Arts and Entertainment

Little Zoo

March 30 2026

11:00 a.m. - 11:30 a.m.

The Virginia Zoo 3500 Granby St Norfolk, VA 23504, (757) 441-2374 Price: Free with general admission

Come join us as educators and volunteers offer themed animal interactions inside one of the Zoo’s classroom spaces. Our Little Zoo program offers our guests an intimate look at our animal ambassadors with station-based learning. This program is open to all who want to experience and grow in our Little Zoo. See signs posted in the Zoo’s Fountain Plaza to find out the location of Little Zoo on the day of your visit. Free with general admission.

Arts and Entertainment

Silent Disco at Waterside

July 11 2026

11:00 a.m. - 11:30 a.m.

Waterside District 333 Waterside Drive, Norfolk, VA 23510, Price: Ticketed

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Join us at Waterside District on select Saturdays for Silent Disco! Choose your vibe; enjoy multiple DJs curating a playlist on music channels you can choose & enjoy exclusive access to drink specials & food discounts. To view the full list of upcoming Silent Disco events, visit our website.

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Arts and Entertainment

Silent Disco at Waterside

August 1 2026

11:00 a.m. - 11:30 a.m.

Waterside District 333 Waterside Drive, Norfolk, VA 23510, Price: Ticketed

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Get Tickets

Arts and Entertainment

Max B Live in Concert

March 13 2026

11:00 a.m. - 11:30 a.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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This event is 21 and over only.

This event has a tiered pricing structure in the General Admission area. All General Admission tiers have the same access. Once a price level sells out it may no longer be visible or available for selection. *Please note: multiple GA price levels may be available at the same time.

Arts and Entertainment

Black Label Society at NorVa

April 7 2026

11:00 a.m. - 11:30 a.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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BLACK LABEL SOCIETY Zakk Wylde – Vocals/Guitar John DeServio – Bass Dario Lorina – Guitar Jeff Fabb – Drums

Black Label Society bandleader Zakk Wylde wields his guitar like a Viking weapon, bashing out thick riffage and squeezing out expressive squeals as if the glory of his Berserker brotherhood depends upon every single note, which of course, it does. Charismatic beast and consummate showman, Wylde puts his massive heart and earnest soul on display with unbridled, unchained, animalistic passion in Black Label Society, whether it’s a crushingly heavy blues-rock barnstormer or a piano-driven ode to a fallen brother. Each Black Label Society album is another opportunity to top the one before it, but like AC/DC or The Rolling Stones, BLS isn’t here to reinvent the wheel. If it ain’t broke, don’t fix it. It’s a brand we ca While members of esteemed rock and metal institutions like Alice In Chains, Metallica, Type O Negative, Clutch, Danzig, and Megadeth have passed through the band’s ranks, Black Label Society has consistently been defined by Wylde’s unmistakable voice and signature guitar sound and the steady rumble of bassist John DeServio. BLS is rounded out, in the studio and onstage, by guitarist Dario Lorina (since 2013) and powerhouse drummer Jeff Fabb (since 2012). This is as much a band as it is a symbol of strength, honor, commitment, and diehard “society,” as evidenced by the legions of supporters who proudly donned the Black Label Society colors years before motorcycle culture was back in fashion. Black Label Society are vigilant keepers of the hard rock n’ roll flame, protecting its sonic characteristics and vibe while engaging in reverent study of its chief architects. Given that Wylde’s kids’ are named Hayley Rae, Jesse John Michael (named after his Godfather, John Michael “Ozzy” Osbourne), Hendrix Halen, and Sabbath Page, it’s clear that he takes his study of rock n’ roll’s greats very seriously. To many, Wylde is synonymous with pinch harmonics as much as Chuck Berry dreamt up the duck walk. Zakk’s signature Les Paul Bullseye guitar hangs in the Rock N’ Roll Hall of Fame. His infamous leather bellbottoms hang in the Grammy Museum. His handprints are on Hollywood’s Rock Walk of Fame. He’s performed the National Anthem at major sporting events. He wrote the 2013 Major League Baseball theme for ESPN. He even momentarily joined Axl Rose, Slash, and Duff in Guns N’ Roses. He is a playable character in the Guitar Hero games. A lifelong disciple of Black Sabbath and the longest serving guitar-shredder for the Ozzman himself, Wylde co-wrote modern Ozzy Osbourne classics like “No More Tears,” “Mama I’m Coming Home,” “Road to Nowhere,” and “Miracle Man.” Together with Ozzy bassist Blasko and drummer Joey Castillo (ex-Queens Of The Stone Age), Wylde pays faithful tribute to the forefathers of metal as frontman for Zakk Sabbath. Before he graced the cover of every meaningful guitar magazine on the planet, Zakk Wylde was a kid in New Jersey who picked up his instrument before he’d even hit high school. He was still a teenager when he got his demo tape into Ozzy’s hands. Together with the man he affectionately calls “the Boss” (and whose wife and manager, Sharon, he calls “Mom”), Wylde was part of the biggest selling album of the legendary Black Sabbath singer’s solo career, No More Tears, as well as the double-platinum Ozzmosis, and earned a Grammy for the live recording of “I Don’t Want to Change the World.” One part invading horde and all parts traveling carnival party, Black Label Society traverses the world powered by caffeine and cacophony. BLS engages and inspires audiences everywhere they go, on every radio dial they burn, inviting all comers to join in and participate in their brotherhood and sisterhood of hard rock and vigor. Now ten studio albums deep, with solo records, Ozzy shows, and Zakk Sabbath tours all kicking ass simultaneously, Black Label Society rides ever forward, fist held high.

Arts and Entertainment

Whitechapel at NorVa

April 9 2026

11:00 a.m. - 11:30 a.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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Hymns in Dissonance, indeed: “No holds barred; there is nothing nice about HID, from the riffs to the lyrics to the overall vibe of the album,” states guitarist Alex Wade. “We attempted to write our heaviest album to date. We wanted to put out something that was shockingly menacing and brutal.”

“The album follows the story of a cultist who is gathering worthy people to join his cult,” Wade furthers, “and there are moments in the storyline where the cult followers are singing an evil hymn to open a portal for the head cultist to enter.” The band’s dynamic, brutal musicality serves as a soundtrack to the compelling lyrical story that vocalist Phil Bozeman vividly imagines.

“Hymns in Dissonance is a mockery of the true nature of what hymns are,” Bozeman explains. “Hymns are melodious and harmonious. Dissonance is the opposite of melody and harmony. Dissonance represents evil. The tracks on the record are the hymns, which represent the seven deadly sins, beginning from Track 3 to Track 10. Tracks one and two are the introduction.”

The lineup’s timely and terrifying vision was first unveiled in Fall 2024 with the single “A Visceral Retch” inciting frenzied fans to call the song “a version of Whitechapel we have never heard before. Can’t explain how absolutely goddamn brutal this song is. This is a total dream come true.” The title track is the LP’s second single.

Whitechapel, who formed in Knoxville, Tennessee, in 2006, has seen the core lineup—vocalist Phill Bozeman; guitarists Ben Savage, Zach Householder and Alex Wade; bassist Gabe Crisp—intact since 2007, with the exception of the drummer Brandon Zackey, who has been playing with the band since 2022. While Hymns in Dissonance follows 2021’s Kin chronologically, the new album is actually somewhat of a sequel to This is Exile thematically, the three-word title Hymns in Dissonance representing that correlation.

Whitechapel started writing for the new album at Householder’s studio in June of 2023, following the band’s headlining tour for The Valley. Whitechapel stuck to a strict weekday schedule, the structure allowing for maximum creativity and minimum burnout. Householder produced Hymns in Dissonance, which allowed the musicians to seamlessly switch gears from preproduction to recording the full album without skipping a beat. The guitarist shadowed producer Mark Lewis a lot over the last five Whitechapel albums and bringing that influence inside the band is a “full circle moment for Householder and Whitechapel. “It’s cool that we can be self-sufficient and produce a record of this magnitude ourselves; not a lot of bands can say that.”

Every detail on HID matters. “With song sequencing we like to try to make our albums as dynamic as possible,” Wade says. “We like to give the records a roller-coaster effect toggling the energy of the tracks up and down to keep the listener interested.” It was likewise critical that the album art tied into the music in a visceral, provocative way, or has Bozeman put it, “something simple but unsettling with a very classic feel. But not over the top with too many things to look at.” Guitarist Savage mocked up ideas for an eerie mask that would represent the cult leader in the album’s story. Whitechapel chose artist Rob Borbas, the European tattoo artist known as “Grind Design,” to create the cover. “He specializes in dark/cryptic tattoos, and we felt he would be able to take Savage’s idea with the mask and bring it to life,” Whitechapel explains. “He certainly met our expectations with a dark, evil, ominous piece that makes you question ‘what is that?’ when you look at it. We wanted the cover to be mysterious until you know more about the story of the album and how the cover applies to it.” Hymns in Dissonance sees the band reinventing themselves, going darker, deeper and heavier. While the songs all stand powerfully on their own, the throughline Bozeman says that “more than likely there will be a tour where we play the album from front to back.”

Longtime fans will detect hints of the past within the brutality. To wit: the riff-tastic “Hate Cult Ritual” is the only song on the album with Drop A tuning, the tuning the first three Whitechapel albums used. Additionally, the Hymns in Dissonance chapter in Bozeman’s life finds the frontman living through his “past times,” or as he states, “the music that brought me here. Brutal, dark, aggressive, heavy music. Death metal, black metal, speed metal, etc. I truly believe that your roots call you back at some point in your life and this is that point in my life.”

Vocally, the recording process allowed Bozeman to achieve all his goals. “Recording was on our time, so if I wasn’t feeling it on a certain day, then I’d just stop, reset and go again the following day. I honed in more on the progression of the screaming vocals that I’m known for,” the singer says. “I really reworked my high vocals and tried some new different types of tones with my voice. Basically, a new-age feel to a classic sound.”

At this stage in the game, the name Whitechapel commands the ultimate respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, highlighting a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. With Bozeman exploring childhood trauma on 2019’s The Valley, it was their darkest release to-date. But with its 2021 successor, Kin, the story was darker still.

With those chapters of Bozeman’s life exorcised lyrically, Hymns in Dissonance mines a darkness that’s not lyrically personal. And, says Wade, “I don’t think HID follows Kin musically at all. If anything, it’s the polar opposite. For this album it was fun to be able to just let loose and write ignorantly heavy music again. This album stands on its own,” Wade concludes. “Phil was able to create a fresh story to write about, which, in turn, helped us write music with a fresher sound.”

Lineup:

Phil Bozeman — Vocals

Ben Savage — Guitar

Zach Householder — Guitar

Alex Wade — Guitar

Gabe Crisp — Bass

Brandon Zackey — Drums

Hymns in Dissonance track listing:

Prisoner 666
Hymns in Dissonance
Diabolic Slumber
A Visceral Retch
Ex Infernis
Hate Cult Ritual
The Abysmal Gospel
Bedlam
Mammoth God
Nothing is Coming for Any of Us

Hymns in Dissonance song by song:

Prisoner 666 – This song was the first song we wrote and musically feels like the 2014/2021 Whitechapel morphing back into the 2006-2010 Whitechapel and continuing the 2006-2010 era for the rest of the album. This is the beginning of the narrative of “the last living son” of the Father of Lies coming to be. Relinquishing his faith, religion, burning the church and serving Satan, who he believes is his father. (Phil Bozeman)

It’s got heavy “Saw is the Law” vibes in the opening groove, it’s like we took that song and made it more epic and melodic. The “beats per minute” are pretty similar to Saw. (Alex Wade)

Hymns in Dissonance – It’s about building his cult of followers. Only the most heinous and vile people on the planet. Showing their devotion to their lord. Committing horrible acts and the leader showcasing his power and his purpose. To commit the seven cardinal sins to resurrect their lord. To replace divinity with evil. (Phil Bozeman)

Mostly written by Phil on guitar, it has a few riffs and tweaks thrown in by the rest of us. He can churn out some pummeling riffs and it’s one of the best songs on the album because he had a vision for the whole song with the riffs and vocals. It’s tuned to Drop G which we have been using since the self-titled LP, but the ending breakdown shifts down one whole step to Drop F, which we have never done before. Having the final breakdown shift lower than the rest of the song really helped the end have the crushing feeling it needed. (Alex Wade)

Diabolic Slumber – Sin of Sloth: watching people die and not doing anything to save them. Falling into a deep sleep while the world tears itself apart. No empathy, no feeling. Pure apathy. (Phil Bozeman)

This was a fun song to put together and another one that felt like it just kind of wrote itself. We were just riffing at Zach’s and each part just came one after the other. I like it because it reminds me more of our songwriting back in the day on Somatic Defilement where we had parts that went back-to-back vs a more verse/chorus/bridge type repeating structure. It leaves the listener wondering what is coming next. (Alex Wade)

A Visceral Retch – Sin of Gluttony: mammoth demons constantly gorging themselves and excreting. True followers will gorge on the excrement or their fellow man. A spectacle of entertainment for the cult and finding true devotion to them through horrific means. The path to true madness and impurity. (Phil Bozeman)

Mostly written by Zach, who loves Cannibal Corpse (who doesn’t) and I think that shows in the riffing of this song. Just huge grotesque death metal riffs. It also utilizes some pitch shifting on a whammy pedal where we drop the guitars down and octave and you can hear them dive bombing down. I think that gave it a unique sound that not a lot of death metal songs have. The end also shifts down in tuning to Drop F like the end of Hymns which adds to the brutality to close it out. (Alex Wade)

Ex Infernis – We wanted an evil, ritualistic-sounding instrumental to bring in the next track and Ex Infernis is Latin for “from below/hell.” (Phil Bozeman)

Zach created this interlude track using an orchestral drum software. He was able to program every part, from the stick clicks to the banging timpani drums and the monk chants. This track is to symbolize the beginning of the ritual the cultists do to open the portal for the Cult Leader. (Alex Wade)

Hate Cult Ritual – Sin of Wrath: this song portrays the overwhelming rage of the cult. Planting the seed of evil within the core of the earth to be birthed from soil. All the rivers and oceans are diseased which nourishes their unborn lord. Roaming the earth and murdering all opposers. (Phil Bozeman)

This is the only song utilizing our older tuning, Drop A; the rest of the album is in Drop G. I was inspired a lot by Bloodbath when writing this one and felt like Phil nailed the vibe vocally contributing to that. There is a ferocity and evilness to this track that I think really sets it apart from the rest. No breakdowns, just pummeling riffs with evil chanting over the choruses. (Alex Wade)

The Abysmal Gospel – Sin of Pride: portraying the acts of arrogance and superiority. Mocking the divine. The transformation from human to beast. (Phil Bozeman)

This was interesting to create because it felt like a mash-up of riffs that just worked. The intro was written kind of randomly and it was so heavy we were trying to find a place to use it and decided “why not have it open this song then kick straight into the punk/grind riff? It’s pretty diverse, with influences of slam, grind, and melodic metal. We threw it all together and it just worked. (Alex Wade)

Bedlam – Sin of Envy: in the album This is Exile there was a character “Daemon” who is the brother of the cult leader. This song is him admitting his jealousy of him and defiling his rotting corpse. This is the POV of him and his dead brother who is eternally trapped in his own dead body and can still feel and hear everything but cannot move or escape. Bedlam is chaos, confusion and turmoil which describes this scene. (Phil Bozeman)

We wrote this intentionally as a quick, fun, ass-beater type song. It’s pretty relentless with the chunky slamming riffs, but then also has a melodic and catchy chorus as the hook. (Alex Wade)

Mammoth God – Sin of Greed: this portrays the stealing of land and wealth. Conquering every inch of the world. A god of avarice. So overtaken with greed that he wants to kill himself so he can claim to have slayed every god. (Phil Bozeman)

I always felt like this was the “true metal” song of the album, nothing about it really says ‘Deathcore’ to me. It’s an intense track with a lot of dark melody and a killer solo toward the end. Savage added a little ‘rock roll’ flair to the solo that I think makes it unique compared to standard metal solos. (Alex Wade)

Nothing is Coming for Any of Us – Sin of Lust: the earth is bearing his child. The earth is portrayed as a person, a woman bearing the child, their lord. He does not love who is bearing the child. The rest I would rather the listener take away what they will. It’s my favorite song on the album; the flow of the song, the vocal variety and lyrical content is what drives me towards that one. Plus, the ending is just very beautiful but unsettling. (Phill Bozeman)

On every album we try to close it out with the most epic song from the 10 we’ve written. It’s kind of our signature to leave the listener with one last “wow” before the album ends. I think this song accomplishes that. Phil wrote most of the riffs on this one too, which I think contributed to it being one of the best on the album. The ending melodies were written by Savage, closing the album in a perfect cathartic way. (Alex Wade)

Arts and Entertainment

CHE: Encore at the NorVa

May 4 2026

11:00 a.m. - 11:30 a.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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Monster Energy Outbreak Tour Presents: CHE Encore

Monday, May 4th at 7:30 p.m.

All ages are welcome

Tickets go on sale: Friday, February 20th, at 10:00 a.m.

Arts and Entertainment

Ryan Bingham and the Texas Gentlemen

June 14 2026

11:00 a.m. - 11:30 a.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Tickets on sale Friday, February 20th at 10:00 a.m.

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Ryan Bingham is a Grammy and Academy Award-winning singer, songwriter and musician known for his cinematic storytelling and genre-spanning sound, blending folk, blues, country, rock, and mariachi. Since emerging with his acclaimed 2007 debut Mescalito, Bingham has built a reputation for deeply lived-in songs and commanding live performances. His highly anticipated seventh studio album, They Call Us the Lucky Ones, marks his first full-length release in seven years and showcases the synergy between Bingham and The Texas Gentlemen, capturing a raw, live energy with minimal overdubs. Featuring everything from snarling rockers to tender ballads, the album draws on his experiences on the road, the highs and lows of a musician’s life, and a newfound sense of joy and hope. With his signature rasp and vivid character-driven lyrics, Bingham continues to stand as one of the most authentic and compelling voices in American music. In addition to his award-winning music career, Bingham appeared on Paramount’s hit series Yellowstone for five seasons and launched his own bourbon, Bingham’s Bourbon, in 2024—further highlighting his creative vision and range of artistic pursuits.

Arts and Entertainment

Silent Disco at Waterside

March 7 2026

11:00 a.m. - 11:30 a.m.

The Market Norfolk 333 Waterside Dr, Norfolk, VA 23510, Price: Price may vary

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Join us on select Saturdays for Silent Disco! Enjoy multiple DJs curating a playlist and vibe on channels you can choose.

General Admission includes set of headphones to use for the night, one drink ticket, and access to drink specials

Upgrade to VIP for all the above + an extra drink ticket, glow in the dark swag bag, and 20% off food

Must be 21+

Arts and Entertainment

Silent Disco at Waterside

April 4 2026

11:00 a.m. - 11:30 a.m.

The Market Norfolk 333 Waterside Dr, Norfolk, VA 23510, Price: Price may vary

Visit Website

Join us on select Saturdays for Silent Disco! Enjoy multiple DJs curating a playlist and vibe on channels you can choose.

General Admission includes set of headphones to use for the night, one drink ticket, and access to drink specials

Upgrade to VIP for all the above + an extra drink ticket, glow in the dark swag bag, and 20% off food

Must be 21+

Little Zoo

March 30 2026

11:00 a.m. - 11:30 a.m.

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