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This week Danny Maxwell, Craig Fort and the band's mascot Tim stop by the show to discuss, their latest release 'Burn Cruise' , ghosts, the psychology behind the music and more.

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Since 2016, Leafblower’s patented brand of psych-tinged post-rock has whiplashed crowds of bobbing heads and pumping fists. The band released a demo, a live set, a single—but all the while, their first full-length has been simmering to a boil, now ready to sear.

Burn Cruise is a sound that only a steady diet of metal and hardcore, even while members played in post-punk (New Lungs, The Fucking Party), indie (Little Brazil), and old-school reinvented country (Lightning Stills), can meld. The opener, “Long Night,” haunts, creeps, then gallops into the howling dual guitars of Dan Maxwell and Clark Jahn, while the outro track “Stoopin’” is a haunted shiver of banjo, piano, and theremin soaked in the aural equivalent to sepia. In between, “Namaste” unleashes an onslaught out of the gate, as bassist Craig Fort gutturally punctuates vocalist Maxwell’s plaintive venom. On the title track, sludge shifts to discordant-edged stadium anthem, while the melodic post-punk of “Unsatisfied” twists into prog-rock harmony before the song pummels with pure metal. The unrelenting beat of “Ghosts” builds, guitars wailing, and Tab Tworek’s drums turn frenetic, a pulse-racing metronome. Add to all that: Tim.

Imagine a dimly lit dive bar, Leafblower gearing up to play. Before the strike of the first chord, before the pulse of a drum, an old man—stringy hair and beard—hovers in the billowing fog of a smoke machine. On close inspection, his eyes are empty. His pale face flaps loosely, as if skinned and put back. His body is stuffed. Is he a mascot, like Dio’s Murray or Iron Maiden’s Eddie? Is he symbolic? Is he a manifestation of the collective consciousness? An embodiment of the music? He is Tim.

Recorded and mixed by Ian Aeillo at Make Believe Studios and mastered by Carl Saff, Burn Cruise is Leafblower’s inimitable voice at full throat.

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Uli Bella from Ozomatli stops by the show to discuss the 30 Revolutions Nationwide Tour, the LA raids, mental health, being a caregiver, Richard Simmons and more.

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If the city of Los Angeles had a soundtrack, it would be Ozomatli. Since their formation in 1995, the six-piece, multi-genre band has been a cultural force, blending Latin, hip-hop, funk, reggae, and global influences into an unmistakable sound that embodies the energy and diversity of LA. In 2025, Ozomatli celebrates an incredible milestone: 30 years of bringing their dynamic, genre-defying music to audiences around the world.

To mark the occasion, Summer 2025 kicks off their 30 Revolutions Nationwide Tour, a celebration of three decades of music, community, and culture.

Emerging from the politically charged streets of Los Angeles, Ozomatli’s origins are steeped in activism and a desire to unite communities through music. This ethos has carried the band across three decades, earning them a dedicated global following and accolades that include three GRAMMY® Awards, iconic performances at the Hollywood Bowl, a TED Talk, and countless shows worldwide. From high-profile TV appearances on The Today Show, Jimmy Kimmel Live, and Austin City Limits to groundbreaking tours in places like Burma and Mongolia, Ozomatli’s music and message transcend borders, languages, and cultures.

The ensemble’s six founding members—Asdru Sierra (vocals, trumpet), Raul Pacheco (vocals, guitars), Uli Bella (saxophone, vocals), Wil-Dog Abers (bass), Jiro Yamaguchi (percussion), and Justin Poree (vocals, percussion)—have remained true to their mantra: "We take you around the world through the heartbeat of Los Angeles." Their music is a vibrant collision of styles, drawing from salsa, dancehall, cumbia, samba, funk, merengue, New Orleans second line, Jamaican ragga, and Indian raga. This eclecticism is at the heart of their sound, resonating with audiences of all ages and backgrounds.

Ozomatli’s legacy extends far beyond their music. Known for their tireless community involvement, the band has used their platform to amplify causes that matter, from immigrant rights to education and beyond. Their ability to combine socially conscious lyrics with infectious grooves has made them a beacon of unity and resilience, a band that celebrates life while addressing the struggles that connect us all.

Their 30th anniversary is not just a celebration of longevity but also a testament to their enduring relevance and innovation. With a career that began with their groundbreaking 1998 self-titled debut, they continue to evolve and inspire. Whether performing new material or beloved classics, Ozomatli’s live shows remain a jubilant experience, igniting dance floors and uniting communities.

As they embark on their fourth decade, Ozomatli stands as a symbol of Los Angeles’ past, present, and future—a band whose music is as multifaceted and vibrant as the city they call home. Here’s to 30 years of Ozomatli, and the next chapter in their global musical journey.

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Tracy stops by the show to discuss her latest release, Sky Too Wide. We talk about people pleasing, connect over a Helen Reddy song, 'You and Me Against the World', her reimagined song 'Jumping Bean', and so much more.

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Tracy Bonham is a classically trained violinist and pianist turned alternative singer-songwriter who rose to fame in 1996 with her twice GRAMMYTM nominated album, The Burdens of Being Upright (Island Records). This debut album cast Bonham into the global spotlight with MTV fame and major radio airplay with her #1 alternative chart-topping song Mother Mother, an anthem for disgruntled teenagers of all ages. While so many of her songs have been placed in film and tv throughout the decades, you might have most recently heard Mother Mother in Yellow Jackets season 1 episode 2.

Over the past 27 years, Bonham’s albums and live performances have shown what it is to be an ever- evolving artist. While Bonham sings, she moves from guitar to violin, from violin to piano, and back again. When playing live, her songs from the 90s blend and blur with stylistic changes that she has created over time making her entire repertoire make sense as an entire body of work. She plays the old and new material and even though the songs span thirty years they all continue to be equally relevant.

Bonham will be joined by upright bassist Rene Hart (David Amram, James Hunter) and drummer Alvester Garnett (Regina Carter, Abbey Lincoln) and with her new material she connects to something deeper than ever, her true self. Most of the new songs are performed on the piano giving her the chance to lean back to what made her fall in love with music in the first place. Borrowing harmonic structures and beautiful melodies from her favorite classical romantic composers, Bonham stretches herself artistically to combine this rediscovered passion with her unique and quirky songwriting style to create musical alchemy. This purifying process most certainly acts as a vehicle for inner transformation for Bonham. "It's like going back to the spark I had as a very young musician, discovering the beauty of Ravel and DeBussy and reclaiming that spark and everything that has happened after that". Bonham speaks of her current line-up, "Playing with incredible jazz musicians like Rene and Alvester has opened my mind and is now giving me the support I have always needed to spread my wings and fly. I am really enjoying exploring the intersections and overlaps of where classical and jazz meet without excluding my alternative rock sensibilities. These dudes can rock too. The three of us playing together is definitely my happy place".

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