly, best known for the song, “In A Gadda Da Vida”, from the album of the same name that sold over 48 million copies, will bring a slice of musical history to The Coach House July 9. Following is and interview we did back in 2016. Check it out:

“We don’t really dress up for the occasion, the guys are in their 60s,” percussionist Mike Green said.

“Ron wanted to add a percussionist to augment the sound because it is very percussion driven due to his famous drum solo.”

Iron Butterfly 2015/2016 promo graphic

Rounding out the band are Ray Weston (drums) who started touring with the band after Bushy took ill; Dave Meros (bass) joined following the death of Lee Dorman; Eric Barnett (guitar) has been a long time member of Iron Butterfly; and Phil Parlapiano (keyboardist) who recreates the ethereal, churchy organ that is as critical as the drums to the overall Iron Butterfly sound.

“Come and return to a different place in time and experience Iron Butterfly.”

BLACK LABEL SOCIETY; photo Reuben Martinez

Black Label Society brought guitar domination to San Diego, where Zakk Wylde proudly gave a “Big Black Label Thanks to the San Diego, CA Chapter for a Pummeling BL Quilt Craft/Sewing Festivus Miracle on Ice”. The month-long tour included metal veterans Obituary and Lord Dying.

As a longtime guitarist for Ozzy Osbourne, Zack created Black Label Society over 20 years ago, but reunited with Black Sabbath in 2000. In fact, he was slated to play with Ozzy on his farewell tour this year, but it was postponed due to Ozzy’s health issues. This inadvertently provided Zakk with some time to kill which resulted in this tour.

Zakk Wylde; photo Reuben Martinez

Dario Lorina/BLS; photo Reuben Martinez

Zakk’s other side project Zakk Sabbath recently played a few shows in England celebrating 50 years of Black Sabbath’s self-titled debut album. The album that changed metal.

But this was a Black Label Society show, and the fans were wearing BLS shirts, vests, hats and other items proudly. During one moment of the night I heard Zakk say that the song, “In This River”, will never leave the Black Label Society playlist. It was written and dedicated to Dimebag Darrell Abbott who was shot in 2004. Zakk displayed banners of Dimebag and now Dime’s brother Vinnie Paul who passed June of 2018.

John “JD” DeServio/BLS; photo Reuben Martinez

There were so many highlights from Zakk, John “JD” DeServio on bass, Dario Lorina on guitar and Jeff Fabb on drums. Everyone in the band were well showcased.

Zakk should be joining Ozzy on his farewell tour probably in 2021. So, check out the band when you can as well as Zakk’s Instagram. It’s a very entertaining outlet, showing off his humor, his line of guitars, amps and coffee. Total tongue in cheek humor.

Set list: San Diego:
Genocide junkies
Funeral Bell
The Rose Petalled Garden
Heart of Darkness
Suicide Messiah
Trampled Down Below
Seasons of Falter
Peddlers of Death
Spoke In The Wheel
In the River
The Blessed Hellride
A Love Unreal
Fire it Up
Concrete Jungle
Stillborn

QUEENSRYCHE; photo Reuben Martinez

First show of the year and I am getting to cover a band I was listening to since their beginning! Over 35 years in the business this band has endured many obstacles over that time. Their recent album The Verdict was released a year ago bringing the total to 21 albums (16 studio) in their career. The tour started in Southern California with Eve to Adam and Rob Zombie’s guitar virtuoso John 5 to support. East coast band Eve to Adam took the stage and I was new to hearing them. They are a solid choice to open for the rock icons. Very energetic set.

JOHN 5; photo Reuben Martinez

One huge thing about this night was getting to shoot John 5 in a venue with great lighting and a photo pit. I’ve covered John 5 a few times in the smallest clubs shooting from a crowd. And tonight, John 5 stayed constant to each time I’ve seen him. Visually, John 5 can look Metal/Zombie and play hard, yet beautiful. Hard riffs to country twang. But just like shooting from a crowded floor, the photo pit was full of about 20 photographers this night. Limited space to move around. But every angle had heavy blue and green lights to set the scene. John 5 even came out with a mask of himself, ripping it off to reveal a green skull. He finished with a quick tribute to Rush (who recently lost their drummer, Neil Peart) a homage to the band, then went into very familiar riffs of White Zombie and Pantera. These were definitely fan favorites of the night.

QUEENSRYCHE: photo Reuben Martinez

At last it was time for headliners, Queensryche to take the stage. When the lights went out you could see the band members walk on stage and right away jump into their classic “Prophecy”. I’ve seen this band dozens of times and every time I get drawn to when I was a teenager. Singer Todd La Torre sounded amazing going through the classics and on to the new songs. The Ryche vibe is still there. Part of that sound is the guitar harmonies of Michael Wilton and Parker Lundgren. Of course, when Eddie Jackson started the bass line for the intro to “Jet City Woman” the crowd went nuts. One of their biggest hits. They ended the main set with “Queen of the Reich” from the first album.

QUEENSRYCHE: photo Reuben Martinez

They opened up the encore with something new and then finished the night with “Eyes Of a Stranger” from the Operation: Mindcrime concept album. Even with a lot of media in the photo pit and seeing a lot of familiar faces, this show was a great way to kick off 2020. It’s great seeing bands like Queensryche still packing in venues. And sounding amazing.

Queensryche Set List:
Prophecy
Operation: Mindcrime
Walk In the Shadows
Resistance
Man The Machine
Take Hold Of the Flame
No Sanctuary
Bent
Dark Reverie
Breaking The Silence
Silent Lucidity
Jet City Woman
Screaming In Digital
Queen Of the Reich
-encore-
Light-Years
Empire
Eyes Of a Stranger

TOMMY CASTRO rescheduled to Jun. 25 at The Coach House; photo Bob By Request

Tommy Castro, a regular at The Coach House, had to reschedule his recent show due to the COVID-19 coronavirus to Jun 25. We thought it would be fun to re-run an interview he did back in 2014 when the Devil You Know Album came out. Read on:

“If you go to an online music site and you just play the title track it kind of tells the story of where this record is going to go. Although it does go a lot of places!” Castro laughed.

“The whole idea behind the album, ‘The Devil You Know’, was this new direction of mine. I basically like to keep things fresh, try new things, combining old influences and moving forward.

Tommy Castro; photo Jayson Carpenter

“A lot of this music reminds me of when I was a kid and just learning to play. Playing in garages with my friends and just having fun. This new music reminds me of that feeling.”

“I think that’s why I still have a career because I’ve worked very hard at my business.”

CHRISTIAN FRENCH plays Constellation Room Feb. 29; press photo

Christian French has had a phenomenal rise to success in a short amount of time. And it all began from quite humble beginnings. “That’s a funny story actually,” he says. “My friend came into choir class – at the time I was in a school where you either had to be in band or choir class and I was in both for a year. So, he came into choir class one day and we learned “Love Song” by Sara Bareilles. He came in and had learned to play that from YouTube and showed me how he had learned it on piano. And I was like, ‘I can do that as well.’ So, I learned that song and just started learning how to play all my favorite songs.

“That was going on for a couple of years and I started putting my covers up on Soundcloud. Gradually, I just kept getting better at piano and started writing my own stuff. After I found I could write my own stuff, I just kept developing it more and more. Once I got to college, I started releasing music through Spotify and compilation via my college. And it was in my college town that I met my manager and we came out here and that’s where we are at now.”

Coming up with a name is sometimes one of the more challenging aspects to being a musical act, but often times the simplest route really is the best. “That was the debate for some time,” states French. “But Christian French is just my name and my music is genuine as myself; there’s always the thought of thinking about a different name but it just seemed to fit and that’s all I can really say.”

Inspiration can come from anywhere, and French has shown he seeks it in many of the unlikeliest places time and time again. “It varies from time to time,” he reveals. “Sometimes, I will mess around until I find some chords I like that go together or write lyrics that I get inspired from. Lately, I’ve been tapping into podcasts and reading a lot of stuff from self-help books and taking away the main points from them – trying to apply those to my music and see If I can write a story around it.”

CHRISTIAN FRENCH; press photo

The concept behind Bright Side Of The Moon is simple yet powerful. “It’s based off this idea of consistently focusing on the bright side of things rather than letting all the negativity take over,” explains French. “That was kind of the theme of it, because from my own experiences and being in bummer situations one day I realized that I didn’t have to be so bummed out. It’s all about a change of attitude, and after I realized that a lot of things started changing for me for the better.

“I started taking the good things out of situations rather than being stuck on the past. I started seeing so much improvement in my life that I wanted to write about it and pass the knowledge along. And that’s what Bright Side of the Moon really is, and what the whole tour is about.

“We released Bright Side of the Moon last August. We hit a lot of towns on that one but not as many as I wanted to, so we are bringing it back around so I can hit all the places we didn’t get to last fall.”

Every artist has something that drives them, something that they are extremely proud of: “The reaction to it,” he describes. “My thing with music is as long as I’m having a positive impact on people’s lives is all I really care about. The response to my songs was so motivating…and not everyone who has this type of knowledge is going to know they can do all these things, and just putting it out there for people to realize has been amazing. I’ve heard so many great and life changing stories from fans who have taken it to heart.”

In addition to that is the sheer joy of playing live for his fans. “It’s just a whole other connection to the music,” French illustrates. “Being there with fans who I’ve talked to for months over social media, finally getting to see them live and rocking out with them… there’s just no feeling to compare it to. I mean, we have live drum and live guitar so it’s just a new energy for them to experience. Last tour was the first time I got to bring a drummer out with us and that just created a whole new vibe.

“There’s a couple that are always a lot of fun to play. “By Myself” is one that everybody knows, and I always have fun with. The same goes for “Love Ride,” and both those songs have a lot of energy to them. And then, one of my personal favorites is “Head First”. Every time I play it, it’s such a rocking song. So those would be three favorites I love to play.”

Getting ready for the next show is a constant process for every touring band, and each always finds their own unique way of combating the pre-show jitters. “We kind of do our own thing to try and get into the zone,” conveys French. “My thing is I go into a bathroom and start warming up – start stretching, going over my lines, and getting into a zone where I’m not thinking about anything else. Then a few minutes before a show we will get together, talk about the show, and a have little huddle to establish a base.”

The future looks bright for French as well, who is already extremely busy forging ahead. “I just started releasing this cycle of music and just released a song called “Time Of Our Lives,” he asserts. “We are going to continue releasing music this March/April and over the next couple of months. And are also going to be on this tour for the Spring as well. After that, the focus is going to be on doing a lot of college shows and hopefully be back on the road in the fall. I also plan on releasing a lot more music before the year is over as well. I’m super excited for 2020 and getting all of this stuff out there.”

Catch Christian French on his Bright Side of the Moon Tour Part Two tour, when he plays the Constellation Room on February 29th!

CANDL; press photo

“That one has a history to it,” explains Walter Morales, AKA CANDL. “Going back to my creative art side, CANDL came from a graffiti background. A buddy of mine from way back in 2007 basically gave me the name CANDL, because he said anytime I walked into a room I would light the place up and had a good spirit… that I had a good aura and was always smiling. So, he told me, ‘I’m going to call you CANDL because you’re a bearer of light’. So that’s what it means, it came from my graffiti roots and brought it over to this whole DJing and producing thing.”

His path from graffiti artist to Producer/DJ is one that developed naturally and influenced the way in which he developed his style. “When I first started learning how to DJ, I was into more techno and tech house,” he elaborates. “It was researching those kinds of sounds that led me to like the UK brand of things, like jagged house and bassline; for me, it just hit way harder and was a lot more creative than the stuff I’d be hearing.

“A lot of the tech house is good, and so is the US bass house stuff, but the UK bass stuff was so much heavier to me and so much more creative and when it comes to the dancefloor, I just love spinning that stuff. I always told myself I’d make the kind of stuff that I would want to spin. I still make tech house stuff and other kinds of bass music, but it always has to be creative and smack.”

The track “DTF,” shows his ingenuity for creating tunes full of warbling bass lines, catchy vocal samples, and a unique sense of rhythm. The atmospherics create the dark vibe CANDL loves to employ but this is also a track that sets a dancefloor ablaze; listening to the track instantly creates a vision of a dark club filled with bodies writhing in perfect unison to the beat.

In addition to his activities as CANDL, Morales also helped found one of the most creative and original collectives currently operating in Los Angeles. “Basically, with LO FREQS, that all came into the picture when I met my buddy John (Mèlay) at the LA Recording school and we were the only two dudes making house music in class… everybody else was basically pop, trap, or dubstep,” describes Morales. “So naturally, we got together as we were doing the same thing. One day we were having a talk about doing something real, John said he had a dope name that was LO FREQS and we just took it from there.”

Darkside 2 cover art

Since then, the status and respect for everyone involved has only grown stronger. “We stayed on top of it and didn’t want to be another cookie cutter crew, so we focused on having our friends DJ and produce top quality sh**,” he adds. “I didn’t care if it was my own brother trying to get in, if he wasn’t hungry about it and doing quality material then he would have to earn his keep. We just had this idea of doing something big and different – to bring our kinds of sounds and sounds from the UK out here.”

“The Night” is a prime example of both CANDL and LO FREQS mission to fuse the UK Sound with their own original sound. Hypnotic vocal samples create a very LA kind of vibe while the specific tonalities of the bass are very reminiscent of the UK bass sound. Together, it creates a driving house track that showcases the power this specific hybrid sound possesses.

While starting out as a DJ, he eventually got involved in production due to its potential for expressing his own unique style of making music. “What got me into production?” asks Morales. “Basically, I’ve always been creative, and always been into the scene since about 2005… like house music and trance music.

“Creating music came much later, about 2015. I think what inspired me was just hearing a bunch of dope stuff and dope music from everywhere really, and the creative part of me just really wanted to create. I was an artist before that, doing drawing and painting and stuff like that. Being able to create just called to me.

“Producing is dope and it’s fun to get creative but being able to go out there and play sets/shows is an amazing part of it. Being able to go out there and influence people with sounds and ideas that you put out there, it’s a grand thing to be able to effect that kind of change and emotion… being able to take a person out of whatever drama they have going on that day and have them lose themselves in the music is a really good feeling. Studio time is just as valuable, that’s where the magic is made. You gotta be able to make that magic to bring out there.”

The Darkside EP is his newest release to date, and its inception as well as its content are landmarks in the ongoing development of CANDL. “The title of the EP resulted from the fact that the main track is called ‘Darkside’; that was the first track that got signed and the rest of the tracks came from that,” says Morales. “If anyone has ever heard my sets, I play a lot of dark/heavy kind of vibes whether it’s house or breakbeat, and it’s a style I’m known for. I’m not going to say G-House kind of dark or Bloodtone dark, but more UK bass which is darker and weirder. So, it just made complete sense with the kind of sound I have that I play on the dancefloor.”

Dark and weird is at the forefront of the sound of CANDL, and “Darkside” truly demonstrates his mastery of it. The mutated bass frequencies, glitchy synth motifs, and off-key rhythm employed throughout the tune create one that infects the brain and the muscles at the same time, thus making this a track easily enjoyed in any environment. The track is filled with ambient explorations as well as constant surges of effects that effortlessly combine the best of the studio world and the live environment.

“One of the things I’m most proud of about this is that it is my first UK label release,” he points out. “I’ve been playing UK stuff for so long so it’s only right to have those kinds of tracks come out on that label. Honestly, I wouldn’t want them anywhere else. I respect all the labels out there, and the ones out here, but it’s not really for me because of the style that I do. So, it feels more at home on Incursion Records; plus, the fact all those dudes are killing it in their own right and it just feels super right.

“I’ve got another EP dropping through LO FREQS, which is going to have five or six more tracks on it – that is just going to take the madness even further,” reveals Morales. “Also, super stoked on that release; really, the Darkside EP is my first EP release ever, as I’ve mostly been releasing singles and through compilations and stuff like that. This upcoming one on LO FREQS is going to be my first EP release on that label as well, and the fact that it’s getting released on the label I helped create just makes it that much more epic. I’m going to be able to showcase even more of that style that the Darkside EP offers.”

Out now on Incursion Records, Darkside EP by CANDL is a must-have release for any fan of bass music! And stay locked in on CANDL and LO FREQS, as things are only going to get wilder and more exciting!

PHIL VASSAR plays The Coach House Feb. 13, Humphrey’s/San Diego Feb. 14; press photo

Nashville country musician Phil Vassar brings spirited fun and music to SoCal as part of his current “Stripped Down” acoustic tour. Vassar is slated to play at The Coach House in San Juan Capistrano Feb. 13 and Humphrey’s in San Diego Feb. 14.

Vassar states that concertgoers are in for a great time!

“It’s just me on a piano and guitar and stories. It’s a storyteller kind of vibe. It’s really fun.”

Though born in Virginia and currently residing in Nashville, a region well-known for being central to country music as well as the filming location of his show “Songs from the Cellar,” Vassar unapologetically boasts of his love for the region of Southern California.

“I’ve played in Southern California so many times. I love it,” he says. “I’ve actually played The Coach House and of course I’ve played San Diego. I’ve played all over. I love Southern Cal, Orange County and San Diego. I love the vibe. I love it there. I love the weather. If I could live there I probably would.”

Musically active since 1997, Vassar has become well-established in the country music genre thanks to his baritone voice but also for his skilled piano playing.

Vassar says his entry into music started off slow but gained speed in large part due to him personally knowing a number of prominent names he met over the years.

“I lived in Nashville so I just started playing music all over town. I started writing a lot and trying to get a record deal. In the meantime, I met a lot of people like Garth Brooks and Tim McGraw and Alan Jackson and Kenny Chesney and Faith Hill and Joe Dee Messina.”

Meeting these individuals and befriending them allowed Vassar the opportunity to pen a number of songs that many of the notable artists he met went on to record. Notable songs he is credited as writing include Collin Raye’s “Little Red Rodeo, ” Tim McGraw’s “For a Little While,” and Alan Jackson’s “Right on the Money.”

Vassar’s efforts not only saw many of his songs soar to high positions in song charts but also an award in 1999 from the American Society of Composers, Authors, and Publishers.

“After that it became a whole lot easier to get a record deal,” Vassar says. “My first record came out in 2000 and I’ve done ten since then.”

Vassar’s music, as is typical of country, can best be described as stories set to song. In fact, Vassar considers himself to be a storyteller and one who uses music to accomplish that. It’s music that he creates through what can best be described as a naturally occurring process.

“Most of the time I think I’ll start with a melody or work it on the piano. I kind of get something going. Sometimes I’ll write the lyrics. Sometimes I’ll be sitting on an airplane and write it and then I’ll put the music to it later on. There’s really not a right or wrong way to do it for me. I think I just kind of do it both ways.”

Though he has recorded ten albums to date using this method, Vassar uses live concerts as a gauge to determine whether he has produced the best possible songs he can which is something he is unable to fully accomplish in a studio setting.

“You can’t really tell in the studio. There’s no feedback. You don’t know what’s going on. Whether it’s good or bad. I think having the opportunity to play songs live, you really get a better indication of how your music is or how it’s going to do.”

Additionally, Vassar uses a unique approach for each live show he does. Vassar calls this method as “kind of flying by the seat of your pants.

“I don’t have a setlist or anything like that,” Vassar explains.” I just sort of start playing music, asking people what they want to hear, and I just take requests. That’s what I do for the whole night. That’s basically how I do it. I love doing it that way so the show’s more spontaneous and that’s the way I like to do it.”

Vassar promises those who attend his concerts in Southern California will not only enjoy his shows but he promises he will enjoy playing them too. For Vassar, being able to publically share the music he makes is not just a career but a constant goal that he always strives to accomplish wherever he goes.

“That’s the payoff, you know. I think that’s the most exciting part of the whole deal. I love playing live. I’ve always loved it even before I was writing good songs and doing all that. But playing live, I mean, that’s the way to go. That’s my favorite.”

QUEENSRYCHE Todd La Torre (vocals) Michael Wilton (guitar); photo Reuben Martinez

First show of the year and I am getting to cover a band I was listening to since their beginning. Over 35 years in the business this band has endured many obstacles over that time. Their recent album The Verdict was released a year ago bringing the total to 21 albums (16 studio) in their career. The tour started in Southern California with Eve to Adam and Rob Zombie’s guitar virtuoso John 5 to support. East coast band Eve to Adam took the stage and I was new to hearing them. They are a solid choice to open for the rock icons. Very energetic set.

JOHN 5; photo Reuben Martinez

One huge thing about this night was getting to shoot John 5 in a venue with great lighting and a photo pit. I’ve covered John 5 a few times in the smallest clubs shooting from a crowd. And tonight, John 5 stayed constant to each time I’ve seen him. Visually, John 5 can look Metal/Zombie and play hard, yet beautiful. Hard riffs to country twang. But just like shooting from a crowded floor, the photo pit was full of about 20 photographers this night. Limited space to move around. But every angle had heavy blue and green lights to set the scene. John 5 even came out with a mask of himself, ripping it off to reveal a green skull. He finished with a quick tribute to Rush (who recently lost their drummer, Neil Peart) a homage to the band, then went into very familiar riffs of White Zombie and Pantera. These were definitely fan favorites of the night.

QUEENSRYCHE Eddie Jackson (bass); photo Reuben Martinez

At last it was time for headliners, Queensryche to take stage. When the lights went out you could see the members walk on stage and right away jump into the classic “Prophecy”. I’ve seen this band dozens of times and every time I get drawn to when I was a teenager. Singer Todd La Torre sounded amazing going through the classics and on to the new songs. The Ryche vibe is still there. Part of that sound is the guitar harmonies of Michael Wilton and Parker Lundgren. Of course, when Eddie Jackson started the bass line for the intro to “Jet City Woman” the crowd went nuts. One of their biggest hits. They ended the main set with “Queen of the Reich” from the first album.

QUEENSRYCHE Parker Lundgren (guitar); photo Reuben Martinez

They opened up the encore with something new and then finished the night with “Eyes Of a Stranger” from the Operation: Mindcrime concept album. Even with a lot of media in the photo pit and seeing a lot of familiar faces, this show was a great way to kick off 2020. It’s great seeing bands like Queensryche still packing in venues. And sounding amazing.

Queensryche Set List:
Prophecy
Operation: Mindcrime
Walk In the Shadows
Resistance
Man The Machine
Take Hold Of the Flame
No Sanctuary
Bent
Dark Reverie
Breaking The Silence
Silent Lucidity
Jet City Woman
Screaming In Digital
Queen Of the Reich
-encore-
Light-Years
Empire
Eyes Of a Stranger

SONS OF APOLLO play The Glass House Jan. 24, Roxy Theater Jan. 25; photo Hristo Shindov

Progressive metal band Sons Of Apollo is coming to California as part of their current tour promoting their aptly named album MMXX, or 2020 to those who prefer contemporary numbers, which was released on Jan. 17. Concertgoers can catch the supergroup at the Glass House in Pomona Jan. 24, Roxy Theatre in Los Angeles Jan. 25 and the Fillmore in San Francisco Jan. 26.

“They’re going to get a very talented group of musicians doing their best to take over the world as far as what we’re doing musically,” states Jeff Scott Soto, lead vocalist for the band and who grew up in SoCal.

Soto, in addition to having been associated with groups like Journey and Talisman, has been a part of Sons of Apollo since its inception in 2017. Rounding out the band are four other equally recognizable veteran metal musicians: Mike Portnoy, Derek Sherinian, Billy Sheehan and Ron “Bumblefoot” Thal.

2020 marks the first time Sons of Apollo have played together live in quite a while due to each member devoting themselves to other various projects and of course creating MMXX: their second album.

Soto promises though their inability to play live is penance they intend to pay off in 2020 in an effort he hopes will be “groundbreaking.”

“When we take breaks like this in-between records, it’s interesting once we get the cavalry back together. But I’m sure, because we now have some history together in touring, it’s going to come together.”

Though a relatively new supergroup, Sons of Apollo has already gathered quite a noted appreciation among music lovers not just for its star-laden lineup but also for its very loud and passionate music that is best described as progressive metal.

“For all intents and purposes, people see us as a prog band,” Soto said. “We do fit into that category of Dream Theater and PSMS from which the band originated. It’s kind of lumped into the prog world because of the musicality side of things.”

As Sons of Apollo is a supergroup, Soto says he and the other members are all equally tasked with thinking up the typically heavy progressive songs they create. Soto does his best to produce his own contributions while also trying not to rudely inject his ideas for songs and styles onto his other bandmates.

“I would never dabble. I would never step into a room when they’re writing a song and say, ‘hey! Why don’t you guys use this chord or play this lick instead?’ Because these guys are masters of their trade and I respect them as much as they respect my end of coming up with melodies and coming up with lyrics, etc.”

Once completed, the creator of the song shares the results around with the rest of the band who are then allowed to provide suggestions. When this process is done and there is a mutual agreement, the song is made.

While recording in the studio is simple, Soto says it’s more fulfilling and challenging to play it live.

“It’s as exciting as much as it is nerve wracking. For those guys, they have the technical. For me, again, I pretty much conform to what I do and how I do it within the context of where I’m singing. But those guys have all the technical side of the music.”

Although Soto is merely tasked with giving vocals to songs, he says that the true burden of responsibility is placed on his other bandmates who have to handle the group’s instruments. He says they are the ones who ensure the songs Sons of Apollo makes are pulled off properly.

“It’s exciting but it’s nerve wracking watching them because the slightest little hiccup in a song can turn into a train wreck because there’s so many time changes and signatures within the context of certain songs. If one person throws it off it can actually throw a whole monkey wrench into the machine.”

However, Soto assures that the band will do their utmost to avoid that when playing their three shows in California and beyond.

“I think it’s going to be fantastic! All three shows! The entire tour! The entire year!”

Sons of Apollo’s current tour, which currently lasts until April, will not only see the group tour North America but also Europe and South America. Soto hopes that, should the five men garner enough attention during that time, they will hopefully extend the tour a little longer.

Soto says that is the 2020 goal of Sons of Apollo: a musical world domination.

“That’s the bottom line – we’re hitting ’em with what we’re doing and make ’em want more and from there we’re hoping that they’re gonna want more.”