The Black & Loud Festival 2025

On a warm Saturday evening in downtown Seattle, Washington, the Fourth Annual 2025 Black and Loud Fest rocked the historical stages of the prominent music venues, the Crocodile, Madame Lou’s and the Here After from six until one am with a heart thumping, non-stop alternative rock music from a kaleidoscope of over 15 black and brown (B & B) fronted bands ranging from Seattle’s own rising alternative rock stars, King Youngblood to the legendary Living Colour.  

The air was filled with the electricity of anticipation as the hundreds of excited alternative rock and punk music lovers poured into the legendary Crocodile. It was a mixed crowd of all races with a common love for electric rock guitars, banging drummers, thumping baselines, all led by a singer with a thunderous voice that could fill the rafters of a football stadium. As the lights dimmed, the crowd erupted into cheers, setting the stage for an unforgettable night.  

The event was co-created by the lead singer and lead guitarist for King Youngblood, the mighty Cameron Lavi-Jones, and Down North‘s lead singer, Anthony Briscoe. The two met backstage at an alternative rock and punk show in Seattle. Lavi-Jones, the twenty-six-year-old charismatic rising superstar rocker, stated in the Seattle Times that he started the Black and Loud Fest because each time he performed in other alternative rock and punk events around the city, there was always the absence of B & B fronted band representation.

Lavi-Jones was surprised at the void, to say the least, because he knew there were so many bands playing alternative rock/punk music that had been on the scene for years that just weren’t getting the light and stage they deserved. Therefore, Lavi-Jones decided to do something about it. Soon after, he partnered with the equally eager Briscoe, and the two developed the idea for an open and safe creative space for a community that goes overlooked in all aspects of the alternative rock and punk arena. Lavi-Jones, Briscoe, and their newly founded tribe partnered with Lavi-Jones’ mother, attorney, band manager, and former singer, Laura Lavi-Jones, and together they secured financial support from the National Endowment for the Arts, sponsors like Jack Daniels, Arial Rider, and Dice Lab and many other supporters/sponsors, and created an annual exhibition of B & B creatives showcasing at their highest frequencies. 

The event kicked off with three different bands taking the stage simultaneously throughout the event. On the Crocodile’s main stage, the dynamic Blues and Gospel ensemble hailing from Toledo, Ohio, Nikki D & the Sisters of Thunder, delivering a unique combination of gospel, rock, Blues and Soul that was escalated by Ms. Nikki’s wicked strumming on her Sacred Steel guitar. Close your eyes and you’ll swear you are listening to Hendrix. Nikki even performed a rendition of “America the Beautiful” that definitely had Hendrix turning over in his grave. TSOT turned the Crocodile into a church revival at one point, then proceeded to baptize the festival crowd in their music, their gospel, and their unforgettable big energy performance, and their family, too.  Ms. Nikki’s bandmates consist of Gwendolyn Brown, Christian Brown, Tamika Webb, Gary Black on Rhythm guitar, and Darren  Dillard on drums. What a memorable set!

On Madame Lou’s stage was the New Orleans-based band and festival returning artist, Water Seed. The Big Easy Award-winning band delivered a thumping set of fusion, funk, rock guitar, and hip hop. The ever-popular quintet played a pulsating show that kept the crowd mesmerized for a fiery 50-minute set.

Each year, the festival draws several of Seattle’s own homegrown bands, as well as big bands from other states like Louisiana, Ohio, and New York City. It is normally few and far between when you can even find these stellar bands on the alternative rock and punk mainstream platforms, due to the lack of opportunity. As Lavi-Jones proclaimed, there are many facets to the B & B alternative music scene, and the Black & Loud Fest is a force that is determined to share that fact with the non-listening world. These are seasoned bands that have been on the major alternative rock stages across the world, yet there is still a struggle for recognition from the mainstream alternative rock and punk music industry.

Lavi-Jones stated in the Seattle Times, “I’ve had a couple different conversations with people that have shown me that their understanding of Black music is so much more limited than what Black creatives are capable of.” In other words, most rock and punk music lovers are more aware of the white presenting bands vs the B & B alternative rock and punk music scene. In fact, most are completely oblivious to the B & B contributions to the punk and alternative rock scene. At least not as lead singers and lead rock guitarists, even in the city that gave us Jimi Hendrix and Tina Belle. That is why major showcases like the Black & Loud Fest are crucial and necessary for providing safer spaces for the B & B fronted artists community to express themselves as freely as possible.  

Another festival favorite and Seattle-based band, Down North, led by the festival’s co-creator, lead singer/frontman, is Anthony Briscoe. Down North took the main stage in their normal fashion of loud, hitting authentic rock, soul, and punk rhythms that kept the enthusiastic fans screaming for more. The soul and punk-focused band performed a fast-paced set that included fan favorites such as “Broken Dolls” and “Love Don’t Know My Name” via heart-thumping funk and rock rhythms that filled the room with honest sounds, while Briscoe’s passionate vocals stirred your soul. Briscoe also provided time during his set, a safe space, and empathy for victims of sexual abuse; he even shared his own story of ‘SA’ to show camaraderie and to let the community know they are not alone.

Setting it off on Madame Lou’s stage was the New Orleans-based band and festival returning artist, Water Seed. The Big Easy Award-winning band delivered a thumping set of fusion and funk, rock guitar, and hip-hop baselines. The growing quartet delivered pulsating rhythms with heavy rock guitar and steady drum beats to keep the crowd mesmerized for a fiery 50-minute set. I will say it was almost impossible to record all the bands performing that evening on all three stages, but I was able to capture as much of the musical prominence happening that remarkable night as possible. 

Such as the “Uptown Ruler” himself, Cyrille Neville of the iconic Neville Brothers. Mr. Neville sang sweet love songs while turning the Crocodile into a live Mardi Gras. The Big Easy crooner has been performing for decades, first as a Percussionist and one of the founding members of the legendary Neville Brothers, and then with the funk band the Meters. Currently, he is jamming and touring with his talented son Omari Neville and the Fuel. Omari joins his famous dad on vocals, drums, and percussion. In fact, the younger Neville started the set off with a banging set of funk and rock, with an energized horn section, his dad appeared on stage moments later to perform a jumping set of New Orleans funk/jazz and a monstrous drumming background with a slice of alternative rock guitar.  Mr. Neville and Omari and the Fuel performed a New Orleans bounce-driven set of nostalgia and newness, bravo!   

As the night continued to wane down, the electricity in the air continued to rise, so by the time the dynamic King Youngblood came to the stage, the crowd was fired up and ready for their mind-blowing set of rock and punk laced in sophisticated strings and a head-banging drum solo. Led by Lavi-Jones’ vocal ferocities and the band’s solid musical arrangements, they kept their fans jumping and moshing throughout their set. They began their high-energy show with their mega hit from their upcoming 2026 album, “Outrun Your Shadow,” a beautiful rock ballad that mesmerized the crowd. King Youngblood is a group of rising young musicians who already know how to hold their own amongst the alternative rock and punk legends. Lavi-Jones bellowed out hit after hit while his comrades piled through a pumped-up showcase run on pure passion and adrenaline. Each song they shared was more powerful and solidifying than the next. The band’s performance was simply amazing, and the band members are so humble for such talented fellows.

Most bands of their stature are usually caught up in the hype of the music industry, but not King Youngblood, Lavi-Jones, and his musical cohorts are down to earth and super grateful for their growing careers and their fan base. Towards the end of their set, Lavi-Jones broke down in tears during a heartfelt speech he shared with the crowd, which made the night even more special. He expressed through tears of joy how very pleased and grateful he is for all the accomplishments the music and art festival has made in just four short years. The festival has made profound steps towards providing a safe and productive space that offers more inclusion and more community outreach.

Before the night was over, Lavi-Jones performed a tight set with his magnetic band King Youngblood, worked the red carpet, hopped on stage with Nikki D and TSOT, Cyrille and Omari Neville, and continued to assist with all the other nuts and bolts of running the festival.  King Youngblood set the tone for the rest of the evening’s electrifying performances and festivities. 

From the moment the doors opened, the crocodile rumbled with excitement, while fans wearing vintage band t-shirts swapped enthusiasm about their favorite bands and concerts on the night’s festival roster. There were Original merch stands on either side of the venue, offering exclusive merchandise and memorabilia for all the performing bands and the festival. The scent of Jack Daniel’s pouring over ice filled the air of the night, and live art painting and art selling filled the crevices of the iconic building, while the sound of guitars tuning in the background between sets, backdropped a community coming together to take part in the creative tapestry of euphoria, uniquely known as alternative rock and punk. 

Several bands were performing on the card that evening, hailing from the Pacific Northwest contemporary music scene, such as the Black, and queer-fronted grunge trio, Black Ends. Nicole Swims, the band leader, described the band’s sound as a subgenre of the punk scene, which has a much angrier edge, called “Gunk Pop.” Their set consisted of a politically charged heavy rhythm guitars and drums infused with numbers about dealing with otherness and racism, and not conforming to the status quo. The band’s set was solid genius.

This year’s roster also included awesome bands such as the rambunctious and loud funk and rock rebels, Year of the Dog, Hip Hop, R&B, and Pop artists, Paris Alexa, MXKA, Jordan Fiction, Rainbow Jackson, Maurice Jones Jr., Nathan Nzanca, King Naj, Noah, Mic Phenom, and Rettyspect. The live artwork was accomplished by featured artists on demand, Xavier Kelly, Rodney H. King, and Maz Joachin, the creator of the King Youngblood comic book, which was selling out like an unreleased underground recording of Hendrix, but this photojournalist was fortunate enough to cop a couple of signed copies before they were all gone. The publication is in its second edition of an expected limited edition of twelve.

After all of that musical grand fair, there was still more to come, the jewel in the festival’s crown this year, and ready to perform their classic hits spanning over forty years, was none other than the iconic alternative rock masters, the all black fronted headlining act, Living Colour! As soon as the band stepped on the stage, the rock quartet was welcomed with deafening applause and screams of excitement. Vocalist Corey Glover, Vernon Reid, lead guitarist, Will Calhoun, on drums, and Doug Winbush on bass set the stage on fire from the first note to the last.  Their setlist featured a spirited mix of high-octane rock anthems that kept the eager crowd ignited for the show-stopping group. Their setlist featured hits like the pragmatic guitar-driven (Stain) “Leave It Alone,” the rock quartet continued to slow it down just a little with the smooth calypso peppered and dreamy “Solace of You”  kept the crowd swaying and swooning over the mighty quartet before they sailed right into the upbeat fan fave,” Glamour Boys,” and then they broke into the funk and rock-infused,  “Love Rears Its Ugly Head,” that soul stirred the crowd up into a lucid release of melodic vocals from Glover and hypnotic, sensual guitar riffs from Reid, while windbush and Calhoun filled the bottoms of each joint with their hard hitting drums and wicked basslines.

Glover and Reid decided to incite a mosh pit riot 5 minutes after the Master of Ceremonies, Felicia Barnes, humorously instructed the crowd to take it easy on the more mature fans who were there too, to cheer on their legendary idols. However, the mischievous duo instructed the already amped up crowd to forge ahead with the mosh up if they wanted to, as a matter of fact, they encouraged it before they broke into the charged tune (vivid) “Times Up.” They got the mosh started with their rock anthem, the groundbreaking and political (Vivid) “Cult of Personality,” the timeless hit sent the crowd and this journalist into a frenzy for the Legendary rock band! The mosh pit consisted of multiple races, age groups, and cultures of bodies all banging into one another under the haze of Living Colour’s urgent “Times Up.” We were all connected as one, all mesmerized by the heavy rock sounds of the monster track that had helped solidify  Living Colour’s status as one of the most influential rock bands in music history.

Each song performed by the prominent rock group was met with thunderous cheers and yells for more. The band delivered a show well worth the wait. Cheers to the NYC-based band Living Colour, who came to the festival to show up and show out. Living Colour surfaced during an era where B & B fronted bands weren’t celebrated, if they were not isolating themselves in the RB, Reggae, or hip hop genres. Living Colour has always made the type of raw music that stood out and appealed to the masses that craved to live their lives without societal boundaries.

The band was joined on stage by all the other acts who performed in this year’s Black and Loud Fest 2025 for a grand finale of Sly and the Family Stone’s hit, “Thank You for Letting Me Be Myself Again.” 

The Black and Loud Fest 2025 was more than just a series of performances—it was a testament to the enduring legacy of the genre, the talent of the artists, and the passion of the fans. All night, the entire event had an air of inclusion, being seen, being heard, and especially being black and loud. Vernon Reid of Living Colour said, “Everyone here tonight in support of the Black and Loud Festival is Black, regardless of race, if you get my meaning.” As the final notes played and the crowd began to spill out into the magical Saturday night, there was a sense of fulfillment and unity. It was a shared experience that would be remembered for years to come. Alternative rock and punk may be celebrating the white presenting bands in the mainstream, but as alternative rock and punk music evolves and its heart continues to pulsate with energy, camaraderie, and the spirit of raw rebellion, the Black and Loud Fest will continue to prosper and hopefully gain the support of several more supportive cities to feature the venue and its message. Cheers to the Black and Loud Fest 2025.