Devin Milton (Lori’s Roadhouse, West Chester, OH) 7/18/26

Saturday, July 18, 2026
Lori’s Roadhouse – West Chester, Ohio

Some concert nights begin with hours of anticipation. Others begin with a sprint through the rain carrying thousands of dollars’ worth of camera gear.

Saturday night landed somewhere in the middle.

With doors opening at 4 p.m. but music not kicking off until 8, I left home around 6:30 for the easy half-hour drive to Lori’s Roadhouse. Rain was coming down just enough to make me hustle from the house to the car, hoping to keep my equipment dry. Fortunately, traffic cooperated, and I rolled into the parking lot just after 7 p.m., giving myself plenty of time to settle in before showtime.

Lori’s Roadhouse has become familiar territory over the years. This wasn’t my first visit, and walking through the doors felt more like returning than arriving. I still remember my first time there as a guest of Jason Hale while he was playing with Kyle Fields opening for Clay Walker. Since then, I’ve come to appreciate what the venue offers: a unique combination of restaurant, bar, and live music destination that has become a favorite stop for country fans throughout the Cincinnati area.

After checking in and getting my credentials confirmed, I exchanged a few laughs with security before making my way to the bar. The crowd was still filtering in, giving me time to grab dinner. The chicken tenders deserve a mention of their own, each one looked more like an entire chicken breast than a typical tender. Needless to say, nobody leaves Lori’s hungry.

Once dinner was finished, it was time to get to work.

I claimed my spot in front of the stage, unpacked my camera gear, dialed in a few test shots, and waited for the lights to come alive.

When Devin Milton and his band finally hit the stage, they didn’t waste a second.

Rather than easing into the night, they jumped straight into their set with confidence and energy that immediately drew the attention of everyone in the room. It’s always easy to tell when an artist has built a loyal hometown following, and Saturday was no exception. Fans sporting Devin Milton shirts filled the dance floor early, singing along, dancing, and creating the kind of atmosphere every performer hopes for.

Milton understands something that many cover artists miss: variety keeps an audience engaged.

Throughout the evening, he blended country favorites with well-placed rock songs, changing gears at just the right moments to keep the momentum rolling. Instead of feeling like a collection of unrelated covers, the set flowed naturally, allowing each style to complement the next while giving the audience plenty of reasons to stay on the dance floor.

Backing Milton was a tight four-piece band featuring guitar, bass, keyboards, and drums. They provided a solid musical foundation throughout the evening, locking into each song with consistency while giving Devin room to lead from center stage. Playing four hours, with only a short break, is no small task, but the group maintained their energy from the opening song through the final encore-worthy moments of the night.

Whether interacting between songs or simply feeding off the audience’s enthusiasm, he never let the energy dip. The people up front responded to everything the band threw at them, and that relationship between performer and audience is what transforms a good night of live music into a memorable one.

As the final notes rang out, the crowd slowly made their way toward the exits while I packed away my cameras and headed for home.

Sometimes the biggest touring acts get all the attention, but nights like this are a reminder of why local and regional music scenes continue to thrive. Devin Milton and Company delivered exactly what their fans came for: four hours of energetic entertainment, strong musicianship, and a setlist that kept people dancing from beginning to end.

If you’re looking for an evening filled with great live music, familiar songs, and a band that clearly enjoys being on stage, catching Devin Milton live is time well spent.

More Than Good Vibes: How Tropidelic Built A Live Show That Feels Like Home

Ask someone to describe Tropidelic, and you’ll probably hear the usual buzzwords.

Reggae rock.

Hip-hop.

Funk.

Beach vibes.

Good times.

They’re all accurate… but they don’t tell you why people keep coming back.

After sitting down with drummer Rex Larkman, it became clear that Tropidelic isn’t just another band blending genres. They’re building something that’s become increasingly rare in today’s music scene: a community that extends far beyond the stage.

That community cleans highways together.

Travels across state lines just to spend a few hours picking up trash.

Shows up year after year because the band has created something bigger than a concert.

In a music industry obsessed with streaming numbers and social media algorithms, Tropidelic somehow found a different path.

And that’s a story worth telling.

A Highway Named Tropidelic

Every band has merchandise.

Some have signature beers.

A lucky few get their own festival.

Tropidelic?

They adopted a highway.

What started as a joke quickly turned into something much more meaningful.

Several times each year, the band gathers with fans to clean a stretch of Interstate 77 outside Cleveland.

No VIP passes.

No backstage laminate.

Just musicians and fans spending a morning making their city a little better.

That’s about as “Tropidelic” as it gets.

Larkman laughed while telling stories about the odd things they’ve discovered along the roadside, everything from discarded X-rays to random pieces of school equipment, but underneath the humor is something that says a lot about the band’s culture.

Most artists ask fans to support them.

Tropidelic invites fans to work alongside them.

That’s a different kind of relationship.

The Sound of Cleveland… Without Sounding Like Cleveland

Cleveland has produced plenty of legendary music.

Rock.

Metal.

Hip-hop.

Punk.

Hardcore.

Tropidelic doesn’t neatly fit into any of those boxes.

Larkman openly admits they’re something of an outlier.

Yet the city still shapes everything they do.

The beaches along Lake Erie, the gray winters, the working-class mentality, and Cleveland’s fiercely loyal music community all find their way into the band’s DNA.

He jokingly calls Lake Erie “the Cleveland Ocean,” but there’s truth behind the joke.

Their songs may sound like they belong on a beach hundreds of miles away, but they’re unmistakably products of Northeast Ohio.

Sometimes the most tropical music comes from the coldest places.

Live Music Isn’t About Perfection

One of the most fascinating parts of our conversation centered on something most audiences never think about.

Tracks.

Clicks.

In-ear monitors.

Synchronization.

For today’s touring bands, live performance isn’t just six musicians plugging into amplifiers anymore.

Modern productions require additional keyboard layers, ambient textures, production elements, and synchronized lighting.

The challenge is knowing where technology should help, and where it shouldn’t.

Larkman is refreshingly honest about that balance.

Yes, Tropidelic uses backing tracks.

No, they’re not replacing the performance.

The vocals remain live.

The energy remains live.

The musicianship remains live.

The technology simply allows six musicians to recreate an album that may have dozens of recorded layers.

That’s an important distinction, and one too often misunderstood by concertgoers.

Perhaps the most revealing moment came when Larkman admitted that if something ever goes wrong with the tracks, he’d rather shut everything off than fake it.

The band knows the songs.

The show goes on.

That’s confidence you can’t program into a laptop.

Playing for the Song

Like many drummers, Larkman’s influences range from Neil Peart and Phil Collins to Joey Jordison, Dave Matthews Band’s Carter Beauford, Green Day’s Tré Cool, and the late Rev from Avenged Sevenfold.

Given that list, you’d expect a whirlwind of flashy fills.

Instead, his philosophy echoes something shared by many great session musicians.

Play for the song.

In the studio, restraint wins.

Live?

That’s when the metal drummer comes out.

He laughs about it, but you can hear the excitement in his voice.

The audience feeds the performance.

The heavier playing.

The added energy.

The freedom to let loose.

That’s one of those subtle truths about live music that recordings can never fully capture.

Songs evolve the moment they’re performed in front of people.

Built for the Road

Warped Tour.

Red Rocks.

The Caverns.

House of Blues.

Florida beach festivals.

Legend Valley.

If you ask musicians about memorable venues, you’ll usually get a list.

Ask Rex Larkman, and you’ll get stories.

Like hauling merchandise a mile across Warped Tour grounds in the Florida heat before the gates even opened.

Or watching torrential rain flood festival grounds moments before showtime.

Or standing backstage at Red Rocks, staring into what he described as a “tsunami of people.”

Then there’s The Caverns in Tennessee.

While Red Rocks might be one of America’s most iconic outdoor venues, Larkman jokingly calls The Caverns “the basement of Red Rocks.”

It’s an apt description.

One venue opens to endless sky.

The other disappears beneath the earth.

Both leave unforgettable impressions.

The common thread isn’t the scenery.

It’s the audience.

Whether the crowd is packed into a cave or spread across a Colorado mountainside, Tropidelic approaches every show the same way:

Give people a reason to remember the night.

The Other Half of Being in a Band

Larkman wears more hats than most fans realize.

He’s the drummer.

He’s heavily involved in running the band’s backing tracks.

He shoots video.

Directs music videos.

Edits social media content.

Produces promotional reels.

Studies camera angles.

Plans drone shots.

Scouts filming locations.

It’s a reminder that today’s musicians spend almost as much time creating content as they do creating music.

His description of filming the band’s “Out There” video on a farm in West Virginia perfectly captures that mindset.

The location wasn’t chosen because it was convenient.

It was chosen because it told the story the song deserved.

That’s becoming increasingly important in modern music.

Songs don’t just need to sound good anymore.

They need to look good, too.

Success Is a Team Sport

One answer stood above the rest.

When asked to recognize an unsung hero, Larkman didn’t name a famous producer or influential musician.

He named the crew.

Tour manager.

Front-of-house engineers.

Merchandise staff.

Bus driver.

Manager.

The people audiences rarely see.

It’s easy to forget that a successful tour is essentially a traveling small business.

Someone has to solve bus problems at three in the morning.

Someone has to sell T-shirts.

Someone has to load equipment.

Someone has to make sure everyone gets to the next city.

Bands may stand in the spotlight.

Entire teams keep that spotlight turned on.

Larkman understands that better than most.

More Than a Summer Soundtrack

Tropidelic often gets labeled as “feel-good music.”

There’s certainly plenty of that.

But after talking with Rex Larkman, it feels like an incomplete description.

The positivity isn’t manufactured.

It starts with how the band treats its fans.

Its crew.

Its hometown.

Even its adopted highway.

That’s difficult to fake.

And maybe that’s why Tropidelic continues to grow while so many bands struggle to build lasting communities.

People don’t just come back for the songs.

They come back because, for a couple of hours, they feel like they’re part of something.

In the end, that might be the band’s greatest achievement.

Not writing the perfect summer anthem.

Creating a place where everyone feels welcome when the lights come up and the music starts.

Tropidelic

A band that adopts a highway, cleans it with fans, then goes straight back to building a tightly synced live show is the kind of story we can’t stop talking about. I’m joined by Rex Larkman, drummer for Tropidelic, for a conversation that moves from Cleveland pride to the real mechanics of modern touring, with plenty of laughs and hard-earned lessons in between. 

We get into the Cleveland music scene and how a “Lake Erie ocean” mindset can fuel a band whose sound blends reggae rock, funk, hip-hop, and high-energy drumming. Rex breaks down the drummers who shaped him, from Neil Peart and Trey Cool to Joey Jordison and Carter Beauford, and explains how he approaches recording versus performing so the parts serve the song but the stage still hits like a rush. 

Then we go deep on the gear and the why behind it: click track philosophy, backing tracks used as layered support rather than shortcuts, and Rex’s practical Roland SPD-SX setup with count-offs and a kill switch for the nights when tech fights back. We also talk tour life, Warped Tour chaos, rain-soaked shows, and the surreal feeling of playing Red Rocks, plus the “basement of Red Rocks” vibe at The Caverns. We wrap with Tropidelic’s new album First Light, DIY music video production, and a shout-out to the unsung heroes behind every great show. 

If you like artist interviews, touring stories, drumming talk, and behind-the-scenes music production, subscribe, share this with a friend, and leave a review. What’s the best live venue you’ve ever been to?

Episode Links

Send us Fan Mail

Support the show

Links

Contact

Socials

Services

Books

Merchandise

Support

Shout Outs