This past Saturday, EDM producer WOOLI stopped by the Masonic Temple in Detroit during the 2026 Synapse tour.

WOOLI is an artist on the rise, with hits like Thicc Boi and Lock In, he’s been on rotation in my EDM playlist for some time now. When I heard he was coming to my city, it only felt right to attend and cover the show.

WOOLI suddenly appeared on stage just after 11pm, performing to a raucous crowd full of high-energy EDM lovers. His set lasted just about two hours overall. It consisted of a wide variety of music, from his most popular original tracks, to hardcore remixes of more mainstream songs. Eventually, WOOLI even previewed some unreleased music with Big Gigantic, another popular electronic duo.

I was impressed by the colorful visuals displayed on-screen behind the artist, as well as the chaotic laser beams that never seemed to stop bouncing around as the show raged on. Ultimately, these elements made for some pretty interesting photos.

Speaking of photos, one slight challenge that I faced while photographing the show came with the venue. Because the stage is raised at the Masonic Temple, I unfortunately found myself struggling to capture the best angles from the vantage point of the pit. Despite this, I made things work and eventually moved to the back of the room. This allowed for a wider view, leading to better shots overall.

As the show began to wrap up, I exited the venue slightly early as a way to beat the crowd. I left the show feeling thoroughly entertained and exhausted. My hearing was completely shot, but it was totally worth it.

If you get the chance to see WOOLI perform in concert, I’d highly recommend it. It’s a visceral live music experience you truly will not regret.

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Sudan Archives put on a show unlike most others – provocative, musically brilliant, and both menacing and alluring at the same time. She moved between multiple instruments including electric violins and drums, at times channelling what felt like post-apocalyptic cyborg energy. The vibes were both “of these times” and what we desperately need at these times.  Sudan Archives brought raw hip hop and with almost continuous strobe lighting, she kept us guessing as to where we were headed and how we might be getting there.

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Cain Culto brought every part of themselves to opening the night for Sudan Archives at the Pearl in Vancouver, BC. Wielding his electric violin, defying genres and rocking leather chaps, a fierce mask, and other sexy surprises, he brought pure fire to the stage. Cain’s set was stacked with heavy-hitting songs with beats as deep as his multi-faceted roots, weaving bluegrass, hip hop, pop, and queer brilliance – a perfect mix of song and performance art. Though he has rejected the fundamentalist religion he was brought up with, he gave us every reason to congregate.

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This weekend, EDM/dubstep duo Ganja White Night made a pitstop in Detroit for two nights as part of their Sprouted U.S. tour.

Attending a Ganja White Night show has been on my bucket list for quite some time now and it certainly did not disappoint.

The opening acts incorporated the likes of Thred, Mr. Bill, and Boogie T, all of whom got the crowd fired up for what would be an electrifying performance by Ganja White Night. GWN took the main stage around 11:15pm and played a nearly two-hour set, consisting of top tracks and thrilling melodies that were blasted into the Detroit night. The most popular and tracks included Burnin, Magic Frog and Dear Weed Man.

One initial element that caught my eye was the stunning visual displays on-screen behind the artists. I was blown away by the vibrant colors and imaginary characters associated with the GWN lore. As the show carried on, an array of colorful lasers only enhanced the performance (and made for some pretty great photographs, too!)

The crowd was full of rowdy head-banging twenty-somethings, who went hard all through the show. The venue felt almost completely full, and it was clear to me that there were some die-hard Ganja White Night fans in the audience. The energy in the room was magical and was truly something only present at a GWN show.

The historic Masonic Temple venue presented a slight challenge to me as a photographer, as the stage was slightly elevated. I found myself needing to move up to higher vantage points in order to capture tighter shots of the artists. However, some of my favorite moments came about halfway into the set when I moved behind the production area and switched to a wider lens. This allowed me to capture some images of the full stage, including the pit below. I walked away feeling very happy with these photos!

The show began to wind down just before 1am. Ultimately, myself and a bunch of other Ganja White Night fanatics exited the venue with our eardrums blown out, but our hearts completely full.

If you’re a Ganja White Night enthusiast like I am, I highly advise attending one of their shows if you ever get the opportunity to do so.

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Friday night, I was on a flight back to Seattle from NYC with my six-year-old daughter, emailing MJ Lenderman’s PR team with bated breath, eagerly refreshing my emails, to see if he could get me into the months and months and months and months sold out MJ Lenderman show at The Neptune. 

MJ, aka Jake Lenderman, nearly two decades younger than me, is still, somehow, the voice of my generation.

Early last summer, a darkly funny, mopey, post-teen-angst, hook-ridden masterpiece of a song came on my Spotify. “You can put your clothes back on, she’s leaving you. No time to apologize for the things you do. Go rent a Ferrari and sing the blues. Believe that Clapton was the second coming.”

“She’s Leaving You,” Lenderman’s second most popular song with over 5 million streams, would soon own my 2025 Spotify wrapped, pulling at me like Smells Like Teen Spirit did when I was ten or eleven. It hardly sounds like Nirvana, but hearing it made me feel everything about discovering something personally new, something that twitchingly pinches your heart and stomach–even in mid-life.

MJ Lenderman is a brilliant songwriter. If you’re still unfamiliar (see GQ’s profile from last week) you may recognize his voice from Waxahatchee’s Right Back To It – one of Barack Obama’s favorite anthems of 2024 — the perfectly imperfect vocals that drop in and out to make a monumental song even better. 

His band, MJ Lenderman and The Wind eloquently mixes classic Americana with the sharpest singer-songwriters of the late 60s, 90s, and early 2000s. Think Neil Young meets Songs Ohia and most noticeably, The Weakerthans. But also a heavy handful of Dinosaur Jr and maybe some Built to Spill. 

MJ’s words and music are carefully crafted yet not too precious. Raw enough, humbly self-conscious, and funny. And also, as I recently learned, crooning dad rock for those of us who grew up going to basement punk shows. Or, as Leah Weinstein tweeted back in January,

“Wilco dads of today pave the way for the MJ Lenderman dads of tomorrow.” 

Let’s keep moving.

After a solid, War On Drugs-inspired set from tourmates Wild Pink, MJ Lenderman and The Wind took the stage, a couple of sticks of incense filling the air on stage right, appropriately opening with Ghost of Your Guitar Solo. It’s an older, slow build of a song, basically an instrumental with few sleepy lyrics at the end that gradually bled into the title track off his 2024 album Manning Fireworks. 

What is so special about seeing MJ Lenderman and the Wind play live is the balance of melancholy with pure–even silly– joy. These are sad and introspective songs, but there’s also humor in them, and we see that mix in how the band jives on stage. MJ croons while Landon George, sometimes with a light or wry smirk, delivers pulsing bass lines. Xandy Chelmis, aka “pick up the fuckin’ fiddle, Xandy!’ harmonizes equally crooning lines on the dobro (Lap steel) and fiddle, in tune with Ethan Baethtold’s piano, and occasionally stands up to rock the fuck out on tambourine, shaking it like Will Ferrell with a cowbell. 

All the while, in his own corner, guitarist Jon Samuels, looking like Faith No More’s Jim Martin if he played with Crosby, Stills, Nash, and Young, is wailing, headbanging, and having the time of his life, just like the fans, who hang on MJ’s every word. 

Some of these fans included childhood friends–now living in Seattle– who came out to show their support, one with a recognizable charm. “Woah, that’s my Catholic school sweatshirt! Fuck you, Patrick Wilson” Lenderman screamed when he recognized an old classmate in the front row.

And then there are the pulsing, drawn-out jams where a song ends yet keeps going – kinda like Smashing Pumpkins’ Drown, soaked in feedback and hemorrhaging notes, often laden with a flange and delay, somehow never feel wanky. We just soak it in.

MJ Lenderman and The Wind’s twenty-two-song set covered all of Manning Fireworks, with a few songs from earlier albums like Boat Songs, Ghost of Your Guitar Solo, and Lucky. While I was a little bummed he didn’t do a Neil Young cover this time around, his renditions of Smog’s “37 Push Ups”, and Patterson Hood’s haunting and super relevant “Uncle Disney” rounded out the end of his set quite wonderfully.

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With over 3,500 tickets sold, Joe Bonamassa’s recent performance at the Arizona Financial Theatre was nothing short of a blues masterclass. Known for his jaw-dropping guitar work and soulful voice, Bonamassa delivered a memorable night filled with exceptional music, an energetic atmosphere, and fans who hung on every note.

The stage setup was meticulously crafted to make Bonamassa the show’s centerpiece. Accompanied by an all-star band—featuring a keyboardist, rhythm guitarist, bassist, drummer, and two backup vocalists—Bonamassa took center stage under an array of spotlights that captured him from every angle. Thick, moody smoke enhanced the “crossroads” vibe, creating a setting worthy of the blues legends. Arizona Financial Theatre’s sound system once again shone, ensuring that every note reached the audience with clarity and power.

Bonamassa’s devoted fans filled the theater, eagerly singing along to every lyric and even the melodies of his intricate solos. The crowd’s enthusiasm peaked during Bonamassa’s guitar solos, with cries of “Oh yeah!” echoing across the venue. The audience wasn’t just there to watch a performance but to celebrate a shared love for Bonamassa and the blues.

As a music photographer, I’ve covered countless concerts, but this was the first time I’d received a setlist with each song’s keynoted alongside the titles. It was a thoughtful touch that underscored Bonamassa’s meticulous approach to his craft. But the true highlight of the night was, of course, Bonamassa’s guitar solos. Renowned as one of the finest blues musicians, he captivated everyone with solos showcasing technical mastery and deep emotion, reminding fans why he’s a living legend.

Joe Bonamassa’s performance at Arizona Financial Theatre was a night of pure blues magic—one that fans and newcomers alike won’t soon forget.

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Bully’s performance at the Van Buren in Phoenix, AZ was a thrilling display of raw emotion and energy, perfectly blending the sounds of grunge, alt-rock, and punk. The four-piece band, featuring lead guitar, bass, drums, and frontwoman Alicia Bognanno on guitar and vocals, captivated the crowd with their powerful, gritty sound.

When they hit the stage, Bully’s performance was a sonic explosion. Bognanno’s vocals were emotional and melodic, laced with a palpable sense of anger and angst—an embodiment of true punk rock spirit. The band’s tight musicianship and aggressive energy created a beautiful balance of chaos and control, bringing a unique depth to their live sound.

The lighting added to the atmosphere with a superb mix of blue, white, and purple hues, punctuated by spotlights that often illuminated the crowd, drawing everyone into the show’s intensity. Notable moments included standout guitar solos and the bassist’s magnetic stage presence, constantly in motion and driving the energy forward.

Bognanno also worked her magic with an infinite sustainer pedal, crafting a hauntingly beautiful tone that lingered in the air between songs, enhancing the emotional texture of the set. These little moments of sonic experimentation added a unique flavor to the performance, making the experience feel even more immersive. Bully didn’t just play a set—they unleashed a wave of pure, unfiltered energy that washed over the crowd, making this show one to remember.

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Suki Waterhouse’s recent performance in Phoenix, AZ, felt magical, drawing in a packed house of devoted fans. The Van Buren itself deserves special recognition for its excellent handicapped access and seating that ensured everyone could fully enjoy the show. It wasn’t just the accessibility that stood out—there was a tangible connection between Suki and the audience. One fan’s heartfelt sign reading “Suki, I made you a jacket” exemplified the level of love in the room, and as the crowd jumped and screamed along to every lyric, it was clear this was more than just a concert; it was a celebration of genuine fandom.

The stage setup elevated the entire evening, transforming the stage into an enchanting “Disco Garden of Eden.” Plants, vines, and floral arrangements intertwined with the gear, including a massive disco ball covered in vines, set the tone for the night. The drum set and instruments seemed almost organically grown from the plants, adding to the ethereal vibe as smoke machines filled the space, creating an otherworldly atmosphere.

When Suki finally took the stage, her energy was infectious. Wearing a black sparkly jumper with a feathery coat and shades, she danced across the stage, lying on the floor, and connected deeply with her fans, pointing her mic to the crowd as they passionately sang every word. Accompanied by her band—guitarist, bassist, drummer, and multi-instrumentalist switching between guitar and keys—Suki’s live performance was dynamic and heartfelt.

One of the highlights was undoubtedly the lighting. It was some of the best I’ve ever seen at a live show, with constant flashing that created striking silhouettes against the backdrop of vines and plants, further immersing the audience in a dreamlike world. Suki Waterhouse didn’t just perform; she crafted an unforgettable experience, turning the stage into a space where music and nature blended beautifully.

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Last week, up-and-coming singer/songwriter Alec Benjamin stopped by The Fillmore Detroit as part of his 12 Notes tour.

I’ve been a fan of Benjamin since I heard the song Let Me Down Slowly, which coincidentally, is the same track that helped propel him to stardom. When I first learned that he was coming to town, of course I had to throw my hat in the ring to cover the show.

The 12 Notes album, which was released earlier this year, features several popular songs including Ways To Go, I Sent My Therapist To Therapy, and The Arsonist, all of which Benjamin played in his Detroit show.

Firstly, not only was the venue completely stunning, but it is also among the most historic music halls in the country. I had been to The Fillmore several times before as a fan and concertgoer, but never as a photographer, so this was an especially unique experience.

The show started with the opener of pop singer Matt Hansen, who I am not especially familiar with. However, when Alec Benjamin finally took the stage around 8:45pm, that’s when the fun really began.

Speaking of which, Benjamin delivered an absolutely electrifying performance, led by passionate and energetic lyrics that had the raucous crowd singing along all night. Benjamin had a gigantic smile on his face nearly all of the night, and I could tell, with such an up-close view, that he was truly living in the moment.

There were a few brief pauses in between songs, which were particularly interesting due to how Benjamin spoke directly to his audience members, having shared candid stories about his music, his career, and his affinity for the city of Detroit. I was quite surprised at the demographic in attendance, as it was a primarily younger crowd, made up of predominantly teenagers and early twenty-somethings.

The security at the venue was particularly strict, which was something I’m not super accustomed to as a concert photographer. Ultimately, I only ended up photographing the first three songs in Benjamin’s set, before eventually departing the show all together before it officially concluded.

Despite this, I truly enjoyed the show, and even found myself quietly singing along at times. I’m grateful for the opportunity to have covered Alec Benjamin’s Detroit show this year, and look forward to his return, whenever that may be.

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It’s hard to define the thoughts that go through your head when you go to see a band that you know is influential throughout an entire scene. Though a far fling from a pop group, Sleater-Kinney is one of those bands that you know has laid its fingerprints across an entire generation of music. The sense of wonder and yet fear that you have overhyped the experience in your head is almost dizzying. Luckily you don’t have to wait too long to realize that there is a reason this group has grown to the mantel it has today. The rock is consistent, the energy is high, and the overall experience is one that you can leave knowing it matters to the whole of music.

From the opening song, Hell, the group decided to start with a deep, dark, intense edge. It’s nice to hear that as the group has expanded, the sonic qualities have likewise expanded without losing the edge that Sleater-Kinney has always been known for. Sometimes breaking away from the trio mix can add a sense of overproduction, but the dark synth sounds added by backing members Toko Yasuda and Teeny Lieberson enhance the already gritty vibe, rather than detract from it. By their third song, Bury Our Friends, the strength of all members was put on display. Endlessly catchy guitar riffs from Carrie Brownstein, unabashed vocals from Corin Tucker, and drums that hit such a distinct groove from Angie Boylan.  They are a cocktail of angst, ingenuity, and passion, and their musicality is simply an extension of themselves.

This is the staying power and the reason why when Browstein announced, “We will be playing two songs from an album that came out 25 years ago,” the audience erupted in response. Their blend of indie, punk, and garage rock shows their timelessness. There’s a degree of fun and importance in every second of their show. It is difficult to tell if it’s just because of their legendary status in the indie scene that makes this importance feel so evident or if it’s the message of their music itself that has solidified their status in the scene. Regardless of whether the chicken preceded the egg, witnessing Sleater-Kinney feels like a milestone in any concertgoer’s bucket list.

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