Darryl Worley (3rd & Lindsley, Nashville, TN) 6/4/26

The first official day of CMA Fest always feels a little like the first day of school. Everyone is excited, everyone is running on too little sleep, and Nashville suddenly becomes the center of the music universe for a few days.

For me, CMA Fest 2026 started with a phone call.

Before I ever made it into town, Jason Hale, musician, longtime friend, and previous guest on The Jay Franze Show, reached out and asked if I’d be around during the festival. The answer was an easy yes. He told me he had recently started working with Darryl Worley and invited me to a private fan club event at 3rd & Lindsley.

Not a bad way to kick off CMA Fest.

I’ve spent a lot of time at 3rd & Lindsley over the years. I’ve attended countless shows there and even worked out of the venue filming videos for artists. Walking through the doors felt familiar, but there was something new waiting. Recent renovations have expanded the main floor and relocated the stage, transforming the room from the old corner-stage setup into a much more traditional performance space. The changes work. The room feels bigger without losing any of the intimacy that has always made 3rd & Lindsley one of Nashville’s favorite listening rooms.

As I settled into my seat, a bartender appeared offering complimentary food and drinks, a welcome surprise and a pretty nice touch considering I’d already mentally prepared myself to go broke before noon.

Then the band took the stage.

No dramatic introductions. No flashing lights. No smoke machines trying to convince anyone they were watching something bigger than it actually was.

Just four exceptional Nashville musicians, including Jason Hale on bass, walking onto the stage to support one of country music’s most recognizable voices.

And honestly, that’s all they needed.

What immediately stood out was how intimate the entire performance felt. This was a full band show, yet somehow it carried the warmth and storytelling atmosphere of a songwriter round. There was never a sense that Darryl Worley was performing at the audience. It felt more like he was sitting in a living room full of friends sharing songs and stories.

Of course, when your catalog includes songs like “I Miss My Friend,” “Awful, Beautiful Life,” and “Have You Forgotten?” you’ve already got a pretty strong foundation to work from.

The hits were all there.

But what made the afternoon special wasn’t just hearing familiar songs. It was hearing the stories behind them.

Worley has always possessed that rare ability to connect with people through conversation as naturally as he does through music. Between songs, he shared stories, memories, and plenty of laughs. His dry humor kept the room engaged, and the audience responded like family members gathered around a dinner table.

In many ways, that’s exactly what this event was.

Because this wasn’t simply a concert. It was a gathering of fans who have followed Darryl’s career for decades.

Watching him interact with those fans, was truly impressive. He wasn’t vaguely recognizing faces from the stage. He was calling people out by name. Remembering stories. Recalling details from previous conversations. In an industry where artists often meet thousands of people every year, that’s not something you can fake.

The requests kept coming throughout the afternoon.

And when the scheduled ending time arrived, nobody seemed particularly interested in ending anything.

Least of all Darryl.

Rather than looking at a clock, he simply kept playing.

That’s the thing about artists who genuinely love what they do. The schedule becomes more of a suggestion than a rule.

When the final song finally ended, the experience still wasn’t over.

Worley made his way around the room greeting people personally before heading toward the back to sign autographs and take photos with every fan who wanted one. Not some of them. Not most of them.

Every single one.

Before making his way into the crowd, he stopped to thank me for coming. Then he mentioned a photograph he’d taken years ago with my daughter.

My now sixteen-year-old daughter.

Who was four years old at the time.

And just like that, I was reminded of something important.

Darryl Worley isn’t just a great artist.

He’s a genuinely good human being.

Those are two very different things.

And while one often creates success, the other creates longevity.

The Bonus Track Nobody Expected

As memorable as the fan club show was, the story didn’t actually end there.

After spending the day running between meetings, shaking hands, and walking every square foot of Nashville, I headed over to Music Valley to meet some friends.

Eventually we landed at Music City to catch a performance by the Nashville Playboys, an all-star collection of musicians that never disappoints.

Then something happened that perfectly summed up everything I’d witnessed earlier that day.

In walked Darryl Worley.

Not with an entourage.

Not making an entrance.

Not looking for attention.

Just Darryl and his wife looking for a place to sit down and enjoy some live music.

Eventually the band invited him up, and he happily joined them for a few songs. The crowd loved it. The musicians loved it. Darryl seemed to love it.

But what happened afterward may have been even more telling.

He thanked every musician on stage before stepping off.

Then he stayed.

He didn’t disappear backstage.

He didn’t leave after his songs were finished.

He stayed for the remainder of the show, watched the band perform, greeted fans who approached him, took photos when asked, and did it all while making sure the spotlight remained on the musicians who were actually working the room that night.

In Nashville, where egos occasionally arrive before the artist does, that level of humility stands out.

A lot.

Final Thoughts

There are artists who become famous because they write great songs.

There are artists who build lasting careers because they connect with people.

Darryl Worley has managed to do both.

The songs have always been strong. That’s never been the question.

But after spending a day watching him interact with fans, musicians, venue staff, and complete strangers, it became clear why people continue showing up year after year.

The voice may have introduced people to Darryl Worley.

The man is what keeps them around.

And for a festival built around country music’s biggest stars, there may not have been a better way to start CMA Fest than spending an afternoon with an artist who still remembers what made people fall in love with country music in the first place.

Authenticity.

And thankfully, Darryl Worley still has plenty of it.

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Twist It (King of Clubs, Columbus, OH) 5/23/26

There are bands that sound good on streaming platforms, and then there are bands that walk into a room and prove they belong there. On Saturday night (May 23, 2026) at The King of Clubs, Twist It made it very clear they are no longer “up-and-coming.” They’re arriving.

At a comfortable 75 degrees in Columbus, the scene outside the venue already felt different before a single note was played. Tour buses lined the building while fans wrapped around aging apartment buildings and a long-forgotten theater that once stood beside what used to be one of North Columbus’ premier entertainment destinations. There was something poetic about it, a new generation of hard rock fans gathering in the shadows of a faded entertainment empire.

And honestly? Seeing that kind of line at 6 PM before doors even opened says a lot.

The King of Clubs continues to prove why it has become one of Ohio’s best live music rooms. The 850-capacity venue delivers the kind of intimate chaos rock shows are supposed to have. Multi-tiered sightlines, loud fans, cold drinks, and not a bad spot in the house. It feels personal without feeling small, the perfect setting for a band like Twist It.

For me, this show had been building for a while. I first discovered Twist It a couple years ago and had them on The Jay Franze Show back on November 25, 2024, still one of the strongest interviews the show has ever had. Even then, despite being barely out of their teens, you could tell there was something different about them. They had vision. Confidence. Direction. Most young bands are still trying to figure out who they are. Twist It already knew.

That confidence exploded onto the stage Saturday night.

As the house lights dropped, the sold-out crowd erupted while the band walked onstage like seasoned veterans. Dressed like modern rock stars and entering to pre-recorded music, they immediately controlled the room before even touching an instrument. Then drummer Sarah Higgins triggered the backing tracks, counted off the opening song, and the place detonated.

They opened with “Dark Thoughts,” which was the perfect call. The song hits like a panic attack wrapped in distortion, aggressive, emotional, and explosive from the first beat. Logan Smith’s guitar work was crushing live, balancing djent-inspired precision with massive melodic hooks. Meanwhile, Sarah Higgins delivered the kind of tight, machine-like drum performance that modern rock absolutely depends on.

And yes, they use backing tracks.

But unlike countless bands using tracks as a crutch, Twist It uses them as a weapon. This is still a true trio. Sarah plays the bass in advance and triggers the track while actively playing drums, which somehow makes the entire operation even more impressive. Everything had purpose. Nothing felt fake.

Then came the moment that really mattered, Kayla Hallman stepping to the mic.

Live vocals are where many younger modern rock bands get exposed. Studio polish disappears quickly under stage lights. But Hallman didn’t just survive the moment, she owned it. She delivered every lyric with conviction, emotion, and enough raw energy to make the crowd feel every ounce of anxiety and tension built into the songs. By the second chorus, fans were already screaming lyrics back at her.

That’s not hype.

That’s connection.

What stood out most throughout the set was the chemistry between all three members. You can teach technique. You can improve stage presence. But chemistry is either there or it isn’t. Twist It already has it, and that’s dangerous for everybody else trying to compete in modern hard rock.

Logan Smith deserves serious recognition here as well. His playing throughout the night was effortless in the best possible way, massive rhythm tones, sharp transitions, and melodic solos that ripped through the room without becoming self-indulgent. Every note served the song.

If there was one weak point during the night, it came from the front-of-house mix. The band was working with the house engineer, which is always a gamble. Sometimes it works because the engineer knows the room. Sometimes it doesn’t because they don’t fully understand the nuances of the band’s sound.

Unfortunately, the low end around 60 Hz became muddy throughout portions of the set, causing Sarah’s impressive double-bass work to lose some definition in the room. More concerning, Kayla’s vocals occasionally sat too low in the mix, forcing her to push harder vocally than she should have needed to.

To be clear, it didn’t hurt the performance. If anything, it added a little extra chaos and intensity to the show. But long-term, consistently oversinging against a heavy mix can become dangerous territory for any vocalist.

The band closed the night with their latest single, “Honest,” and it felt like the final statement of a breakout performance. Heavy, emotional, polished, and absolutely massive live.

Then came the part that told you everything you need to know about who this band really is.

After walking offstage to screaming fans, the members of Twist It headed directly to the merch table, taking photos, signing autographs, and talking with every single fan who waited to meet them. No ego. No fake rockstar attitude. Just three hardworking musicians understanding exactly who helped put them on that stage.

Class act.

There are plenty of bands chasing the future of modern hard rock right now. Very few actually feel capable of leading it.

Twist It just might.

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Geoff Tate (Taft Theater, Cincinnati, OH) 5/15/26

There are tribute shows.

There are nostalgia tours.

And then there are nights where a guy walks on stage at 67 years old, stares Father Time directly in the face, and basically tells him to shut the f~~k up and sit down.

That was Friday night at Taft Theatre as Geoff Tate and his band Operation: Mindcrime brought Operation: Mindcrime to life in a performance that felt less like a concert and more like a full-blown theatrical detonation inside one of Cincinnati’s most historic rooms.

Built in 1928, the Taft has seen legends come and go for nearly a century. Friday night, it witnessed another reminder that great music doesn’t age, it just gets louder, darker, and somehow even more dangerous.

The lights dropped. The room went black.

Then came the unmistakable hospital sounds.

“I remember now. I remember how it started. I can’t remember yesterday. I just remember doing what they told me, told me, told me…”

And just like that, the audience was no longer in downtown Cincinnati. They were inside the world Operation: Mindcrime.

For fans of Queensrÿche, this wasn’t just another catalog run-through. This was a front-to-back performance of one of the greatest concept albums ever recorded, delivered with precision, intensity, and enough emotional weight to remind everyone exactly why this record still matters nearly four decades later.

Let’s address the obvious elephant in the room: Geoff Tate hasn’t been in Queensrÿche since 2012. The band kept the name. Tate retained the rights to perform the Operation: Mindcrime albums in their entirety and ultimately built an entire touring identity around them.

Honestly? Good.

Because what happened Friday night didn’t feel like a watered-down nostalgia act clinging to old glory. It felt like the guy who originally helped create the madness simply decided to reclaim it.

And here’s the truly absurd part: Tate still sounds unbelievable.

At 67 years old, the man is still hitting notes that singers half his age dodge in fear. There was no visible decline. No “adjusted melodies.” No strategic crowd-sing moments to hide vocal fatigue. He attacked the material with the same sharpness, tone, and theatrical command that made him one of progressive metal’s defining voices in the first place.

The band behind him absolutely deserved the spotlight too.

Kieran Robertson was a monster all night. The guy played with the confidence and swagger of a veteran arena guitarist while still carrying the fire and recklessness of someone young enough to think sleep is optional. At just 27 years old, Robertson ripped through the album’s intricate leads with frightening precision while somehow making every solo feel dangerous instead of rehearsed. There’s a difference between “playing the notes” and owning them. He owned them.

Clodagh McCarthy brought a massive theatrical presence to the stage, particularly during her performance as Sister Mary. Her vocals were powerful, haunting, and emotionally sharp, exactly what this material demands. Visually, she became part of the production itself. Positioned stage right on a raised riser beside the drum kit, her rotating keyboard stand and perfectly timed stage fan gave the performance an almost cinematic quality. Somewhere between gothic theater and prog-metal fever dream, it worked brilliantly.

The rhythm section deserves major credit too. Every transition, tempo shift, and layered arrangement landed with surgical execution. Operation: Mindcrime is not simple material. These songs twist, turn, and evolve constantly. One weak link destroys the illusion. There weren’t any weak links Friday night.

And then… things got weird.

Midway through the set, the band suddenly bolted off stage.

Not “rockstar dramatic exit” bolted.

More like “something is very wrong” bolted.

The audience sat in confused silence for a moment before Geoff Tate calmly returned to explain that the tour bus was apparently on fire outside and that Cincinnati’s finest was handling the situation.

Because of course this show needed an actual real-life disaster subplot.

In true rock-and-roll fashion, the crowd stayed patient, Tate disappeared again, and the band returned shortly afterward apologizing before jumping directly back into the performance like, “Anyway… where were we before the possible explosion?”

Honestly, the interruption somehow made the night even more memorable. You can’t script that kind of chaos. Well… unless you’re in Spinal Tap.

The final stretch of the evening was pure payoff. The band completed Operation: Mindcrime, added material from Operation: Mindcrime III, and then rolled into several classics that reminded everyone just how deep Geoff Tate’s catalog really is.

“Empire” hit like a freight train.

“Jet City Woman” turned the entire theater into a choir.

And “Silent Lucidity” became the emotional centerpiece of the night.

Before performing it, Tate explained that it remains his favorite song because fans constantly approach him with stories tied to it, memories, relationships, moments in life, and yes… apparently the conception stories of their children. Nothing says progressive metal quite like thousands of people collectively realizing a power ballad accidentally became part of America’s population growth strategy.

By the time the final notes faded inside the Taft, one thing was painfully clear:

This wasn’t a legacy artist limping through old material for a paycheck.

This was a masterclass in how timeless music survives lineup changes, industry politics, aging, and even apparently a flaming tour bus.

For one night in Cincinnati, Geoff Tate and Operation: Mindcrime didn’t just revisit a classic album.

They reminded everyone why it became one in the first place.

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