Concert Reviews – Sonic Perspectives: Recent Episodes
Sonic Perspectives
The long-awaited return of Trixter to perform in Pennsylvania finally arrived. Original members Steve Brown [guitar/vocals] and PJ Farley [bass/vocals], who brought us the radio and MTV hits like “Give It to Me Good” and “One in a Million,” have reignited the band and put together a 14-date tour through the US with *Enuff Z’Nuff and Pretty Boy Floyd* as supporting acts.
The tour started on May 16th in Binghampton, NY, and winds through several major cities before concluding in Sarasota, FL, on June 4th. For devoted fans of the three bands explosive riffs, virtuosic shredding, and soaring vocals, this tour represents a chance to experience Trixter, *Enuff Z’Nuff, and Pretty Boy Floyd*‘s electrifying live energy in an old-school rock n’ roll setting like tonight’s show at Reverb in Reading, PA.
Pretty Boy Floyd, led by Steve Summers, was on a mission to bring their brand of sleazy Hollywood glam to Pennsylvania. A fan in the front said he waited his entire life to see Pretty Boy Floyd, and they delivered on that request by putting on one hell of a show.
Steve drew the audience into the show and music while decked out in black from head to toe, along with full-on black bandit make-up with a Joker’s smile. The songs performed predominately revolved around the band’s debut album, “Leather Boyz with Electric Toyz.” The set was short and tight, filled with songs like “Leather Boyz with Electric Toyz,” “Wild Angels,” “Rock and Roll Outlaws,” and “48 Hours.” Nearing the end of their set they did a sleazy version of “I Wanna Be with You” that brought down the house. No Pretty Boy Floyd show would be complete with “Rock and Roll (Is Gonna Set The Night On Fire)” as the closer. In all, seven songs were played with the same swagger and sex appeal as when they were written in the 80s. Steve‘s voice continues to sound great live with the same quality and range as if no time had passed, particularly on his steel-belted scream during “Your Mama Won’t Know,” which shook the venue’s walls.
Cheap Trick‘s cousin, Enuff Z’Nuff, delivered their brand of incense-scented lush psychedelic music. They came on the scene in 1989 with their titled debut album and have never looked back releasing 17 studio albums since. Their debut singles received airplay on MTV and created a buzz for the band. Chip Z’nuff and the band were aware of their audience’s desire to hear their hit while paying homage to their influences.
As their cover of The Beatles’ “Magical Mystery Tour” rang out with its lavish harmonies, they instantly had the crowd’s full attention. They then slowly eased us through the decades with “New Thing,” “Fly High Michelle,” and “In the Groove,” as well as a second cover song, “Jet,” by Wings. Chip mentioned it was a song they performed on the Howard Stern show many years ago.
*Enuff Z’Nuff may have been formed decades ago but their performance proved that their youthful spirit continues. The veteran rockers effortlessly blended their classic hits, cover tunes and newer material. Music has a way of transcending time and space, and Enuff Z’Nuff* crammed the audience at Reverb in their Hot Tub Time Machine and spun the dial back to the ’60s, ’70s, hey-days of 80’s rock on the Sunset Strip in Hollywood, then back to present day.
Trixter is now a trio with Steve and PJ sharing vocal duties, creating a powerful, dual-lead dynamic. Anchoring the trio is the newest member, drummer Ben Hans, whose driving rhythms and technical prowess perfectly complement the guitar and vocals of his bandmates. Tonight, fans were transported to a better and simpler time singing along to hits like “Human Era,” “Tattoos & Misery,” and “Surrender.” You couldn’t help but smile and get caught up in the moment of great songwriting washing over you. The band was feeding off the crowd’s enthusiasm and determined to deliver a truly captivating and memorable performance. Their passion was evident in how they poured themselves into the performance, rock star posturing, and infectious smiles. Steve told the crowd it was the band’s 40th anniversary since their first show, and they are still going strong due to their fans’ support! [editor note: I attended their first show in Paramus, NJ].
Steve‘s chunky, distorted guitar tone emanated from his fiery red SBS Guitar provided the powerful foundation to solidify the performance. Each song was accompanied by whammy bar dives, wah-wah proficiencies, and Steve‘s signature vibrato technique. PJ brought the energy to the big moments yet understood the sensitive ones, like “One in a Million,” making the music sound and feel good. He also knows the balancing act of when to use it and when to entertain the audience.
Not only is Steve a monster on the guitar, but his vocal abilities are equally impressive. He captured the distinct style and heartfelt sentiment that the original singer, Peter Loran, poured into the band’s songs. Steve handled the songs with a higher range while PJ sang leads on the songs in a lower register, including a rendition of Paul Simon‘s “50 Ways to Leave Your Lover.”
To close the show, members of all bands took the stage at Reverb for an impromptu version of KISS’s “Rock & Roll All Nite”.
Bands like Trixter, *Enuff Z’Nuff, and Pretty Boy Floyd* know how to transport their audience back to the glory days of rock with plenty of nostalgic hits. The energy of those sing-along anthems and fiery guitar solos created an electrifying atmosphere that will have you smiling all night! It’s amazing how music has the power to evoke such strong feelings of nostalgia and excitement. After tonight’s performance, you could argue who was having more fun: the fans or the bands.
This is a must-see event for any hard rock and glam metal fanatics. Tickets are selling out fast, so get them quickly!
The post CONCERT REVIEW: TRIXTER, ENUFF Z’NUFF, & PRETTY BOY FLOYD Deliver Electrifying Old-School Live Energy (Reading PA – May 19th, 2024) appeared first on Sonic Perspectives.
Remember Uli Jon Roth? If not, here’s a refresher for you: he’s best known for his work with the rock band Scorpions during the 1970s, and played a crucial role in shaping the band’s sound during their formative years, before leaving in 1978 and never looking back. *Uli formed his own band, Electric Sun, and explored a wide array of musical avenues, incorporating elements of classical, blues, and world music into his compositions. Roth‘s solo albums include “Earthquake” (1979), dedicated to the spirit of Jimi Hendrix, “Fire Wind” (1981), dedicated to Anwar Sadat, and “Beyond the Astral Skies” (1985), dedicated to Martin Luther King*.
*Uli became one of the flag-bearers of the neoclassical metal genre, influencing names like Richie Blackmore, Yngwie Malmsteen, and Michael Romeo*, to name a few. He continues to perform record, and tour worldwide and is currently in the midst of a North American Tour.
*Uli played at the Lee’s Palace in Toronto this past May 10th, providing a night to remember for those in attendance. Initially planned for the fall of 2023, the tour had to be postponed, following an unexpected, yet successful, kidney removal operation. The show was split into two parts: the first half consisted of Uli alone on stage, playing his version of classical pieces such as Mozart’s “Rondo Alla Turca” and “Queen of the Night”, and excerpts of Vivaldi*’s Four Seasons.
The name of the tour, “Interstellar Sky Guitar”, reflects the fact that Uli is celebrating 40 years since the first one of his ground-breaking instruments was built. The tonal range of Sky Guitars far exceeds that of traditional guitars, effectively turning the electric guitar into a six-octave instrument as opposed to the three-and-a-half octave ones which are industry standard. The ingenious, striking body shape of Sky Guitars which makes the extra frets possible enables *Uli* to equal the registers of the violin and the cello.
He entered the stage wearing minstrel-esque clothes, and a bronze statue of a mysterious woman placed in front of the audience added to the mystique. As he delved into the classical pieces, the screen behind him showed images of a young *Uli playing with an orchestra, but also of Martin Luther King, Bob Dylan, Jimi Hendrix, and other figures of historical importance. The only downside of this part of the show was Uli’s new song “Child of the Thunder Mountain”, which presented a message about climate change that was somewhat simplistic and naïve. Other than that, a stellar performance, which concluded with a beautiful rendition of “Metamorphosis: Cry of the Night”. Oh, and there was also time to talk about Uli’s book, “In Search of the Alpha Law”.* Written during COVID, it was initially not intended to be disclosed to the public, but now he’s ready to release it.
The second part of the concert synchronizes with the worldwide vinyl release of all three Electric Sun albums, alongside all 5 *Uli-era Scorpions albums. After a short break, Uli and his band entered the stage and quickly delved into the title track of “Electric Sun”. A staple of his solo shows, “Don’t Tell the Wind” was also played – a song written by his deceased brother Zeno Roth*.
Aside from that, the set was a dream come true for fans of early *Scorpions: “In Trance”’s “Longing For Fire” and the bluesy and upbeat “Sun in My Hand” were met with great applause, as was the futuristic and sci-fi inspired “Land of Dawn”. His rendition of “We’ll Burn the Sky” was absolutely cathartic, with the crowd singing in unison with bassist Frank Schwichtenberg. The title track of “In Trance”* was probably the most celebrated song of the night, with the crowd again singing every verse.
Classic after classic, the *Scorpions songs poured out of Uli’s guitar like musical honey, and many of the intros and solos were new, extended versions of those songs. “Pictured Life”, “Catch Your Train”, “Polar Nights”…all songs which are completely ignored by the Scorpions nowadays. Much like Steve Hackett, who is flying the Genesis flag up high and playing material from his time in the English band, *Uli*’s show is the only chance that old-time fans have at experiencing the material of early Scorpions*** live.
His wise use of effects and the incredible range that his guitars offer made the instrument sound like a six-stringed theremin at times. Watching him play those old songs, one couldn’t help but wonder what the *Scorpions would have sounded like if he had stayed in the band. One thing is for sure: the mythical creature on stage that night would never EVER write a song like “Rock You Like A Hurricane”.* Or at least it wouldn’t have sounded like it does.
As is typical of **Uli*’s shows, the night ended with a blistering version of what is arguably his signature song with the Scorpions, the much-revered “Sails of Charon”.* Through Middle Eastern scales, mind-bending bends, and an extended mid-section, Uli left the fans satisfied, with their thirst for nostalgia fully quenched. With only a few more dates left of the North American Tour, Uli is now heading to Europe for the summer festivals there. If you’re a fan of the Scorpions and want to see a masterclass in guitar playing, don’t miss Uli Jon Roth** live!
The post CONCERT REVIEW: Rock Legend ULI JON ROTH Stuns Toronto With Unforgettable Performance And Classic SCORPIONS Hits (May 10th, 2024) appeared first on Sonic Perspectives.
It’s no secret that we love Soen here at Sonic Perspectives. Over the years we covered them extensively, be it with reviews or interviews. Therefore, it was with great pleasure that we welcomed the opportunity to check them out live at The Axis Club in Toronto, on May 9th.
Soen has been on a steep upward trajectory, with every new album being more complex and gathering more attention from the fans. The current tour is the second one they’re doing in North America, and the scale of the venue, at least for the Toronto date, showcases their evolution. In late 2022 they played at Lee’s Palace, and tonight they filled out The Axis Club, a much more modern space, which was renovated after Covid.
You might remember The Axis Club from our review of Caligula’s Horse’s first-ever show in Canada, back in February – if not, check it out here. Located in the heart of Toronto’s busy downtown, it has hosted many prog metal shows, even before the pandemic, when it was called The Mod Club. For Soen, it was nicely packed, although one could move around without being too squeezed or elbowed. The opening act was Trope, who performed as an acoustic duo, and presented songs from their debut album, “Eleutheromania” and ended the show with their recently released single, “Callous”.
Soen entered the stage at 8:45, with the poem “Do not go gentle into that good night”, by Dylan Thomas, being recited in the background. They confidently started the set with the one-two punch of “Sincere”, from their latest album “Memorial”, and what is arguably their greatest hit so far, the controversial “Martyrs”. Bassist Oleksii Kobel played a beautiful extended intro on the mellower “Salvia”, and soon it was “time to dance”, as announced by singer Joel Ekelöf as the band kicked off “Lascivious”.
Rising to the occasion that the increase in popularity presented them, Soen’s production values on the current tour are noticeably better this time around. From the quality of the pre-recorded intros to their songs, to the stage costumes, and even the merch quality, it’s clear that they reached a different level. The show progressed with “Unbreakable”, another highlight of their latest album, where Joel had the crowd helping out in the chorus. When so many feel disenfranchised and alone in the world of today, it’s no surprise that many decided to join him in singing “I need something to believe/Outside the world is dark but we are cursing the sun/I need something to believe/We’re marching as the army of the unbreakable”.
The heavy “Deceiver”, from 2021’s “Imperial” was another high point of the night, with guitarists Lars Åhlund and Cody Lee Ford taking the spotlight. “Monarch” and “Illusion” followed, both with soulful guitar solos, and a very emotional moment as Joel dedicated the latter to the current situation in the Middle East.
The waltz-like “Modesty” showcased one of the few solos from Lars, who otherwise provided rhythm guitar and piano parts, primarily. The title track from 2018’s “Lotus” was also really well received, with the band showcasing their Pink Floyd influences and Cody playing an absolutely cathartic solo. “Antagonist” picked up the pace, with drummer Martin Lopez showcasing his timekeeping abilities to their fullest.
The show ended with the proggy “Jinn”, which the crowd chose over “Lunacy” when Joel asked them to vote, and the heavy “Violence”. The band’s ability to address political and current issues without upsetting either side and to connect with feelings of loneliness and marginalization ensures they resonate with a younger audience. Like a player who leaves junior league and starts to play professionally, Soen are now ready for the next challenge, and to move to higher echelons in the progressive metal realm.
Soen Photo Gallery (Photos by Mihaela Petrescu Photography)
Though now treated as a bygone movement where the working class of Britain brought metal to the cultural foreground, the NWOBHM has continued to inspire legions of newer adherents to raise the banners and march into battle with little care for changing times. As one of the prime movers of said movement, South Yorkshire’s own Saxon also stands as one of the few examples of a band that, in one form or another, has weathered all the various storms to continue bringing their craft to the masses for the better part of 50 years.
Now despite being in the throes of their golden years, this quintet of mad Englishmen continue to ride high with the release of their 25th studio album (27 if counting the recent duo of cover albums dubbed Inspirations), and a corresponding tour aptly dubbed “Hell, Fire, and Chaos” to re-conquer the American shores in 2024, and Fort Lauderdale would be the first beachhead established on Wednesday night, April 23rd.
Photo by Joel BarriosLed into the foray by the now 73-year-old commander and vocal titan Peter “Biff” Byford, clad in midnight black attire and rocking that signature platinum mane that would be the envy of every lion on Earth, they would proceed to manifest the metal spirit at every point of marathon 90-minute set. The long-serving rhythm section in drummer Nigel Glocker and bassist Nibbs Carter brought the thunder something fierce, the latter being only a couple years younger than Byford yet laying down the double-kicking mayhem something fierce on several faster metallic cruisers.
Photo by Joel BarriosBut arguably the most auspicious aspect of this current incarnation of Saxon on stage, at least for those American audiences in attendance who remember the opening years of the 80s, is the inclusion of Diamond Head axe-slinger Brian Tatler alongside Doug Scarratt. Suffice it to say, Tatler’s signature bluesy shredding approach and generally virtuosic style ups the ante considerably, proving that old rivalries turning into new unions is what metal is all about.
Right out of the gate, the pedal was put to the metal as the symphonic bombast of “Hell, Fire And Damnation”’s cinematic prelude “The Prophecy” rang through the PA system and ushered in the pummeling fury of said album’s banger of a title anthem. Byford delivered his graveling growl with the exuberance of a man half his age, as the meaty riffs of Saxon’s latest contribution to the metal ethos showcased a perfect blend of modern pizzazz with an old-school sense of simplicity.
Photo by Joel BarriosOther entries off the latest album like the conspiratorial rocker “There’s Something In Roswell”, the looming punch of French Revolution-inspired ode “Madame Guillotine” and the shuffling stomp of Middle Ages warfare “1066” (this would be its first time being performed live), were no less effective in setting the stage on fire. The band even took time to bring back a recent metallic crusher in “Sacrifice” to keep the modern side of Saxon’s catalog well represented, and the masses were eating it up and begging for seconds and thirds.
Naturally, any outfit as historically significant and long-running as this one would not live by recent exploits alone, and a more than adequate display of classic Saxon from the first half of the 1980s was in the cards. High-impact speed anthems that some have pointed to as principal influences upon the thrash metal movement of the mid to late 80s such as “This Town Rocks” and “Heavy Metal Thunder” were among the more aggressive side of the vintage sonic cuisine being served up, though mid-paced rockers from the same era like “Denim And Leather”, “Strong Arm Of The Law” and “Wheels Of Steel” were received with nothing short of total elation from the crowd.
Photo by Joel BarriosEven mid-80s entries like the epic stomp of 1984’s “Crusader” and the mid-80s AOR nod to Def Leppard with a melancholy edge “Broken Heroes” off 1985’s “Innocence Is No Excuse” were received with a sea of sing-along choirs. The apex point of this massive extravaganza was the encore performance of the signature classic “Princess Of The Night” when the audience response reached otherworldly proportions.
Perhaps the notion that you can’t teach a group of old dogs of war new battle tactics might be true, as Saxon’s signature sound and sense of rustic composition have been an undeniable constant throughout their long career. But if this opening chapter of the “Hell, Fire And Chaos” tour proves nothing else, it is that sticking to what works is the best course of action when you’ve already started with a winning formula.
Photo by Joel BarriosAll in attendance, regardless of whether they were a bit young to be out on a school night or rocking an age close to where Biff is currently standing, were physically invested in what was transpiring to the extent of human capability. Yet, with this tour promising to cover much of the continental United States before all is said and done, it will likely prove to be the tip of a massive iceberg that could send the American continents barreling across the Pacific on a collision course with East Asia.
Saxon Photo Gallery
Though now treated as a bygone movement where the working class of Britain brought metal to the cultural foreground, the NWOBHM has continued to inspire legions of newer adherents to raise the banners and march into battle with little care for changing times. As one of the prime movers of said movement, South Yorkshire’s own Saxon also stands as one of the few examples of a band that, in one form or another, has weathered all the various storms to continue bringing their craft to the masses for the better part of 50 years.
Now despite being in the throes of their golden years, this quintet of mad Englishmen continue to ride high with the release of their 25th studio album (27 if counting the recent duo of cover albums dubbed Inspirations), and a corresponding tour aptly dubbed “Hell, Fire, and Chaos” to re-conquer the American shores in 2024, and Fort Lauderdale would be the first beachhead established on Wednesday night, April 23rd.
Photo by Joel BarriosLed into the foray by the now 73-year-old commander and vocal titan Peter “Biff” Byford, clad in midnight black attire and rocking that signature platinum mane that would be the envy of every lion on Earth, they would proceed to manifest the metal spirit at every point of marathon 90-minute set. The long-serving rhythm section in drummer Nigel Glocker and bassist Nibbs Carter brought the thunder something fierce, the latter being only a couple years younger than Byford yet laying down the double-kicking mayhem something fierce on several faster metallic cruisers.
Photo by Joel BarriosBut arguably the most auspicious aspect of this current incarnation of Saxon on stage, at least for those American audiences in attendance who remember the opening years of the 80s, is the inclusion of Diamond Head axe-slinger Brian Tatler alongside Doug Scarratt. Suffice it to say, Tatler’s signature bluesy shredding approach and generally virtuosic style ups the ante considerably, proving that old rivalries turning into new unions is what metal is all about.
Right out of the gate, the pedal was put to the metal as the symphonic bombast of “Hell, Fire And Damnation”’s cinematic prelude “The Prophecy” rang through the PA system and ushered in the pummeling fury of said album’s banger of a title anthem. Byford delivered his graveling growl with the exuberance of a man half his age, as the meaty riffs of Saxon’s latest contribution to the metal ethos showcased a perfect blend of modern pizzazz with an old-school sense of simplicity.
Photo by Joel BarriosOther entries off the latest album like the conspiratorial rocker “There’s Something In Roswell”, the looming punch of French Revolution-inspired ode “Madame Guillotine” and the shuffling stomp of Middle Ages warfare “1066” (this would be its first time being performed live), were no less effective in setting the stage on fire. The band even took time to bring back a recent metallic crusher in “Sacrifice” to keep the modern side of Saxon’s catalog well represented, and the masses were eating it up and begging for seconds and thirds.
Naturally, any outfit as historically significant and long-running as this one would not live by recent exploits alone, and a more than adequate display of classic Saxon from the first half of the 1980s was in the cards. High-impact speed anthems that some have pointed to as principal influences upon the thrash metal movement of the mid to late 80s such as “This Town Rocks” and “Heavy Metal Thunder” were among the more aggressive side of the vintage sonic cuisine being served up, though mid-paced rockers from the same era like “Denim And Leather”, “Strong Arm Of The Law” and “Wheels Of Steel” were received with nothing short of total elation from the crowd.
Photo by Joel BarriosEven mid-80s entries like the epic stomp of 1984’s “Crusader” and the mid-80s AOR nod to Def Leppard with a melancholy edge “Broken Heroes” off 1985’s “Innocence Is No Excuse” were received with a sea of sing-along choirs. The apex point of this massive extravaganza was the encore performance of the signature classic “Princess Of The Night” when the audience response reached otherworldly proportions.
Perhaps the notion that you can’t teach a group of old dogs of war new battle tactics might be true, as Saxon’s signature sound and sense of rustic composition have been an undeniable constant throughout their long career. But if this opening chapter of the “Hell, Fire And Chaos” tour proves nothing else, it is that sticking to what works is the best course of action when you’ve already started with a winning formula.
Photo by Joel BarriosAll in attendance, regardless of whether they were a bit young to be out on a school night or rocking an age close to where Biff is currently standing, were physically invested in what was transpiring to the extent of human capability. Yet, with this tour promising to cover much of the continental United States before all is said and done, it will likely prove to be the tip of a massive iceberg that could send the American continents barreling across the Pacific on a collision course with East Asia.
Saxon Photo Gallery
Even when in the throes of their golden years, the forefathers of heavy metal have a certain gravitas on stage that is a cut above the rest. Case in point, 50 years + veteran act of the craft and one of the prime movers of the early 70s British rock/metal movement Uriah Heep, has remained undaunted in the face of changing times.
Though only guitarist Mick Box remains of the original fold that formed in the closing months of the 60s and would go on to set the 70s rock scene ablaze with their unique blend of hard and progressive rock influences played just a little too loud to pass as either of those two, the core spirit has remained on display in the decades since, as was witnessed by the throngs of attendees of the “Hell, Fire and Chaos Tour” that came rolling through Fort Lauderdale on April 23rd, 2024.
With the combined talents of longtime vocalist Bernie Shaw, as well as the somewhat more recently acquired rhythm section consisting of bassist Dave Rimmer and drummer Russell Gilbrook, Mick’s finely tuned hard rocking machine was in full gear right from when the opening chords rang out.
Photo by Joel BarriosAccompanied by touring keyboardist Adam Wakeman (son of famed Yes keyboardist and composer Rick Wakeman), filling in temporarily for longtime bandmate Phil Lanzon and attacking the keys with the pizzazz and majesty of Jon Lord, the succession of vintage classics and newer entries that would round out Uriah Heep’s 70-minute set would be a force to be reckoned with, often blurring the lines between the band’s early 70s rock and progressive roots and the harder-edged NWOBHM stylings that they’d inspire in said movement, including that of Saxon, the headliners of this particular tour.
Throughout the performance, Bernie Shaw gave a master class in crowd interaction as the band wheeled through a raging 11-song set that included numerous entries from their 2023 studio album “Chaos & Colour” alongside the obligatory classics. Indeed, the opening foray “Save Me Tonight” kicked things off on a swift note and marked the beginning of a succession of stylistically consistent songs that were often more than 50 years apart from each other in conception.
Photo by Joel BarriosThe resounding bite of Box’s riffs and his wah-pedal steeped shredding were staples of both classic rock offerings like “Gypsy” and “Look At Yourself”, as well as newer entries like “Grazed By Heaven” and “Hail The Sunrise” (the latter seeing its first live performance this very evening), closely chased by Wakeman’s resounding Hammond organ timbres and noodling solos.
As with any veteran act that can’t help but ooze artistic credibility at every moment, isolating one or a few highlight moments of this marathon medley of monster anthems borders on being a fool’s errand. Nevertheless, one couldn’t help but note the kinetic energy of the crowd as this quintet effortlessly flew through the jazzy, upbeat “Free ‘N’ Easy” off 1977’s “Firefly,” to speak nothing for the raucous performance turned in by Gilbrook from behind the kit.
Photo by Joel BarriosLikewise, the slow and heavy crawl of “Rainbow Demon” off the famed 1972 opus “Demons And Wizards” packed enough punch to rival the harder-hitting entries of Rainbow, despite predating said band by a couple of years. As far as vocal performances go, Shaw was in top form throughout the set but really set things ablaze during the epic slough of a ballad “July Morning”, arguably the only logical choice of song to close off such a riveting performance.
Naturally one would be remiss not to mention the brilliant encore performances of banger classics “Sunrise” and “Easy Living” that brought this 11-chapter story on stage to 13, but overall that task of choosing a favorite moment was near impossible if going by qualitative delivery.
Photo by Joel BarriosFor a fold of musicians that mostly consisted of those orbiting the age of 60, and masterminded by one well into his 70s, there was a youthful exuberance at work that was complemented further by a level of experience that left virtually zero opportunity for error. For those that might not have had the privilege to catch Uriah Heep during their heyday in the rocking 70s, or even the intermediate era of the band in the 80s and 90s when current vocalist Bernie Shaw entered the fold, this was a showing that likely rivaled those extravaganzas of yesteryear, and older attendees who had witnessed the original glory days no doubt completely agreed.
Uriah Heep Photo Gallery
Photos & words by Terrell Stewart
The chilly snowy weather didn’t keep music lovers from seeing their favorite bands this past Friday evening for a night of music on the darker side.
Starting this evening off was Wilderun, a collective healing from Boston, whose music has been described as symphonic progressive folk. Starting their set with the song, “Distraction II”, I wasn’t sure what to think at first but, as they moved through their set, their sound was different to me but interesting. Watching the crowd’s reaction, at first, there were a few who were really into the music, others looked like what I was thinking, not sure.
They were powerful in their delivery and vocalist Evan Anderson with his mixture of clean and extreme vocals added to a sound that grew on me and with the crowd. It’s kind of hard for me to explain, but I do recommend checking out their music.
Wilderun Photo Gallery
With the band urging everyone on, they moved about the stage interacting with each other and their fans. As a photographer, I was on the move constantly smiling the whole time because this is one of the most fun bands I have had the pleasure of photographing. Listening to their amazing musicianship and watching them showcase their skills with their instruments mesmerizing the crowd while they moved back and forth across the stage, is something to witness live.
Winding down their set with the song, “New Dynamic” the members of Omnium Gatherum moved to the front of the stage to a roaring crowd that wanted more. Vocalist Jukka Pelkonen asked the crowd, are you ready for a picture? With that, the band piled on top of each other for their picture with the crowd. This is a band that is a must-see live.
*Omnium Gatherum* Photo Gallery
As the band moved through their set, there was little said between songs and the head banging turned into a mosh pit and there were a couple of brave souls that crowd surfed their way into the pit in front of the stage. Indeed, it was a dark and powerful set of music. After a quick break that followed the avalanche of riffs, Insomnium band returned for a three-song encore finishing their night with, “Heart Like a Grave”.
I must say, there was an interesting contrast in the music and stage presence between the bands this evening, and I recommend every metalhead out there to try to catch this tour package as they continue trekking through the States until May 11th.
*Insomnium* Photo Gallery
In today’s sea of tribute acts, a standout gem is a rare find. There’s nothing wrong with assembling a band to play renditions of the music that inspired you, and probably generations of others, yet I’m personally not too fond of them, with very few exceptions. And today I’m writing about one of them, that I wholeheartedly recommend you experience yourself.
Leonid & Friends is a Moscow-based 11-piece ensemble. Led by the multi-talented Leonid Vorobyev – a musician, recording guru, and even a choir conductor – Leonid & Friends began as a whimsical experiment in 2014. What started as a casual jam session, a rendition of Chicago‘s “Brand New Love Affair” recorded with a group of close friends, exploded into a viral sensation. Millions of YouTube views later, they’ve released three acclaimed Chicago tribute albums, toured extensively across their homeland, and since 2019, they’ve been captivating audiences across the US. Their repertoire has expanded to include iconic tracks by Earth, Wind & Fire, Blood, Sweat & Tears, and a whole lot more, creating a powerhouse live show that celebrates the golden age of soulful classics.
Photo by Joel BarriosSo, what sets these guys apart from the countless Chicago cover bands out there? First off, the level of musicianship is second to none. We are talking about a large group of musicians, playing several different instruments in complete synergy, and you don’t get to listen to a note out of place. Each performance is executed with utmost precision, capturing the essence and complexity of the original track with stunning precision.
Photo by Joel BarriosBut it’s not just their technical prowess that makes them special. These musicians – hailing from Russia, Ukraine, Moldova, and Belarus – are not simply standing there and playing, there’s a heartfelt display of delight that simply goes over the audience and enacts a celebratory mood throughout their nearly three-hour shows. Leonid’s son Roman (who also takes care of manager duties) truly radiates infectious energy through his heartwarming banter as their master of ceremonies, while the band does the rest in spades, especially saxophonist Oleg Kudryavtsev, whose onstage antics would rival any seasoned comedian. There’s an undeniable sense of camaraderie and festivity that permeates every moment, and certainly goes hand in hand with the electrifying atmosphere.
Photo by Joel BarriosI recently had the good fortune of catching Leonid & Friends live on three separate occasions: twice aboard the “On the Blue Cruise” 2024, and once on the opening night of their current US tour, aptly named “Only the Beginning.” There were so many great moments during those three sets (despite they featured different set lists as the performances on the cruise were shorter) that it is almost impossible to mention them all, with the common denominator between them being the musical rollercoaster of horn-driven music, one that was drenched with jubilant mood and the melodies of ageless tunes that have been part of the soundtrack of the lives of hundreds in attendance.
Photo by Joel BarriosFrom the electrifying rendition of “25 or 6 to 4” fueled by lead guitarist Konstantin Kovachev‘s scorching riffs to the sultry and captivating interpretation of Delaney & Bonnie’s “Superstar” by the phenomenal Ksenia Buzina, each moment was a testament to their exceptional talent. Drummer Igor Javad-Zade‘s extended drum solo during “I’m a Man” had the crowd roaring, as he later abandoned his kit and pounded away on floor pads right in front of the ecstatic audience. And the supercharged final encore with Earth, Wind and Fire’s “September” simply got everyone on their feet, clapping, dancing, and singing along.
Photo by Joel BarriosLeonid & Friends are more than just a tribute band; they’re a force of musical positivity, capturing the energy, the spirit, and the pure joy of the music they celebrate. Whether you’re a die-hard fan of Chicago or simply seeking a very enjoyable night of musical bliss, don’t miss the opportunity to witness them in action, as they continue their current and extensive US tour. You’ll walk away with a smile on your face and a newfound appreciation for the power of music to unite and uplift.
Leonid & Friends Photo Gallery
Photos by Anthony DeCrisantis
Hailing from the Faroe Islands, Týr have garnered quite the following since their inception in 1998. Eight albums and multiple lineup changes later, they are currently on a headlining tour in North America, while also promoting their ninth release, “Battle Ballads”. The album was officially released this past Friday (April 12th, 2024) and was already on sale at their shows before the release date.
“We decided to not test people’s patience”. Those were the words used by Týr frontman Heri Joensen when describing a more direct approach used on “Battle Ballads”. While the writing and recording followed a similar M.O. as previous efforts, the songs here have instant accessibility, while counting with lush orchestrations. Conjuring images of galloping steeds, clashing swords, and hard-fought victories, Týr have created a strong candidate for the best album of their catalog.
The preparation for the “Battle Ballads” tour included a social media survey where they asked the fans which songs they wanted to hear live. As a result, the tour is 100% catered to their audience and also brings in tow Trollfest, Æther Realm, and The Dread Crew Of Oddwood as support acts.
Right before the band went on Stage in Toronto, at the iconic Horseshoe Tavern, on April 3rd, Heri Joensen sat down with Sonic Perspectives collaborator Rodrigo Altaf to discuss the new album, the current tour, and much more. Find their conversation down below.
Speaking of the show, Týr kicked things off with the commanding “By the Sword in My Hand”, summoning the crowd to raise their fists in the air. It was followed by “Dragons Never Die”, a single from the new album, which the fans sang at the top of their lungs, proving that this is a new classic in their repertoire.
While it was still spring in Toronto, the attendants experienced hellish temperatures inside the venue, and one couldn’t help but think a bigger location could have been considered for this sold-out show. The dancing and fighting reached almost uncontrollable levels on “Mare of My Night”, the closest they’ll probably ever get to a love song. With lyrics such as “Terror takes me now she rides me like a mare/ I slide in ever deeper sweat-drenched in despair / I pray she won’t play the painful passage on my flute / She sucked me dry and left me nameless in the nude”, this Thor-meets-Steel Panther number was one of the highlights of the night.
In case you don’t know yet, the band alternates English lyrics with others written in Faroese, the first of which to appear on the night being “Tróndur í Gøtu”. It felt like a barbarian horde was invading the city for a few minutes. Bassist Gunnar H. Thomsen seemed like the happiest man on earth while on stage, constantly agitating the fans while providing a reliable backbone to the group’s sound.
As mentioned in the interview with Heri, “Battle Ballads” is the first album with guitarist Hans Hammer, and it was natural that they named a song after him – thus “Hammered” was born. Hans fits in like a glove and consistently delivered a great solo on songs from the new album and also on the ones from their previous records.
Týr’s talent to blend their Faroese influences with more traditional forms of metal is apparent throughout their discography, but perhaps more evidently so on the galloping “The Lay of Thrym”, which was met with great applause and, not surprisingly, lots of dancing and fighting, Viking style. Zero gimmicks, pyro, or special effects were used, only four guys on stage playing their asses off – as it should be!
A welcome change of pace came in the form of the syncopated and solemn “Hail to the Hammer”, perhaps the only moment where the audience was allowed to breathe. And I gotta give it to the Toronto crowd – they are usually very tame. But seeing them sitting down and rowing to the sound of “Regin Smiður” was quite a sight. Maybe not as impressive as it usually happens at Alestorm shows, but it seems this trend is here to stay.
The anthemic “Axes” was another song off the new album which they debuted live on this tour. The blast beats and Heri’s unique singing style, using the snarl phaser technique, make this an instant hit. The main set finished off with “Blood of Heroes”, while the encore was made of “Sinklars vísa” and a call to arms for those in attendance, “Hold the Heathen Hammer High”, from 2008’s “Land”.
The “Battle Ballads” tour still has about twenty dates until it’s finished, so make sure you catch them live while you can. One piece of advice though: bring your earplugs, because they play mercilessly loud!
The Dread Crew Of Oddwood Photo Gallery
Aether Realm Photo Gallery
Trollfest Photo Gallery
*Tyr* Photo Gallery
Photos by Anthony DeCrisantis
It’s late March, but the winter still insists on rearing its ugly head in Toronto, after a few weeks of positive temperatures. On Friday, March 22nd, a huge snowfall preceded the shows of Alestorm, **Elvenking*, and *Glyph at The Concert Hall, a masonic temple in the heart of midtown.
Doors opened at 7 PM, but that was not enough to get the huge line of fans into the venue on time. Coat check was also very slow, and as a result, I missed most of Glyph’s set. They’re a new band, formed from the ashes of acts like Gatekeeper, Greyhawk, Hjelvik, and Ravenous, and their debut album, “Honor, Power, Glory”, is yet to come out. The one song I could check out in full from their set was “Voloråd”, and they’re definitely worth a deeper listen. This was their first-ever show in Canada, and hopefully, it won’t be too long before they come back to these shores.
Glyph Photo Gallery
One notable absence on Elvenking was violinist Fabio “Lethien” Polo, who, as later explained, could not join them for certain dates on this tour. His parts were recorded and piped in during the show, and apparently, he will join them in future dates. The fast-paced and folksy “Pagan Revolution” was a definitive highlight of their set, which was split in two acts of six songs each. The pulsating basslines of Alessandro “Jakob” Jacobi elevated “Silverseal”, while guitarists Federico “Aydan” Baston and Mattia “Headmatt” Carli really shone on the metal bliss of “Moonbeam Stone Circle”. “Bride of Night” really showcased their evolution as performers and songwriters.
Their set progressed with fan-favorite “The One We Shall Follow”, with a mob-like chorus that was sung enthusiastically by the crowd. The set closer was “Elvenlegions,” a fitting end to the band’s first foray on Canadian’s stages.
Elvenking Photo Gallery
The saga of the so called “joke bands” started in the early 90’s, with acts like Scatterbrain, Ugly Kid Joe and Dread Zeppelin sending a message for the old generation to not take themselves too seriously. Sadly, those bands did not survive back then, and they too were swallowed by grunge. It would take years for humor to be again accepted in music, and the success of a band like The Darkness in the early 2000’s lit that spark again. *Alestorm* is an obvious consequence of the resurgence of that style, and their jokester nature is all over the place during their live presentations.
The band hit the stage with the accordion-fuelled “Keelhauled”, and the crowd instantly went nuts. One tradition of their shows is to have many fans dressed as pirates, and tonight was no different. On “No Grave But the Sea”, fans broke the front-row barricade, which caused a ten-minute delay. As the staff was trying to fix things up, the band played an extended reggae jam, which included parts of the “Crazy Frog” theme.
While security was still trying to fix the barricade, on “The Sunk’n Norwegian” Chris asked the crowd to “not go nuts”, which didn’t help in terms of keeping the crowd still. Luckily, everyone was safe. The heaviness of “Under Blackened Banners”, with harsh vocals by Elliot, contrasted with the pop feel of “Hangover”. Their cover of The Arrogant Worms’ “The Last Saskatchewan Pirate” saw its live debut, and was met with cheers and horns in the air.
They continued with the furious “Wenches and Mead”, a staple of their shows, and “Magellan’s Expedition”, which quotes directly from the “Back to the Future” theme. On “Voyage of the Dead Marauder”, one of the rare “serious” moments of their set, they brought Barbara Blackthorne, the lead singer of American band Empress. The shenanigans soon came back, with Chris announcing that “we stole this song from Bob the Builder”, as he announced “Big Ship, Little Ship”. Barbara would return to the stage later on for their rendition of “Zombies Ate My Pirate Ship”.
Those who have seen *Alestorm live know that one of the most awaited moments is “1741 (The Battle of Cartagena)”. The crowd was obviously in on the joke, and got down to the floor to row for the entire seven minutes of this song – truly a sight to behold! They followed with another highlight, “Shit Boat (No Fans)”. Sadly, they had to end the proceedings by playing a rushed version of “Fucked With an Anchor”,* due to the ongoing issues with the barricade and the venue’s curfew. No complaints though, and this show brought a much-needed jolt of energy to a city that is struggling with a lingering winter.
The “Tour of the Dead Marauder” has only just begun, and I strongly suggest you get your pirate clothes and your pint of beer to see *Alestorm* on stage wherever you can!
Alestorm Photo Gallery
While some bands are struggling to adapt to the new landscape of the music business, others have learned to change course and thrive, even in the most challenging of circumstances. In a time when streaming took away the revenue from record sales almost completely, it’s important to find new strategies to captivate the fans’ attention and get them to open their wallets.
One band that has been particularly savvy in that regard is Haken: they’ve always invested in great t-shirt designs, unique merch ideas, and memorable experiences for fans, and as a result, their fanbase is quickly expanding. And it doesn’t hurt that their music is incredible either! Let’s take their appearances in Toronto in recent years as an example: in 2017 they played at Lee’s Palace, a venue with a capacity of 600 people, as part of their tenth anniversary tour. The year after that they came on a co-headline tour with Leprous and played The Opera House, which fits about 1,000. In 2022 they opened for Symphony X at the Danforth Music Hall, which fits 1,500. Last year, a triumphant return to The Opera House with Arch Echo as support. In 2024 they took the “go big or go home” mentality to extremes, putting together a three-hour show with no opening act. Those who know the financials of touring nowadays will understand the huge risk of putting together something like that, especially in a challenging market like North America. And yet, they’re surviving and forging ahead, as evidenced by the latest Toronto show on February 25th.
Photo by Jake TenThe night started late in the afternoon, as a few fans were brought in for the meet and greet. A quick stop to pick up the merch that was included in the fan experience – a bass drumhead signed by the whole band, a tote bag, and a t-shirt of their choice, and it was time to take the seats. Singer Ross Jennings greeted the fans and answered a few questions, as the band was still doing a few tweaks in the sound and tuning their instruments. A few songs were played for them to warm up, and they even took requests. All six musicians were very kind to sign whatever was put in front of them and spent time chatting with fans with genuine interest in what they had to say. Individual pictures were taken, as well as a group one, and that was a wrap on the incredibly generous meet and greet.
Photo by Jake TenAs mentioned by Ross during the meet and greet, having the audience seated is something new for Haken, and a scenario they’re still adapting to. However, they confidently started their set by playing the most recent album, “Fauna”, in full. Much like some of their peers like Rush and Dream Theater, the band has maintained their core sound throughout their discography, while allowing themselves to explore different sides of their musical vocabulary in every release. While they wore their Yes and Gentle Giant influence on their sleeves in 2013’s “The Mountain” and adopted a darker tone in 2018’s “Vector”, with “Fauna” they showcased their pop influences in a much more pronounced way. That is evidenced in songs like “The Alphabet of Me”, “Lovebite” and “Nightingale”.
Photo by Jake TenWhile playing an album in full and in the same sequence as the studio release might take a little of the spontaneity of the night, that didn’t seem to faze the fans, who engaged with the band throughout the first part of the show. Some of the noticeable highlights were the uncanny vocal arrangement of “Nightingale,” the audience singing the “who-eh-oh” part of “The Alphabet of Me” and the new fan-favorite “Lovebite”. Drummer Ray Hearne absolutely shone on “Sempiternal Beings”, while the interplay between guitarists Richard Henshall and Charlie Griffiths reached telepathic levels on “Elephants Never Forget”. The otherworldly precision displayed by the whole band through the jarring changes of “Beneath the White Rainbow” didn’t go unnoticed either. And in case you’re wondering, YES, Ross did hit the high notes on that song. Part one of the set finished with the first blast from the past, one of the most anticipated songs of the night: the epic “Crystallised”, from the “Restoration” EP (2014).
Photo by Jake TenAfter a half-hour intermission, Haken returned to the stage, with the same background as before – the dense forest from the “Fauna” booklet. The only change was Ross, now wearing a lumberjack shirt, as opposed to the Hawaiian one he donned during the first half. They kicked it off with the upbeat “Puzzle Box”, from 2018’s “Vortex”, with keyboardist Peter Jones playing some Muse-esque arpeggios towards the end. Before the next song, “Earthrise”, the band played instrumental snippets of “Concerning Hobbits”, from Lord of the Rings, and – read this next part as many times as you need in order to process it – Celine Dion’s “My Heart Will Go On”.
Coming up next was perhaps the most popular yet polarizing song in their catalog: “Cockroach King”. Loved by every single one of their fans, this song – infused with Gentle Giant influences – coincidentally seems to encapsulate everything detractors dislike about Haken. It was followed by the powerful instrumental “Nil By Mouth”, a strong contender for “most descriptive name of an instrumental song”, perhaps second only to Iron Maiden’s “Losfer Words”. The interlock between Hearne and bassist Conner Green was a sight to behold, as they easily navigated through the heavy riffage provided by Charlie and Richard.
Photo by Jake TenThe last part of the show saw them tackle yet another fan-favorite, the 80’s tinged “1985”, and two songs that made their live debut on this tour: “The Strain”, with an extended keyboard and drums outro, and the gorgeous “Canary Yellow”. The debut album “Aquarius” was represented by the last song of the main set, “Drowning in the Flood”. And the encore consisted of the title track of “Visions”, in all its 22 minutes of glory. Watching the crowd sing every word – even the narrated part at the beginning – would send shivers down the spine of even the coldest individual.
Photo by Jake TenReassured and victorious one more time, Haken will continue their trek with a few more dates in the U.S., and after the last show of this run on March 6th, the band will embark on the Cruise to the Edge. A few dates in Asia in April and in Australia in May, and they’ll be ready for the next chapter of the band – catch them playing this mammoth set while you can!
The post CONCERT REVIEW: Prog Metal Extravaganza – A Chronicle Of HAKEN’s 3-Hour Live Adventure In Toronto (February 25th, 2024) appeared first on Sonic Perspectives.
Extreme have always been one of those bands who were unfairly lumped in with their more successful and often less worthy contemporaries. I fault no one for enjoying the hair bands that defined what “rock” and “metal” were supposed to be in the 80s – you like what you like, and that’s completely fine. But what always set *Extreme several cuts above their peers was that there was so much substance underneath Nuno Bettencourt‘s flashy playing and Gary Cherone‘s stage-strutting. Extreme were a band that not only dared tackle societal ills while their buddies in El Lay focused on chasing tail, but they also fused so much non-rock into their lively compositions and did so with enough panache to obliterate any accusation that their funk/samba/country/blues/bossanova/big band/prog/metal rock sound was mere gimmickry. And man could those guys harmonize. I had a helluva time defending Extreme* in the early 2000s, when metal was either dead or nu, insisting that they were only guilty of being glam by association. It was tough. But I knew I was right.
Decades later, I finally got to tick them – along with fellow funk rockers Living Colour – off the fabled bucket list of bands I thought I’d never get to see. Off the heels of last year’s excellent “Six”record, it was about damn time *Extreme* ventured outside of New England to do a proper US tour. Based on the reception they got at Austin’s Moody Theater on February 19, I won’t be surprised if they hit the road more often.
I can think of no better band to accompany *Extreme on the road than Living Colour. Both bands hailed from the northeast at roughly the same time and had a similar career trajectory blending funk with heavy rock, hip-hop, and other styles. Both have famously masterful guitarist bandleaders in Vernon Reid and Nuno Bettencourt, exceptional frontmen in Corey Glover and Gary Cherone*, and the same knack for making thought-provoking music that also happens to slap.
Living Colour are in absolutely fine form even in their fifth decade, Glover‘s silver braids signifying a streak of wisdom this band has possessed since their inception in the early 80s. Clad in a stylish purple suit that radiated his band’s bold take on classiness, Glover‘s voice is one that has aged maybe a week or two since breakout hit “Cult of Personality” hit the airwaves back in 1988. Legendary bassist Doug Wimbish‘s frenetic energy belied his 67 years, and the chemistry he and stand-in drummer James ‘Biscuit’ Rouse had together would have fooled anyone into thinking these two had been performing together for decades. And Reid was an absolute madman on his guitar, playing with such ease and passion to make it look like he was caressing the damn thing rather than playing it. Many shredders speak of their instrument being an extension of themselves, but in Reid‘s case, it’s no hyperbole.
*Extreme hit the stage as if they were born to be on it, with Bettencourt and bassist Pat Badger fully enthralled in their stage personas while Cherone, looking much like Keith Richards with a few centuries shaved off, ran amok like a loosed hell beast. I sincerely cannot tell if photographing *Extreme* was such a challenge because I was too engrossed in their performance to actually shoot, or if they just can’t stay put long enough for me to take a damn picture. In either case, the energy and fire these guys still have in their performance ought to have bands a third Extreme***‘s age scribbling furiously in their notebooks. These guys don’t just still have it, they probably have more of it than they did in their heyday.
Cherone in particular surprised me. Most dudes his age are ready to retire, but here he was literally running laps around the Moody’s stage, oozing the rock star bravado that certainly earned him his brief tenure in Van Halen, belting out challenging yet engaging songs like “Decadence Dance” with a remarkably well-preserved voice. What a shame that Vince Neil didn’t come to this guy for advice back when such advice would have been helpful.
For all the swagger that animates Cherone, he still has the humility to let Nuno do most of the talking in between songs. And talk he did: he cheerfully greeted the Texas crowd by saying “we appreciate chawl!” and poking fun at the band’s (and the crowd’s), uh, maturity by asking “who saw us way back in the 1900s?” And it can’t go unstated that as gracefully as Badger and Cherone have aged, Nuno looks freaking exactly the way he did in the 90s. I blame all the Lobo e Falcão.
Clearly unhappy with simply playing their own songs by the book, *Extreme took great but respectful liberties in shaking things up, peppering their repertoire with the occasional rock classic like “We Will Rock You,” even going so far as to dedicate a song to all the mothers and sisters in the crowd only to perform the intro to “Fat Bottomed Girls,” segueing that into “Banshee.” These dudes are clearly still young in both physique and at heart. Extreme also made wise use of medleys, fusing a bunch of cuts from their oft-overlooked debut into one lengthy tune, while also tacking “That’s All Right” (made famous by Elvis Presley) onto their own “Take Us Alive,” and “Song For Love” onto “Small Town Beautiful.”
Despite the pomp and silliness, the insanely high level of musicianship on stage never wavered, and was further accented with liberal use of two- and three-part vocal harmonies that were both spot fucking on, but still rough enough around the edges to dissuade the backing track suspicions one must have when attending a concert these days. The craftsmanship that goes into an Extreme performance was actually on fuller display when they stripped things down for “Other Side of the Rainbow,” for which Nuno played a white 12-string acoustic while longtime drummer Kevin Figueiredo found himself downstage with his bandmates at a miniature kit, the band awash in colorful light that honored the song’s title. Cherone shocked me by taking over acoustic duties so Nuno could take his solo, and before I even realized it, the band were chugging through the country-twinged “Hole Hearted.”*
Nuno continued to charm the audience by heckling both the crowd and himself, comparing sitting down at his age to having an orgasm and telling silly stories about an expensive hat he bought in Nashville. But the love for *Van Halen was always palpable, in Cherone‘s onstage antics and especially in Nuno‘s reverent renditions of “Eruption,” and “Women in Love,” after which he finger-gunned skyward and hailed King Edward. The evening was full of love, surprises, and a genuine feeling of unity as Extreme dished out a monstrous 21-song set (27 if you account for the medleys). No bucket list band has ever disappointed me, and while I can’t say there weren’t some songs I sorely wished had been included (“Warheads” and “In God We Trust” especially), few have left me feeling as uplifted as Extreme* has. They’d better not wait such a long time to hit the road again.
EXTREME Photo Gallery:
The post CONCERT REVIEW: EXTREME & LIVING COLOUR Rock Austin Hard, More Than Words Can Describe (February 19th, 2024) appeared first on Sonic Perspectives.
While taking a hot minute break from touring with Mötley Crüe, John 5 is on a headlining tour crisscrossing the United States. The 30-date North American tour kicked off on January 25th in Santa Ana, CA, and concludes on March 1st in San Deigo, CA. Tonight’s show is in New York City at the Gramercy Theatre.
As the stage lights slowly rose, it revealed a minimalistic stage set-up: guitar and bass amps stacked neatly on each side of the drum riser with four 5-foot-tall video screens depicting macabre horror movies, cartoons, and images of John 5. From out of the darkest corner of the stage, John suddenly appeared and began frantically circling the stage. His ominous presence was felt throughout the nearly sold-out if not sold-out, theatre. Surprisingly, he was a little more low-key than usual, wearing a black leather jacket and jeans without his ghoulish white and black Joker-esque makeup. Another surprise was that there was no bass player, only drummer Alex Mercado.
Photo by *Robert CavuotoWhether the crowd knew John 5 from Marilyn Manson, Rob Zombie, Mötley Crüe, or his successful solo work, they were all there to see this legendary guitarist in action. Listening to his albums or watching him on YouTube doesn’t do him justice compared to watching him perform live. Witnessing his masterful and complex guitar techniques in person was awe-inspiring. His playing style stretches the boundaries of rock, jazz, progressive, country, and blues…sometimes achieved in the same song. It was as if he was saying “I’m John 5 and you can’t ignore what I’m doing up here.”*
At the show’s onset, John 5 realized he had blown one of his EVH amp heads; he briefly stopped to have it fixed, only to come back out to replay the first two songs. Fans might not have noticed, but John 5 wanted everything perfect!
Photo by *Robert CavuotoJohn 5* performed for a little over 70 minutes and, within that time, tore through 15 songs, a bass jam, a mandolin jam, and a medley of Mötley Crüe tunes. The song performances ranged from the EDM of “Crank It” to the earthshaking of “Creep Show” to the shredability of “I am John 5.” All his songs were based on metal with melodic grooves and leads that featured his quintessential technique of string-skipped arpeggios.
Being a true showman, John 5 grabbed a bass from the guitar rack and his trusty Ray Gun for a remarkably great bass jam. These are the fun moments he brings to his show! Beforehand, I told John 5 that instrumental performances can sometimes have connotations of someone staring at their fretboard while meticulously playing a perfect piece of music. I asked how he makes his shows such an entertaining spectacle. He replied, “There are a lot of guys who bring their wives, girlfriends, or friends to a show, and I’m aware of that. I want to give someone who doesn’t know about the guitar to still have a good time. I use different instruments and have video screens on stage. I want it to come across as entertainment. It’s turning into an instrumental Alice Cooper show.”
Photo by *Robert CavuotoAce Frehley* of KISS was in attendance, enjoying the show. John 5 told the crowd that Ace was the musical influence for picking up the guitar to pursue his dream of playing professionally. His touching comments from the stage humbled Ace, and he gave John 5** the thumbs up!
Tonight was a mind-altering, eye-opening, and guitar-gasmic experience for everyone at the Gramercy Theatre. Regardless of the song, the common thread throughout the performance was the passion and emotion John 5 applied to them. As an artist, he has honed and mastered his craft and delivered it to us, the fans, with heart and soul.
Tickets for his remaining shows can be found HERE.
JOHN 5 Photo Gallery (Photos by Robert Cavuoto):
The post CONCERT REVIEW: JOHN 5 Let The Music Do The Talking At The Gramercy Theatre, NY (February 15th, 2024) appeared first on Sonic Perspectives.
The Earthside and Caligula’s Horse tour reached Toronto on February 06th, and fans witnessed a dynamic evening of progressive metal. The Axis Club, formerly known as Mod Club, has recently reopened after facing financial difficulties during the COVID-19 pandemic. While the crowd wasn’t at full capacity, there was still a substantial attendance, creating an intimate yet energetic atmosphere for the performances.
Both *Earthside and Caligula’s Horse have garnered acclaim for their recent album releases, respectively “Let The Truth Speak” and “Charcoal Grace”*, and their setlists reflected a balanced selection of songs, albeit understandably leaning towards their latest material.
*Earthside kicked off the night at 07:30 PM sharp, with their unique blend of ambient prog. They kicked their set with an epic journey entitled “We Who Lament”. With a lineup consisting of Jamie Van Dyck on guitars, Ben Shanbrom on drums, Frank Sacramone on keys, and Ryan Griffin on bass, the band does not have a fixed vocalist. In the studio they have guests such as Lajon Witherspoon (Sevendust), Björn Strid (Soilwork), Daniel Tompkins (Tesseract), and Eric Zirlinger (Face The King, Seer) taking on vocal duties. Given the obvious logistical and financial challenge of bringing all singers on tour, using pre-recorded vocals, with the screen projections featuring images of the singers. “Pattern of Rebirth”, the second song on their show, showcased the more streamlined side of their songwriting, while “Watching the Earth Sing”, started with delicate guitar notes and slowly built into an atmospheric gem with a hypnotic beat. It was followed by the title track of “Let the Truth Speak” and the set closer, the instrumental “The Closest I’ve Come”. Their last show in town had been at the Hard Luck Bar in 2022, opening for Danish proggers VOLA*, but tonight was a whole new level of production.
Texas prog nerds got a special treat the following week when the tour landed in Austin’s metal mecca, Come and Take It Live. While the set itself remained unchanged, it was historic in that it marked the very first time **Earthside* was joined by a live singer on stage, when local guy *AJ Channer of the band Fire From the Gods, hopped on stage and ably delivered his verses “Pattern of Rebirth.” *Earthside main man Jamie van Dyck was visibly both nervous and thrilled and confided to the audience that they’d just witnessed a historic moment in the band’s history. This set was not without its problems, though – a few songs were marred by a handful of technical glitches, most humorously a muted keytar during “The Closest I’ve Come” that forced the dervish we call Frank to scamper across the tiny stage so he could finish off his part on another keyboard. The Earthside* guys handled the obstacles with good humor and aplomb, and the gracious headliners had the charcoal grace (see what I did there?) to let them go over time so they could play their marvelous set closer completely unabridged.
After a triumphant performance at the ProgPower Festival last year, Australia’s **Caligula’s Horse* finally reached North America on a headliner tour, promoting their watershed release *“Charcoal Grace”. They took the stage with finesse, beginning with the ethereal tones of “The World Breathes with Me” from their latest release from such album. Vocalist Jim Grey‘s emotive delivery added depth to the introspective lyrics, particularly evident in the intense performance of “Marigold.” The lyrics here are introspective and poetic, exploring themes of self-discovery, personal growth, and the passage of time.
“Golem” followed, with Sam Vallen (guitars) and Dale Prinsse (bass) working in perfect sync, even through the most intricate tempo changes. Throughout their set, the band demonstrated tight musical cohesion, with standout moments including the djent-infused “Dark Hair Down” and the melodic “Bloom.”
Another high point of **Caligula’s Horse*‘s set was the proggy intricacy of “The Tempest”, a song that explores themes of inner conflict, personal struggle, self-discovery and resilience, being almost complimentary to the concepts explored in “Marigold.” The dynamic rhythms of “Oceanrise,”* showcasing drummer Josh Griffin‘s skillful contributions, didn’t come unnoticed either, eliciting a great reaction from the crowd. Despite exploring heavy themes, songs like “Dream the Dead” managed to evoke an uplifting atmosphere, albeit with moments of reflective contemplation like the breakdown around its 5-minute mark. “Mute” – a song which at times is reminiscent of Soen, while also reminding us of Muse or even Leprous**, was a journey full of twists and turns, which closed the Aussies’ main set.
Overall, *Earthside and *Caligula’s Horse* offered a great double bill with different shades of the overarching term “progressive metal”. Both bands played to their strengths and delivered captivating performances that left a lasting impression on the audience. The evening was ultimately a memorable experience, culminating in the epic encore of Caligula’s Horse*‘s “Graves.”
Photo Gallery (Photos by Gonzalo Pozo):
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Extreme laid low with a 15-year absence from releasing new music, but in 2023, they came back on the music scene with a vengeance by releasing one of the year’s best hard rock albums, “Six”.
“Six” is a worldwide success and a renewed call to arms for the band with their most prolific and influential albums. The singles “Rise,” #Rebel,” “Banshee,” and “Other Side of the Rainbow” have helped usher in a new era for the band from fretwork work, lyrical content, production, and melodic song creation, raising the bar for any rock or hard rock band planning to release an album.
Extreme spent the second half of 2023 touring the US and the world promoting “Six”. With diehard fans and new fans on board, there has never been a stronger demand to see this band live, so much so they have returned for another US tour in 2024, Tonight’s show was in Englewood, NJ, at Bergen PAC, and it’s the band’s first show of the second leg of the US tour.
Photo by *Robert CavuotoExtreme rewarded the audience’s demand by rolling out “It’s a Monster”* as the first song to their instantly recognizable album, “Pornograffitti”**. An immediate and intimate connection between the musicians and the audience was made right from the show’s onset.
Everything you could want from an Extreme concert happened on stage tonight, starting with a setlist that toggled between songs like “Decadence Dance,” showcasing the band’s vitality, “Get the Funk Out,” demonstrated their poetic crassness, to Nuno‘s inspiring instrumental “Midnight Express” as well as fifteen other songs that are simply testosterone saturated fury! The set also included a medley from their debut album, “Teacher’s Pet,” “Flesh ‘n’ Blood,” “Wind Me Up,” and “Kid Ego,” which thrill diehard fans. Nuno introduced these song snippets by telling the audience, “Pornograffitti was not the band’s first album”
Photo by *Robert CavuotoBefore launching into some of the songs, fans were treated to the band’s fun foreplay. Prior to “Banshee,” Nuno dedicated the song to all the women at the show as the band performed the acapella intro of Queen‘s “Fat Bottom Girls.” Later in the evening, Nuno graced us with a few bars of Van Halen‘s “Woman in Love” while pointing to the sky to Eddie before “Small Town Beautiful!”*
Mid-set, the band put the breaks on the arena rock anthems like “Play with Me” and “Cupid’s Dead” so Nuno and Gary could take center stage seated on stools to perform their biggest hit, “More Than Words.” With cell phones ignited and held high, fans swayed back to the song’s rhythmic groove while singing the song’s love-yearning lyrics.
Photo by *Robert CavuotoThe performance continued at a dizzying pace, as Gary is a study in perpetual motion. He fluidly glided across the stage in a form of controlled chaos, hurdling himself on and off the drum riser while posturing with half mic stand for the crowd to the effervescence of their music. No guide vocals or backing tracks are needed with this band. Gary*‘s vocals and the band’s harmonies are pure and honest.
If Nuno is the God of all things guitar, then Gary is his equal in vocals and showmanship. He is hands down the best frontman from all the existing 80s-era bands. There couldn’t be an Extreme without either of these four talented musicians.
Photo by *Robert Cavuoto*Nuno continues to cement his guitar legacy as an innovative guitarist who revolutionizes the band’s sound. His tonal palette is expansive, colorful, and unique as he draws upon 35 years of practical experience. As he played, he assaulted his guitars in ways that most people would never think possible. It soon became apparent that his guitar was an extension of his body, and the sounds emanating from his guitar weren’t necessarily guitar sounds but harmonic textures. The lyrics to his mesmerizing solos were the passion, desire, and pain expressed on his face while he played. His playing was edgy yet tasteful. Watching him combine his signature techniques of speed, dexterity, and melody was awe-inspiring.
Photo by *Robert CavuotoKevin* and Pat built the groove behind Nuno and Gary. Their intensity seemed supercharged, with Kevin taking fills and going through countless sticks as he pounded away. Pat** played his bass like a lead instrument, adding the descending chord sequences to make the songs feel lofty and edgy while delivering the perfect vocal harmonies. He brings energy to the big moments and understands the sensitive ones, which is a balancing act of when to use it and when to entertain the audience.
During the final encore of “Rise,” it crystalized that there was an unbridled passion, excitement, and power when these musicians hit the stage that cannot be adequately captured on any cell phone video. Extreme are a band that must be experienced live, at the edge of the stage, and in your face! A genuine American rock act of our era!
EXTREME Photo Gallery (Photos by Robert Cavuoto):
The post CONCERT REVIEW: EXTREME Live and in Your Face! Tour Opening Night at Bergen PAC, Englewood, NJ (January 24th, 2024) appeared first on Sonic Perspectives.
Tesla, one of America’s most beloved rock bands, brought their signature brand of hard rock to The Stage at Coco Outdoors, in Coconut Creek, Florida last January 14th. The enthusiastic crowd that gathered on the venue grounds was treated to a 90-minute set of selections from their classic hits, undeniably proving that Tesla is still a force to be reckoned with, even after 38 years of rocking stages across the world.
From the opening chords of “Lady Luck” to the closing notes of “Sings,” Tesla was firing on all cylinders. Jeff Keith‘s vocals were powerful and soulful, and yes, some will argue that his register is not the same as it was in his youth but is anyone the same in any aspect as we were in our 20s? The band’s tight musicianship was on full display, with guitarists Frank Hannon and Dave Rude trading licks with effortless precision, while bassist Brian Wheat and drummer Steve Brown laid down a solid groove that served as the backbone of those timeless songs.
The set list was a seamless blend of the songs that put the band on the map, with staples like “Modern Day Cowboy,” “Miles Away,” and “Changes”, combined with cuts from posterior albums like “Breakin’ Free” – a personal favorite from the “Forever More” album – sharing the stage with the recently released single “Time to Rock,” which is included in their latest live album “Full Throttle Live”. Such a new song was a welcome addition, proving to the crowd that Tesla is still writing music that is both classic and contemporary, and I wished they would have also included “Cold Steel”, the other most recent single in their repertoire.
Nevertheless, the audience sang along to every word of “Love Song,” “Lazy Days, Crazy Nights,” and “Heaven’s Trail,” and the energy was electric, defying the overly windy weather. Tesla‘s music has an enduring quality that resonates with fans of all ages, and it was clear that the crowd was having a blast, plus the band’s camaraderie and love for their music were evident throughout the night, becoming truly infectious.
As it certainly happens every single time, a Tesla show feels more than just a concert; it turns into a celebration of rock and roll. Tesla is a band that is truly in their element on stage, and their passion for their craft is undeniable. If you get a chance to catch them live, don’t miss it. You will be in for a treat.
Tesla Photo Gallery (Photos by Joel Barrios):
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The post CONCERT REVIEW: California Rock Royalty TESLA Electrifies Coconut Creek with Timeless Hits And Infectious Energy (January 14th, 2024) appeared first on Sonic Perspectives.
Words and photos by Grace Hayhurst**
Historically, Morsefest has been hosted annually for over a decade in Tennessee, USA. But in 2023, “the man who puts the Morse into Morsefest” as Mike Portnoy would say, Neal Morse decided with a push from God to take the festival to Europe for the first time, hosting the event inside of the Poppodium Boerderij in the Netherlands.
Now, with another push from God to do it all again, Morse took the show to London, UK. Or more specifically, to Trinity Church in Brentwood, a small village far outside of the major metropolitan area for this two-night spectacle.
Each year, full albums are chosen to perform in full to mark the special occasion to really give the full effect of the stories that Morse tells, particularly so given near every work of his is a concept album. The shows are given the “Morsefest special treatment” with the addition of live brass, choir, strings, and additional percussion.
This year, he chose to bring “Testimony” and “Testimony 2” to the table. A pair of albums that share much of Morse’s life journey, his joys in moving closer to God, as well as highlighting various difficult sections of his life struggling to find work, but also sharing more incredible personal anecdotes of family illness – such as with daughter Jayda who was born with a severe heart condition. This is his *“Testimony”*.
Before we get into the show, however, I believe that It would be disingenuous to talk about Morsefest without mentioning the price of the tickets. Starting with the cheap seats at £200 ($250USD) which provided a side view of the stage, which wasn’t much of a view at all, up to the standard price of £275 ($350USD) for a front on view towards the back of the venue, up to the £520 ($663USD*) ticket for the full VIP experience which allowed for a seat in the front few rows right up close to the band, as well as some exclusive VIP merchandise, a two-course meal, and a meet and greet with the band.
*Currency conversions are approximate at the time of writing the article
As a comparison for £267, you could get a weekend ticket to this year’s Download Festival in the UK to see an absurd number of bands of far higher notoriety. Although I do understand this isn’t an entirely fair comparison.
There are a few reasons why the show is as expensive as it is, and I counted at least 25 personnel helping to make the show go on, including the core band. Sound engineers, stage techs, lighting engineers, additional musicians on stage, all of whom have to learn the set in full for a one-date tour – although granted this is now the 3rd time the “Testimony” edition of Morsefest has been performed.
The other thing of note is that the majority of the staff were American, with some musicians from Germany. That’s a lot of flights to pay for, combined with accommodation and transport for the week. With only a few hundred tickets on sale, it’s clear that the economics of the show don’t quite add up, particularly so given the venue was only half sold.
Maybe a larger venue with a lower ticket price, closer to the metropolitan center of London, would have attracted enough people for economics of scale to take effect. And with Morse’s on-stage comment “Believe me, we aren’t doing this for the money”, it seems a real shame that such a spectacular performance was reserved only for those with a high amount of disposable income. And with the festival being far outside of the city, and finishing past midnight, it meant that hotels and car transport were a requirement for attendance. An organizational oversight is maybe an understatement given the plentiful number of venues closer to the center of one of the most populous cities in Europe.
With that out of the way, we can start to dive into the experience of the show – and it truly was a special experience.
Running the show behind the scenes was Joey Pippin, who took to the stage to introduce everyone to the festival. “Neal has been crying all day” he announces, before giving away some raffle items, and subsequently introducing Haken’s Ross Jennings – the musical start to the evening.
In 2021, Jennings released solo album “A Shadow of My Future Self”, from which he performed several songs in an acoustic fashion. Having worked with Morse before on the D’Virgilio, Morse & Jennings project, it seems a natural fit that he would come out and open up the show – even throwing in Haken track “Deathless” for those fans that may not be familiar with his solo record. Although in my opinion, you really should be.
After a short interval, a 2-minute countdown began on the screens behind the stage as a chamber orchestra of musicians assembled including choir, brass, wind, and strings. “Testimony” was about to begin. The band started with “The Land of Beginning Again,” naturally as there are no deviations from the original album order with this performance.
For those unfamiliar with the level of musicianship of this live band, they are truly an incredible spectacle to witness live. Randy George (Bass), Mike Portnoy (Drums), Bill Hubauer (Keys), and Eric Gillette (Guitars) all provide performances that surpass the peaks of your typical prog rock players. They are not just technical players, but all round entertainers too with backing vocals that intertwine together to create the most soothing of timbres when the harmonies really kick in.
Photo by Grace HayhurstMidway through the first half, Morse stated “This is heaven on Earth for me” – and you can clearly see that in his performance. He’s incredibly excitable, jumping around the stage and creating a spectacle of his music. Not just playing the notes.
Some of the AI-generated backing visuals were a bit of a turnoff during the performance, but there were other more meaningful art pieces being shown throughout on screens behind the stage. Collages of Morse’s life including photos of him on tour, with friends, family members, and more, made the performance much more personal.
In “Break of Day,’ we are provided with an incredible viola solo from the backing chamber orchestra – which really does make this performance special. Being able to hear all of the nuanced parts from the original record live, not to a click.
Photo by Grace HayhurstAfter a short intermission between acts, the entire band sees an outfit change from black to white, which can only be interpreted as seeing the light of God, as the lyrics on the record describe.
One highlight from this half has to be yet another viola solo where he played the same passage over and over again getting faster each time. And just to really show off, George does the same on his bass much to the entertainment of the crowd.
During “Rejoice,” we start to see a standing ovation at this seated concert with audience members all over standing up, singing, and clapping along to the music. We’re almost at the end of the record, and hearing all of this music played to an incredibly high standard, possibly for the last time ever, can you blame anyone for being overwhelmed at this moment?
The band thanked everyone for coming along, and implored that those coming to the Inner Circle show the following day get there bright and early for the 11 AM start!
Now, what is the Inner Circle show? The Inner Circle is a fan club started by Neal Morse to give fans exclusive access to demos, recordings, updates, and more for a monthly membership fee. As I wasn’t a member, I didn’t attend this event – and nor did any other regular concert ticket holders as they weren’t permitted to partake. However, I did hear that a number of stripped-down acoustic tracks were performed, including Spock’s Beard numbers “Open Wide the Flood Gates”, and “Wind at My Back.”
Photo by Grace HayhurstOnwards then, to night two. With no support on offer, the band took to the stage immediately opening with “The Healing Colors of Sound.” A Spock’s Beard epic from the 1999 album “Day for Night” which was a delightful throwback to eras of music’s past, and interesting to see the backing bands take on the various parts remaining faithful to the original whilst still bringing their own personalities into the performance.
Portnoy takes over the mic to let the audience know that despite his return to Dream Theater, “We will do it all again”, referring to performing more in the future with the Neal Morse Band. A relief for many I’m sure as Portnoy has been an integral part of the band’s live performances and studio recordings for many years.
Jennings then made a surprise return to the stage, joining in to sing on “Supernatural,” a bonus track from “Testimony 2.” He breathes life into the song, dueting with Morse much to the joy of the audience.
Finishing up with the final bonus track from “Testimony 2”, “Seeds of Gold,” this 26-minute track keeps the band on their toes. Toward the end of the track Morse and Gillette trade guitar solos back and forth before merging into unison for a passionate performance.
Photo by Grace HayhurstThe format was once again the same, with a full performance of the main disc of “Testimony 2” with no deviations or alterations. Although this evening sans brass band. You could tell straight away that it was going to be an emotional performance for the band, not only not knowing when they’d next play together on stage, but if they would play the music from the Testimony albums again in full.
And the audience started to cry almost just as much as Morse during track “Jayda.” A story from Morse’s personal life about his daughter being incredibly unwell during infancy, and having a hole in her heart. It goes that Morse’s wife led her congregation in prayer to pray for the safe healing of daughter Jayda and that the next time she was taken to the hospital, they couldn’t find the hole in her heart.
They searched and they searched
But found nothing wrong
‘Cause they couldn’t find the hole
Other personal highlights from this evening’s performance included “Time Changer”, “The Truth Will Set You Free”, and “Road Dog Blues.” While every song on the record has its own special moments, these three always stand out to me for really showing off the variety in compositional styles that Morse has mastered.
Photo by Grace HayhurstThe band were just as energetic on the second night, although Morse did have to stop jumping up and down as much at one point to prevent the battery in his wireless pack from falling out. And you could really tell he was conflicted about having to limit his enthusiasm.
The closer to the end of “Testimony 2” that we got, the more emotional everyone in the band got. Portnoy highlighted that he’d never played with anyone else who required a box of tissues on stage, but they were very necessary for Morse as these final few tracks were incredibly moving for him.
As the evening came to a close, the audience was left overjoyed by what they had seen. Discussing how kind members of the crew had been, how welcoming regular Morsefest attendees were, and highlighting various parts of the two evenings’ performances with each other with no universal consensus on what was the best record.
Photo by Grace HayhurstHowever that aside, the musicianship was top-notch throughout the whole weekend – they are an incredible set of musicians that know no technical limits to their playing. The source material is accessible, full of variety, moving, and musical. I can say with certainty that it was nothing but a treat to see these performers come together again, accompanied by a chamber orchestra, and put on a truly special performance for the small audience that did get together the money to witness this unique event.
May we all have the opportunity to witness Neal Morse and his band come together again in the future.
MORSEFEST UK 2024 Photo Gallery:
Watchtower is a name that, in a just world, would be mentioned alongside Fates Warning and *Queensrÿche. Like those two other bands, Watchtower is an American band that formed in 1982 and who were pivotal in the evolution of what we now call progressive metal. But unlike their more well-known brethren, Watchtower progged things up right out the gate, recording several songs that would end up on their debut album, “Energetic Disassembly,” in 1983, though fresher cuts of those songs would actually end up on the album. Those original recordings, which resurfaced on the 2002 release “Demonstrations in Chaos,” predate Queensrÿche‘sfirst “proper” prog-metal album “The Warning” by a good year, and Fates Warning‘sfirst experimentations with the style on “The Spectre Within”* by two.
It is for this reason that I regard *Watchtower as the first progressive metal band, and their hometown of Austin, TX as the birthplace of the genre. (Incidentally, both Fates Warning and Queensrÿche* also have deep ties to Texas.)
Photo by Gonzalo PozoSadly, a long string of medical misfortunes, to say nothing about life itself, halted *Watchtower roughly at the same time the Cold War that inspired much of their lyrical content ended. But trust me, you have felt the fallout that this obscure quartet of cowboys have left on metal: no less than Mike Portnoy was an early fan, and Chuck Schuldiner of Death and a diminutive Dane by the name of Lars Ulrich have been photographed wearing Watchtower shirts, with both of the latter crediting the Texans for inspiring their own bands’ forays into progressive death and technical thrash on “Human” and “… And Justice for All.” I probably don’t have to tell you what Portnoy* went on to do with his inspiration.
Photo by Gonzalo PozoFortunately for local goons like me, *Watchtower started performing the occasional gig in both Austin and guitarist Ron Jarzombek’s hometown of San Antonio in 2000. The first two Bang Your Head fest warm-up concerts showcased a band that was not only flawless in its execution of some absurdly serpentine material but also was entertaining as fuck to watch on stage. Bullet belt-sporting frontman Jason McMaster (also of Dangerous Toys, Broken Teeth, and about a bajillion other bands)played the metal AF ringmaster alongside a hockey cosplaying Jarzombek and an absolutely deranged Doug Keyser, clad in a capped flight suit and stalking the stage like a crazed mantis on stilts, his slobbering hijinks detracting not at all from his Jaco-on-crank playing. Skinsman Rick Colaluca was throned at a refreshingly small kit, playing the straight man to the zoo in front of him, his own manic facial expressions notwithstanding. I’d seen crazily complex material performed with grace, furor, and a bit of humor before, but the madhouse I witnessed at those Medieval Knights and Backroom* shows was some next-level lunacy. I needed more.
I got more a few months later in Dallas, where *Watchtower supported some band called Dream Theater during the second US leg of their “Metropolis 2000” tour. The band dutifully took advantage of the larger stage and crowd by upping their ridiculous antics, culminating in Ron and Doug doing the fucking Macarena mid-song while Rick looked on in anguish, Jason* apparently unaware of the absurdity going on behind him.
Photo by Gonzalo PozoSadly, no new music came from this brief reunion, but we did get the aforementioned “Demonstrations in Chaos” CD, as well as a string of Ron-related releases. *Watchtower did one more local show in May 2004, headlining a small fest at Sam’s Burger Joint near downtown, organized by long-running San Antonio public access show Robb’s Metal Works, where a goddamn ambulance was called because Ron got hurt while doing a pyramid with Doug and Jason. While Ron suffered no serious injuries, this was to be Watchtower*‘s final Texas performance for nearly two decades.
Though the band has released an EP and a handful of digital-only singles with on-again/ off-again New Jersey-based singer Alan Tecchio (also of Hades and Non-Fiction), no US live dates were held until McMaster rejoined in 2023, and as luck would have it, the first would be just a few miles from home, at San Antonio’s Fitzgerald‘s. And as luck would also have it, it would take place while I was in Atlanta for ProgPower USA, a festival where the originators of progressive metal are long overdue. So yeah, I did my own inept take on a Happy Dance when a show at Austin’s cool-as-hell Come and Take It Live was announced. After nearly twenty goddamn years, I’d finally see the mighty *Watchtower* again.
Photo by Gonzalo PozoThe night opened with the plenty capable Shadow Ministry, an Austin outfit whose keyboard-heavy take on prog also incorporates some djent-infused metalcore into the mix. Up next were retro kings Night Cobra, whose rock-star bravado and refusal to acknowledge anything after 1988 sated the appetites of the old-schoolers in attendance. And *Watchtower themselves came out with all guns blazing, onstage silliness still tightly embraced, though slightly toned down perhaps due to the incident at Sam’s. Ron and Doug left the goofy outfits at home this time around (legend has it Doug had planned to wear a banana suit at Bang Your Head), but watching these mad scientists reveling in the buffoonery that’s defined their performances briefly made my half-drunk ass believe I was 25 again. Not a note was flawed, not a beat was missed, and I absolutely adored that there was none of the cheating in which we see so many bands partake these days. There was zero evidence of backing tracks or auto-tune, and only Rick bothered wearing in-ear monitors where he might* have had a click going. This is metal as it was meant to be played – raw, punishing, and 100% live – and it just happened to be some of the most technical stuff you owe it to yourself to hear.
Photo by Gonzalo PozoJason shared a couple of tender moments between songs, grasping his baby brother’s hand from the stage, and sending the audience the regards of both Tecchio and original guitarist Billy White (Don Dokken, Billy White Trio), with both of whom he’d spoken that weekend. He also spoke fondly of the late Evil Chuck, who had attended those reunion shows in 2000 in between bouts of cancer that would soon cut his life short. (He was kind enough to sign my Control Denied CD; I don’t know anyone else who has that fucker signed by him).
Photo by Gonzalo PozoWatchtower stuck to playing material from “Energetic Disassembly” and the 1989 tech-metal tour-de-force “Control and Resistance,” closing the night with a scorching cover of “By-Tor and the Snow Dog.” Being that Watchtower has often been compared to a really pissed-off Rush, it’s hard to think of a band that has had a greater impact on a band that has impacted those who impact us today. I personally find it criminal that this uniquely important band is so often overlooked even by self-proclaimed prog-metal diehards. Fortunately, Watchtower has festival dates confirmed for 2024 in Houston and Chicago, and I hear that 70,000 Tons of Metal still has a dozen or two bands to announce for this year’s edition. Here’s hoping that Watchtower gets exposed to new audiences, and that they may bear witness to the band that got this whole prog-metal thing started in the first place.
Correction: Guitarist Ron Jarzombek has confirmed to the author that Watchtower does NOT play to a click, but also noted that Jason McMaster does use in-ear monitors.
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The year is quickly drawing to a close, but there’s still time for a few concerts in Toronto before we wrap things up. Last Friday, it was time for us to witness a barrage of notes and a million time signatures, provided by Whitechapel, In Flames, and Meshuggah.
The show was the second to last of the 19-day trek, and the first to sell out when the tour was announced. Luckily for the 2,500-strong crowd, all three bands delivered. The History was transformed into a den of noise ferocity, as these metal giants joined forces to deliver an unforgettable night of pure, unadulterated metal madness.
Kicking off the night with a ferocious display of deathcore mastery, *Whitechapel left an indelible mark on the audience from the very first note. The Tennessee-based band’s unparalleled energy and bone-crushing breakdowns had the crowd moshing and headbanging in unison. Phil Bozeman*‘s guttural vocals were nothing short of spine-chilling, adding a layer of intensity that set the tone for the rest of the evening.
The concert opened with “Let Me Burn,” an absolutely ferocious track. The crowd erupted into a frenzy as Bozeman‘s growls reverberated through the venue, accompanied by the thunderous rhythms and razor-sharp guitar work that define *Whitechapel*‘s signature sound. The stage was bathed in an ominous red glow, creating a fitting atmosphere for the sonic onslaught that was about to unfold.
Photo by Joel BarriosThe band seamlessly transitioned into “Forgiveness Is Weakness,” a track that showcased the band’s ability to blend brutality with melodic undertones. The interplay between Ben Savage and Alex Wade‘s guitar work provided a dynamic backdrop for Bozeman‘s versatile vocal range, ranging from savage roars to haunting cleans. The crowd swayed in unison, caught in the ebb and flow of the music’s emotional currents.
One curious detail about the audience on the floor is that it was voluntarily split into three levels: the nosebleed section, with those who were fighting for every millimeter to be closer to the stage, the circle pit, which grew larger at every song and included a hilarious guy with a banana costume, and the back portion, composed of older metalheads and/or couples, with a few girlfriends probably thinking “what the hell am I doing here?”.
Photo by Joel Barrios“Brimstone” followed, delivering an unrelenting barrage of blast beats and crushing riffs. The intensity of the performance reached new heights as the band dove into this relentless assault. The crowd, now fully immersed in the maelstrom of sound, responded with frenetic energy, creating a symbiotic exchange between the stage and the audience.
As the set continued, *Whitechapel demonstrated their versatility with “We Are One,” a track that showcased a more anthemic and atmospheric side of the band. The melodic interludes provided a brief respite before plunging back into the sonic abyss with “A Bloodsoaked Symphony.”* The intricate guitar harmonies and punishing breakdowns showcased their technical prowess and mastery of their craft.
Photo by Joel BarriosClosing out the night with “The Saw Is the Law” – the only song in their set to feature a guitar solo – *Whitechapel* left a lasting impression on the audience. The song’s frantic pace and unyielding aggression brought the concert to a cathartic climax, leaving the crowd in a state of exhilarated exhaustion.
Following *Whitechapel‘s energetic set, In Flames took the stage with their melodic death metal prowess, to the pre-recorded sound of “The Beginning of All Things That Will End”. The Swedish veterans showcased a perfect balance of aggression and melody, mixing classic tracks with newer material. Anders Fridén‘s vocals soared above the intricate guitar work, creating a landscape that resonated with both longtime fans and those new to the In Flames* experience. The band’s stage presence was electrifying, and the synchronized light show heightened the visual and auditory experience, creating an immersive atmosphere that captivated the crowd.
Photo by Joel BarriosIn Flames played twice in Toronto in 2022 – first as part of Megadeth and Lamb of God’s touring package in May, and then as headliners in September. They have developed a cult following around town, and it seems the love is reciprocated. Anders said multiple times on stage that they love Canada, and some of their members even own a bar in Gothenburg named 2112, as a tribute to Rush. This was no ordinary occasion for the Swedes because they were showcasing not only the new album “Foregone”, but also presenting a revamped lineup, with touring bassist Liam Wilson making their debut in the city as part of *In Flames*.
The show kicked off with the haunting and atmospheric “Foregone Pt. 1”. The ethereal melodies and intense vocals immediately captivated the young crowd. Overall, the demography of the night consisted of teens and mid to late 30’s, which by today’s standards in metal can be considered quite refreshing. Aside from the artists who were part of the lineup, the bands most represented in the shirts were Tool and Motörhead – how’s that for variety?
Photo by Joel Barrios“Deliver Us” followed, showcasing *In Flames‘ ability to fuse melodic and electronic elements with heavy riffs. The crowd responded with enthusiastic headbanging, fully immersed in the sonic attack and singing the chorus. The transition into “Darker Times”* brought a change in mood, with its brooding atmosphere and poignant lyrics creating a captivating contrast.
As the set progressed, the band treated fans to a mix of old and new favorites. “Everything’s Gone” and “All for Me” demonstrated the band’s evolution over the years, incorporating a more modern sound while still retaining the signature *In Flames intensity and bringing in hardcore elements. The classic “Behind Space” had the die-hard fans in the audience roaring with approval, a nod to the band’s early days. The momentum continued to build with “Cloud Connected,” a track that seamlessly blended electronic elements with ferocious guitar work. The crowd’s energy reached a peak during “State of Slow Decay,”* an unstoppable barrage of heavy riffs and thunderous drums.
*In Flames then shifted gears with “The Mirror’s Truth,” a melodic masterpiece that showcased the band’s versatility. The emotionally charged “I Am Above” followed, with Fridén‘s commanding stage presence and powerful vocals leaving an unforgettable impact on the performance. The set reached its climax with the timeless anthem “Take This Life.” The venue erupted into chaos as the crowd moshed and sang along with unbridled enthusiasm. In Flames* delivered the song with raw intensity, leaving fans craving more. The now veterans proved once again why they are a force to be reckoned with in the world of metal.
Photo by Joel BarriosAs the night progressed, anticipation reached a fever pitch for the headlining act. The PA system alternated hard-hitting numbers such as AC/DC’s “Let Me Put My Love Into You” and local boys Danko Jones’ “I Think Bad Thoughts” with oddities like Chicago’s “You’re the Inspiration”. Curiously, George Michael’s “Careless Whisper” was the intro song for *Meshuggah* to enter the stage.
The pioneers of the djent movement did not disappoint. *Meshuggah‘s performance was a mind-bending journey into the depths of polyrhythmic complexity. The precision and technical proficiency displayed by each member were nothing short of awe-inspiring. Tomas Haake‘s drumming was an assault on the senses, perfectly complemented by Fredrik Thördendal and Mårten Hagström*‘s intricate guitar work. The setlist spanned their illustrious career, leaving no stone unturned and satisfying fans of all eras.
The show kicked off with the jagged intensity of “Broken Cog”, with each member staying static in front of red, luminous squares with a humanoid figure on fire. This was a sight to behold, and the difference in production values between the other bands in the bill was staggering. They wasted no time delving into classics, unleashing the frenetic energy of “Rational Gaze” and the relentless precision of “Perpetual Black Second.” The crowd was instantly thrust into the sonic maelstrom, captivated by the band’s intricate rhythms and mind-bending polyrhythms.
Photo by Joel BarriosThe light show that accompanied the Swedes’ performance was a visual spectacle in itself, enhancing the auditory assault with a mesmerizing display of colors, patterns, and synchronized strobes. The synchronized movement of colors added an extra layer of intensity to their already overwhelming sound, creating an immersive experience that left the crowd in a state of awe. Honestly, this is a show worth bringing sunglasses to.
“Born in Dissonance” and “Ligature Marks” demonstrated the ability to combine punishing heaviness with intricate musicality. The lighting really made a difference on the former, with yellow and red strobe lights pulsating to the beat of the song. The haunting atmosphere of “The Abysmal Eye” added a layer of depth to the performance, showcasing the band’s dynamic range.
Meshuggah’s show can be defined as a tale of two acts. The second act was brought by the piped-in version of “Mind’s Mirrors”, which was followed by “In Death – Is Life” and “In Death – Is Death.” These compositions displayed the band’s experimental edge, as they explored complex musical landscapes, inviting the audience into a trance-like state. The set continued with “Humiliative,” a barrage of sonic complexity that kept the intensity at its peak. They then launched into the fan-favorite “Future Breed Machine,” a track that ignited a frenzy among the crowd with its thunderous grooves and unrelenting aggression.
Photo by Joel BarriosAs the concert reached its zenith, *Meshuggah delivered the quintessential “Bleed.” The sheer technical brilliance and rhythmic complexity of the track left the audience in a state of musical bliss. The night concluded with the powerful “Demiurge,”* leaving everyone in a state of catharsis.
*Meshuggah*‘s performance was a testament to their unparalleled musicianship and innovation. The setlist, carefully curated to showcase the band’s evolution over the years, provided a visceral experience for fans old and new. The intense energy, coupled with the band’s unwavering precision, made this concert a sonic journey that will resonate in the minds of those fortunate enough to witness the group in all their live glory.
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It feels almost futile at this point to keep documenting Joe Bonamassa’s live performances, yet here we are once again. Uncontested as the torchbearer of modern blues-rock, we have followed *Joe’s studio and live endeavors for many years now, and we found ourselves witnessing the final night of his current tour – coincidentally also his final show for 2023 – at the Hard Rock Live at Seminole Hard Rock Hotel & Casino in Hollywood this past Saturday. And, once again the evening unfolded as a testament to Bonamassa*‘s virtuosity, punctuated by his effortless stage presence and the stellar support of his outstanding band.
The anticipation was palpable as the venue plunged into darkness at 8:15 PM, with the melodies of Tom Petty and The Heartbreak’s song “The Waiting” signaling the beginning of the show. Impeccably dressed, as usual, *Joe and his bandmates showed up on stage and wasted no time as they dived head-first into a scintillating rendition of “Hope You Realize It (Goodbye Again)”, one of the tracks from his most recent studio album “Blues Deluxe Vol. 2”. Such opening salvo served as an impeccable appetizer, setting an electrifying tone for the evening to come; filled with infectious harmonies and searing musicianship, and topped off with *Bonamassa****‘s emotional vocal delivery and guitar pyrotechnics.
Photo by Joel BarriosAs it happens in every *Bonamassa show I’ve been to, we were treated to a musical tapestry that spanned various tempos and emotions, with Joe’s original songs sprinkled with covers for a good measure, exemplified by the cuts two and three from the setlist: a fiery rendition of Bobby Bland’s “24 Hour Blues” and a cover of Guitar Slim’s “Well, I Done Got Over It”, the later paired with a ferocious guitar solo section. What makes Bonamassa a force of his own is the fact that his performance is not just about technical prowess. Sure, he absolutely can make his guitar sing, but he connects with the audience at a much deeper level. As his hands run through the fretboard, he manages to convey such a depth of emotion, a true tapestry of sounds that feel both powerful and intimate in unison, easily resonating with everyone present. And the standing ovations from almost 5000 in attendance during several moments throughout the night, were unequivocal evidence as to how the Bonamassa*’s music made them feel.
Photo by Joel Barrios“Self Inflicted Wounds” allowed *Joe to stretch out his soulful voice, whereas the slow-burner of “The Last Matador of Bayonne” turned into a blues feast, taken to unexpectedly high levels by the combination of his blistering, incendiary extended guitar solo (on his 1962 Cherry Red Gibson ES-335 Guitar), and the mesmerizing powerhouse background vocals of Jade McRae and Danielle DeAndrea, who are an essential part of the presentation, and add a phenomenal extra layer to each song, serving as a tremendous counterpart to Joe*’s register.
*Bonamassa‘s interaction with the audience came after “Breaking Up Someone’s Home”, and he effortlessly injected a touch of humor while acknowledging the significance of the night being the tour’s finale: “Thank you to every one of you for coming to spend this night with us. Tonight is the last night of the tour, and our final show of the year, and we couldn’t think of a better place for it to happen” he wittily quipped, setting the stage for the introductions of the exceptional talent that was accompanying him on stage. “These guys are the real deal, and I would be nowhere without them, I’m just a guy pretending to look like Men in Black, Part 5”* he humbly added.
Photo by Joel BarriosDespite Bonamassa‘s humble assertions that he’s an entertainer rather than just a guitar player, his otherworldly abilities were front and center, and “The Heart That Never Waits” was a picture-perfect example of a band firing on all cylinders, sporting a ferocious organ section courtesy of three times Grammy award winner keyboardist Reese Wynans, searing backing vocals by McRae and DeAndrea, and *Joe* exploring his instrument’s sonic nuances, building to a thunderous crescendo and concluding with an extended note that seemed to suspend time and space.
The last segment of the show was the stuff blues dreams are made of: “Is It Safe to Go Home”, coincidentally written by the other man on stage playing the guitar, Josh Smith, and supercharged renditions of Fleetwood’s Mac “Lazy Poker Blues”, and ZZ Top’s “Just Got Paid”, featuring a drum solo by Lemar Carter and a riveting, additional section of Zeppelin’s “Dazed and Confused”, as immortalized by *Bonamassa during his 2009 rendition at The Royal Albert Hall. Joe played a red Jackson instead of a Les Paul, and rocked it in a way that would make James Hetfield* pale with envy.
Photo by Joel BarriosI’ve seen *Bonamassa* live numerous times over the years, and every single time is a different experience, with its own charm and song selection, but all of them become a remarkable spectacle. Heknows all too well how to weave a sonic narrative that captivates and transcends the live stage, one that leaves an indelible memory experience that defies the “tales of time”.
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I have always thought that the word “epic” is thrown around way too often, for events and moments that just are not truly so. Well, KISS‘ penultimate show as a band this past Friday night in Gotham checked all the boxes of said definition, and truly was grand in scale – you had the legacy band celebrating a storied 50-year career, you had the iconic venue in the greatest city in the world, and most important of all, you had the show itself.
However, before taking you inside “The World’s Most Famous Arena” for a recap of the KISS concert this past Friday night – a Mount Rushmore band standing on the threshold of immortality who is at the very end of a 50-year storied career – there was a huge lead-up to the pair of farewell shows, including the proclamation of November 30th as KISS Day by NYC Mayor Eric Adams. Paying this special tribute to the extraordinarily important band in the annals of rock history was just the tip of the iceberg.
For the diehard army of loyal fans making the trek into the Big Apple from parts unknown, KISSmas came early with a week-long ‘NYC Takeover’ party featuring unique experiences in and around The Isle of Manhattan leading up to our heroes’ final bow. Various KISS-branded activations and events included commemorative wrapped copies of the New York Post with special edition covers, the Empire State Building was lit up in honor of the band with a one-of-a-kind music-to-light show, an immersive experience held in a KISS store pop-up, limited-edition KISS branded metro cards, 800+ custom taxis displaying special digital tops and content and KISS-themed pizza and boxes at Prince Street Pizza. Even the local hockey club got into the spirit with KISS-themed activities and KISS x NY Rangers merchandise.
Choosing New York City as the final destination in their career was a no brainer for Paul Stanley (a.k.a. Starchild) and Gene Simmons (a.k.a. The Demon), who formed the rock group 10 blocks away from MSG in 1973 with OG members Ace Frehley (a.k.a. The Spaceman) and Peter Criss (a.k.a. Catman).
In the days and weeks leading up to the final two shows, rumors swirled – and fans were hoping – that former KISS members Frehley and Criss were going to make an appearance at one or both of the final two shows. However, to no one’s real surprise, the reunion never came to fruition. Plus, Frehley has been keeping busy on his own lately, dropping his first solo song since 2018 dubbed “10,000 Volts,” the lead single and title track off his forthcoming full-length studio album due out February 23.
At 6:30 pm sharp, amid steadily pouring rain in the Chelsea neighborhood of Manhattan, The Garden opened its doors to fans of all ages, many clad in retro KISS t-shirts or wearing the makeup of their favorite member. Taking in the atmosphere as I walked between West 31st and 33rd Streets, the excitement and energy of the night and what it was going to bring KISS fans was palpable. After watching a lovely couple and their high school daughter snap a selfie in front of MSG’s giant marquee video screen on Seventh Avenue, I learned that they had flown in from San Antonio the day before and had paid close to $800 for each of their tickets! However, once the night had ended, I can honestly say that witnessing KISS’ final outing in person was priceless.
An hour after doors, the festivities were officially underway when Stanley’s eldest son, 29-year old Evan, took the stage as frontman and guitarist with his band Amber Wild. The quartet, rounded out by Marshall Via (vocals/guitar), Jake Massanari (bass) and Thomas Lowrey (drums), only recently formed in January 2023 in Los Angeles. That being said, the band performed on Friday night as if they were already seasoned veterans, incorporating raw vocals with explosive guitars, pounding bass and thunderous drums.
Ripping through a 6-song set to a steadily growing MSG crowd, each member of the outfit commanded the stage in his own fashion. The highlights of their 30-minute set included fiery performances of their double-A side debut single, ‘Breakout’ and ‘Silver,’ released this past October 19. Although it may be the end of the road for KISS, fittingly, it is only the beginning for Amber Wild – and I cannot wait to see what heights they soar to.
AMBER WILD Photo Gallery
Suddenly, the lights went down, the crowd let out a deafening cheer, and a video feed magically appeared as each member of KISS greeted the camera on their way from the dressing room to the stage. A sonic boom (pun intended) – like no other that I have ever heard at a live show – signaled that it was now “game on” as the stage curtain mercifully fell to the ground. Three hovering pods carrying Stanley, Simmons, and Tommy Thayer (KISS guitarist who has been donning the makeup since a 2002 private gig in Jamaica) began its slow descent from The Garden’s rafters.
Amid heavy theatrical smoke, wildly flashing strobe lights and flying sparks, Eric Singer (KISS drummer who like Thayer, also got his first taste at a live show in 2001 Japan) patiently waited high atop his drum riser for his mates to touch down.
The entire audience, aside from wildly cheering and singing from their feet all night, also played another crucial role. Greeting each audience member at their seat was a LED light wristband that not only enhanced the concert experience, but also allowed each fan to immersive themselves as part of the show too, magically glowing, flashing and syncing in spectacular unison during key moments of songs.
The 130-minute career spanning set of their rich discography, covering the period 1974 and their self-titled debut album to 2009’s Sonic Boom (KISS’ 19th studio album out of twenty total), kicked off with two classics lifted from 1976’s Destroyer, ‘Detroit Rock City’ and ‘Shout It Out Loud.’ Stanley, who directly addressed the sold-out on several occasions throughout the night, was often introspective as he acknowledged the importance of the night. One of the inspirational stories he shared with us, reminiscing in real time right there with us, stretched way back to KISS’ humble beginnings, before they became a worldwide, household name:
You know, we all have stories about our home. I want you to know, [that in]1972, I drove my cab to Madison Square Garden to bring some people to see Elvis Presley. And I said to them, one of these days, people are going to come here to see me and KISS, and here you are!
Friday night comprised all the must-haves and trappings for any KISS concert – Gene breathed fire, Gene spat blood and solos were aplenty, including dueling guitars to begin ‘Psycho Circus,’ the title track from their 1998 offering. And oh yeah, Paul took a zipline from the main stage to an intimate ‘B’ stage at the rear of the venue to perform ‘I Was Made for Lovin’ You’ (Dynasty, 1979) and ‘Black Diamond’ (KISS, 1974), before flying back again high over our heads.
As the night that no one wanted to ever end turned for the home stretch, KISS gifted a trio of numbers for the encore – ‘Beth’ (featuring Singer on lead vocals and piano) and ‘Do You Love Me’ from Destroyer, followed by the rock anthem ‘Rock and Roll All Nite’ (Dressed to Kill, 1975) amid floating, giant white balloons and red and white celebratory confetti raining down from above.
What is next for KISS you ask? Are the pair of NYC shows really going to be the last ones, ever? Will fans ever get to see them perform again in a live setting? Maybe a sanctioned, spinoff tribute band with no original members or makeup? A passing of the torch if you will. The answer has already come. The closing number of their last ever show on Saturday night (December 2nd) was a cover of the British band Argent’s ‘God Gave Rock And Roll To You,’ covered by KISS as ‘God Gave Rock ‘N’ Roll to You II’ in 1991, with modified lyrics.
However, the song was not performed by the physical members themselves, but by their avatars! KISS has marked the end of its physical existence by crossing over to the digital world. Of course, they have! We now know that KISS’ long history of experimenting with special effects and staging, as well as legendary personas and costumes, will evolve far into the future while continuing to grow their fan base, generation after generation. And the rest, shall we say, is KISStory.
KISS Photo Gallery
The post CONCERT REVIEW: The “End of the Road” for KISS Culminates in Epic Fashion Where It All Began 50 Years Ago (Madison Square Garden | December 1, 2023) appeared first on Sonic Perspectives.
It was a sort of homecoming gig for Kip Winger and the boys when they played the Buffalo Rose in Golden, CO, and it showed on their faces with the mile-high smiles on everyone’s faces both on the stage and in the crowd. Kip recalled driving the streets of this quaint Colorado town when he first got his driver’s license in high school. For many in attendance at the show, they probably remembered watching Winger on MTV while they were in high school in the late 80s.
Fast forward to about 35 years later, and you’ve still got all four original band members on stage looking like they’re having a blast. Shout out to somewhat legendary drummer Rod Morgenstein, who Kip said was now 70 years old, and who still plays with fire, intensity, and a massive smile on his face. Actually, all of the members of *Winger seem to be drinking from the fountain of youth, as guitarist Reb Beach seemed to delight in delivering jaw-dropping solos all night long, including an extended section featuring just him on stage and his pyrotechnic attack on his Suhr guitar. Paul Taylor split duties on keys and guitars, and looked both fit and content to be on stage with the others. Kip Winger*’s voice sounds incredibly good still, hitting high notes with both power and precision, and his stage presence is markedly more mature than those early MTV videos.
Perhaps initially fueled by those hair-band era videos, *Winger has been on the receiving end of an unfair amount of mockery and shaming, from Beavis and Butthead to Metallica. But Winger has outlasted the insults and there is no room for arguing that they have some of the best chops of any band from their era. Even less arguable is the fact that they released one of the strongest records of their entire career this year with Seven, and if you haven’t heard it, you really should. Indeed, Winger* is standing tall and rocking hard still.
The setlist featured a broad range of music from their catalog, from the obligatory renditions of “Seventeen,” “Rainbow in the Rose,” “Headed for a Heartbreak” and “Easy Come, Easy Go” to more recent tracks like “Proud Desperado,” “Stick the Knife in and Twist.” They also included some highlights from the middle records, including “Junkyard Dog” from “Pull” and “Pull Me Under” from “Karma.” From a setlist perspective, it was pretty much all killer, no filler. While I missed the bluesy playing of longtime touring member John Roth on second guitar, the spot was admirably covered by Howie Simon, who also seemed to be having a fun night with this guitars-forward assault.
At a time when a lot of 80s rock bands are phoning it in, hiding behind tracks and looking like a geriatric version of their former selves, *Winger is still putting on an energetic display of plug-in-and-play-live rock and roll that still feels fun to hear and watch more than 35 since its inception. They have paid their dues, earned new respect, and continue to prove the naysayers wrong. They’re still “Hungry,”* and for a group of guys now in their 60s and 70, that’s pretty damn impressive, and worth the price of a ticket when they come through your town.
The post CONCERT REVIEW: After 35 Years, WINGER Live Still Soars to Great Heights (November 18th, 2023) appeared first on Sonic Perspectives.
To call Heilung a “band” is to cheat them because music is but a small part of what they’re all about. A multinational collective from Northern Europewhose sets are more ceremony than concert, *Heilung* redefines the very word “performance” by incorporating early medieval and pre-Christian dance and ritual into the whole of their sets. The music performed by no means takes a backseat, but is instead a conduit for the reenactments the collective interprets on stage. If their purpose is to amplify history, they’re succeeding.
The performance at Austin’s Moody Theater on Willie Nelson Blvd began in something rarely witnessed in live music: absolute silence from both audience and performer. A fully cloaked figure – possibly Kai Uwe Faust, though *Heilung* has been known to give this honor to First Nations folks – emerged onto the stage, crested with a palm crown, to perform a smudging ceremony. Punctuating the silence with the occasional whisper or bird chirp, the figure very carefully and deliberately crossed each corner of the stage, fanning what was presumably sage smoke (I smelled nothing) first onto the set, and then into the audience. The power of such a seemingly simple act was palpable – an audience member behind me was so moved she began sobbing. Several other costumed figures brandishing deer antlers entered the stage as the lead figure bowed to the southwest, facing inwards from the edges of the large circular rug that occupied much of the stage.
From inside the circle, the lead figure anointed each Warrior as they outstretched their arms to receive his blessing. Once complete, the entire clan hoisted their antlers skyward, lowered them, and held them high once more before setting them down to crouch with hands joined.
The lead figure intones: “Remember that we all are brothers,” and the clan repeats. He continues: “All people, beasts, trees, and stone and wind,” and he pauses to allow his troupe to intone these words back to him. “We all descend from the One Great Being that was always there, before people lived and named it, before the first seed sprouted.“
At this point, I nearly wept.
The clan then dispersed to their places as the ethereal white-clad siren Maria Franz retrieved a frame drum and a mallet while Faust stood motionless at downstage center, facing the audience, pointing a microphone downwards at a forty-five degree angle. Christopher Juul then approached, and blew a bukkehorn three times into that mic, signifying the end of the opening ceremony and the start of possibly the most memorable concert I’ve ever experienced.
What followed was nearly two hours of dance, reenactment, and a deliberately minimalist approach to music performance that relied on voice and percussion (goatskin drum heads, human ash rattles, human bones… you know, normal stuff) almost exclusively, though a ravanahatha was occasionally put to use. The male singers delivered a sizable chunk of their parts via throat singing, that husky technique primarily associated with Tuva and Mongolia, but apparently also found in the Sami cultures of northern Finland and Scandinavia, while Franz and a triad of female backup singers focused mostly on kulning, whispering, and even a scattered banshee wail that would chill Rob Halford‘s spine.
The Warriors who partook in the opening ceremony would frequently reappear to reenact myths and battles; one particularly chilling moment came during “Traust,” where Faust bound and, at least to my untrained gaze, symbolically executed a shirtless Warrioress, after which Ms Franz descended to console her in the underworld and liberate her from the shackles of damnation. Other routines involved three women unwinding thread from antlers mounted on a branch as Faust and Franz regard (and to my atheist eyes, pray to) a lamp set on downstage-center; the entire Warrior horde in formation on the stage hoisting runic flags; and a dancer gesticulating a flaming set of antlers.
This absolutely bewitching set concluded with Faust respectfully performing a dance befitting the First Nations of the New World, and is eventually joined by the entire horde. Throughout the set, only a handful of words I recognized as being English were uttered; the rest were in a variety of mostly Germanic languages, some dead or even extinct. The performance drew an array of reactions from a varied crowd of rennies, metalheads, hippies, and other bohemian types: whether the *Heilung performance was a deeply transformative spiritual experience, or just a welcome respite from the grinds of modernity, I can safely wager that everyone in attendance could agree on one word to describe what they’d just experienced: it was moving. And on an unrelated note, it’s also the closest I’ll come to seeing Corvus Corax* in the foreseeable future.
Part of what moves me about this collective involves a rather ugly incident during their pre-global shutdown tour of the United States in early 2020, when a black woman was needlessly harassed at one of their East Coast shows. The band responded with the following statement: “Apparently some people attended our ritual with the idea that Heilung is only for white people. This is not the case. Heilung is for ALL people… [w]e do not tolerate hate speech and racism… That includes but is certainly not limited to white supremacy. Heilung is none of it, and will have none of it.” I hadn’t even heard their music at that point, but I admired them already for being so willing to alienate the small but significant segment of their fanbase who, among many other offenses, so stupidly misinterpreted the “heil” in the collective’s name. Remember, this was in the United States in 2020 before so much shit got even weirder than it was already, and there they were, actual European “aryans,” unambiguously demonstrating that it is indeed possible – hell, even easy – to celebrate heritage without promoting hate.
HEILUNG Photo Gallery:
At this point in their career, the drama of Yes precedes them (starting well before “Drama” came out, actually), threatening to overshadow the very music they perform. Happily, a few songs into their show at Denver’s Paramount Theater last week, and all politics and comparisons had fallen by the wayside, triumphantly overshadowed by the fact that this is simply some of the best progressive rock music ever made, and it was being performed damn well. Call them Yes, call them by more derogatory names, but regardless of your personal take on their lineup, there was a ton of music from Yes’ legacy to be enjoyed on this evening. Frankly it’s a shame that anyone is too tied up in opinionated knots to not be able to just enjoy it. For the rest of us, this was a fantastic evening.
Everyone in the theater was grateful that the show happened at all. Reportedly Steve Howe had injured his hand earlier in the week and the two previous shows had been cancelled at the last minute. While Yes management didn’t go out of their way to assure Denver that the concert was indeed happening, no news was good news in this case and so the band and fans alike showed up, trusting that the other would be there. Fortunately *Howe showed virtually no signs of pain during his playing, although two songs were cut from the setlist, perhaps due to the potential strain on his hand: “Going For The One” (which requires pedal steel playing) and a short instrumental guitar solo excerpt from “America.”* [Apparently those omissions have now reappeared for the subsequent concert two nights later.]
Roger Dean, the famed artist who created so many of Yes’ iconic album covers, was essentially the opening band. He offered a presentation of his history and portfolio to start the evening, which some audience members obviously could have done without, while others were fascinated. There were some interesting stories, a few humorous jabs at Avatar, and most of all it was just nice to visit with Dean for a little bit. But by the end of the talk, the audience was more than ready for Yes to appear.
The setlist was spectacularly diverse and unexpected, a nice change from some past tours where albums were played front to back in their entirety. Opening with “Machine Messiah” is always a welcome choice. It’s been played a surprising amount over the past many years but that’s to make up for its neglect over the previous several decades. Plus, it just makes sense, given that 2/5 of the current band actually played on that studio album, which is about as high a ratio as you’ll get tonight, save for one new song (cue the haters). We follow up with a song where a different 2/5 of the band created the original track, the very surprising “It Will Be A Good Day.” For Yes fans in the know, 1999’s “The Ladder” was an impressive outing, which included Billy Sherwood in the band, so featuring virtually any song from it is a treat. “Your Move/I’ve Seen All Good People” is a friendly bone tossed to the casual fans who will otherwise find very little familiar in the setlist on this tour, and it’s a solid performance of the song, from *Howe*’s opening lute to his electric soloing later on.
Jumping back to the 60s, the band chooses to play the title track from “Time And A Word” which should have been a massive anthem at the time of its release. Although no one on stage tonight was part of that original studio album (aside from *Howe unfortunately appearing on the album cover for the version in the States), the rendition offered here is triumphant, from singer Jon Davison’s pitch-perfect delivery to Billy Sherwood’s harmony vocals which Chris Squire used to sing and Howe’s soloing where Peter Banks used to be. For those not in the know, Sherwood has completely perfected Squire’s approach to the bass, both in covering the classic pieces and even in writing new songs with a Squire mindset. In the case of this song, *Sherwood*’s playing of *Squire’s bass lines lifts up this simple folk song and makes it a prog anthem. A fitting tip of the cap to the band’s origins.
The highlights of the show turn out to be reached through the next two songs. “South Side of the Sky” is a hidden gem off the “Fragile” album, but offers a vibe which Yes was not able to capture live in concert for many years. Here the band delivers the song’s intense driving energy successfully, thanks largely to drummer Jay Schellen who seems particularly on fire tonight. The middle slow section is deftly played by Geoff Downes, covering Rick Wakeman’s original lines, as *Davison, *Sherwood* and Howe sing the beautiful interweaving vocal lines. Its glory is surpassed by the next choice, one of *Yes’ most evocative pieces “Turn Of The Century”. Co-written by Yes’ beloved late drummer, Alan White, tonight’s performance is made even more special by the fact that his wife Gigi is in the audience, which *Davison announces as he dedicates the song to her and her son. Howe is completely on point during the whole piece, from his uniquely stylistic acoustic guitar opening section, following Davison’s angelic vocal runs in perfect unison, to his majestic electric guitar playing in the middle as the vocals rise higher and higher, and back to acoustic to finish the piece with breathtaking poignancy. The masterpiece leaves the audience gasping, including Gigi* who has tears of joy in her eyes, viscerally moved.
As the tour’s title implies, there is an offering made from the divisive “Tales Of Topographic Oceans” album, but it is unlike what the band have played before. Instead of playing one of the four 20 minute pieces from the double album, they instead have created a 20 minute medley of all four pieces. *Howe came up with the idea and the edit, which is most interesting considering that he has taken Jon Anderson to task any time Anderson has even hinted at rearranging a Yes classic. But tonight the chopping block is on full display and what results is a kind of “Greatest Hits of Topographic”, jumping from one chorus to another. For those of us who love “Topographic“, this is a double edged sword. One one side, the medley is packed with choice material, going from one strength to another. On the other side, it is jarring to suddenly have a beloved piece abruptly stopped and go into another one. The jury is still out as to whether the ends justify the means on this one, but is was gratifying to at least hear some parts of “The Remembering”* which have hardly ever been played live before.
The band leaves the stage after a surprisingly short set, returning with the traditional encores of “Roundabout” and “Starship Trooper”, the crowd finally coming to their feet. They’re good versions of the songs but nothing remarkable given their extensive histories. On “Trooper”, for example, there’s no *Wakeman keyboard solo during “Würm” to build up the tension before Howe’s climactic guitar solo, so that solo hardly feels as though it enters with maximum impact. Downes performance throughout the night has certainly been solid, but it doesn’t go beyond that to the next level that other Yes* keyboardists have reached.
With that, let’s talk for a moment about the band’s current incarnation. Tonight’s concert certainly proves that they can play Yes songs satisfyingly and convincingly. How wonderful that we can still enjoy this music by some of its creators. It’s okay if there’s not as much fire as 50 years ago, that can’t realistically be expected. The younger generation of 3/5 of the band do keep things fresh and sparkly – Schellen captures *White’s approach and has the energy to deliver, *Sherwood* is the epitome of *Squire’s protege, and *Davison* sings the pieces very well.
But let’s be honest, there’s nothing like the tone in *Anderson’s voice and, perhaps more importantly, the spirit behind his voice which is what Yes was founded upon. There’s a thousand good reasons for the current lineup to stay intact, not least being that they are making good new music such as featured on the new release “Mirror To The Sky”. But the reality is that they only played ONE song off that album (“Cut From The Stars”, played well but otherwise unremarkable), and this tour wasn’t called the “Mirror To The Sky” tour, it was called “Classic Tales of Yes”.*
If you’re primarily going to play Classic Yes, all the good reasons in the world don’t seem to overcome the obvious option: play with classic Yes members. *Anderson is hard to work with? Fine, don’t write new albums with him, tour in a separate bus, but get on stage with him. Plenty of other bands do this. Maybe Wakeman, too, if he’ll do it. You want to respect all that Davison and Downes have given the band the past 14 years? Fine, have a section of the concert with the current 5-piece playing, and play a bunch of those fine NEW SONGS they’ve written. Then bring out the old guard and play the classics. (And more snarkily I would add – if you argue that Anderson* will ask for a larger percentage of money, fine give it to him. You’re going to bring in more than enough additional people to the shows to counterbalance that. The Paramount wasn’t exactly filled for this concert, attendance is clearly on the decline.)
Okay, that’s my brief rant, and my suggestions. Love live Yes, in all its many colors, textures and high vibrations!
The post CONCERT REVIEW: Classic Tales As Told By YES on Tour (October 26th, 2023) appeared first on Sonic Perspectives.
Britain’s beloved hard rock band, The Darkness, are celebrating the 20th anniversary of their multi-platinum album, “Permission to Land”, with a global tour. Their North American trek kicked off on October 3rd in San Francisco and will wrap up on October 22nd in Washington, DC. Tonight is the band’s second to last show of the tour at Starland Ballroom in Sayreville, NJ.
From the moment our intergalactic heroes, Justin Hawkins [singer/guitarist], Dan Hawkins [guitar], Frankie Poullain [bass], and Rufus Taylor [drum], blasted onto the stage, it was all systems go, immediately demanding the crowd to keep up with their music and highly entertaining antics. It was fast, it was furious, and it was fun! It was a hybrid concert injected with some comedic stage play by the colorful Justin on the unsuspecting New Jersey audience. He joked about what animal Buffalo wings come from, the fine art of tease and release, and the challenges of playing some of their deep cuts, not from their musical difficulty, but the difficulty to listen to.
All kidding aside, *The Darkness are incredibly polished in delivering a flawless show. Justin‘s voice genuinely embodies the spirit of the best commercial hard rock/melodic metal from years gone by and personifies the band’s legacy. Guitar-wise, he and Dan effortlessly wreaked havoc across some truly challenging guitar riffs and leads that are wild enough to transport you back to 2000. The brother’s unique ability to mix high-voltage rock, metal, and blues into their playing while slipping in double-entendre lyrical content has remained constant since the band’s inception. Dan‘s rock-solid rhythm riffage, string attack, and loud-yet-clean approach to leads help maximize note clarity and the dynamic range of their songs. It is why their solos are just as memorable as the melody of their lyrics. Frankie was dashingly dressed in his sequenced leisure suit and provided the rhythmic pulsing bass lines, while Rufus*‘s thrusting drumming gave the songs their edge and bite.
From the onset of the show, it appeared as if the band would be playing the entire “Permission to Land” album in order, beginning to end, until they deviated to the surprise of fans with the first of two deep cuts, the bluesy raucousness of “The Best of Me” and “Making Out” which were initially bonus tracks on the Japanese deluxe edition of “Permission to Land”. They also delicately sprinkled two B-Sides throughout the set; “Curse of the Tollund Man” and “How Dare You Call This Love.” Your average run-of-the-mill *The Darkness* fan might have scratched their heads over the lack of familiarity with these tunes and how they fit into the set, but the die-hards were ecstatic.
These resurrected songs and many more are all available on their “Permission to Land… Again”, album/CD which came out on October 6th. All adventures, especially into unexplored territory, are often scary, but have no fear; our heroes delivered on the promise of playing all the adored songs off the album, like “Growing on Me,” “Love is More Than a Feeling,” and “Stuck in a Rut.” The feather in their cap, “I Believe in a Thing Called Love,” came near the end of the set, while the final frontier of encores was “I Love You 5 Times,” where the band performed in robes, some more overtly short than others, and switched instruments. They closed the night out with an extended version of “Love on the Rocks with No Ice” to the fans who were disappointed the night had to come to a close.
The Galaxy is *The Darkness*‘ pearl, and fans will always look forward to it when they land in New Jersey with or without permission!
THE DARKNESS Photo Gallery (Photos by Robert Cavuoto):
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As much as there is to appreciate Opeth‘s contemporary sound, they left a gaping void in the death metal world when Mikael decided it was time to go completely retro. There’s certainly no lack of talent in the prog-death scene, but Opeth‘s heady use of lush texture and mesmeric repetition paired so bewitchingly with their seemingly immutable dedication to the light and shade approach to songcraft that I feared said void might remain vacant indefinitely.
Ne Obliviscaris to the rescue. Though I’d been aware of the Aussie titans for some years, I was too far gone in the struggle of single dadhood to pay much attention to the rising stars of metaldom to give them the time they deserved. But holy shit did they knock my ass out when I first saw them in Austin when they stopped there in support of their mighty 2017 album “Urn.” An instant covert, I wasted no time in obtaining physical copies of their entire discography, and getting to know their output filled a vacuum that hadn’t been properly satisfied since “Ghost Reveries” – easily my favorite metal album of all time – had dropped over a decade earlier. “Eyrie” in particular struck me because never before had I heard extreme metal so objectively beautiful. I was freaking hooked.
Six years and numerous setbacks later, they returned to headline in Texas on October 15, 2023 in San Antonio’s Rock Box on the strength of the excellent “Exul.” But as strong as the tour package was, it was not immune from plague. Canadian tech-death label-mates Beyond Creation were down to a three-piece this time around, and Andorra’s Persefone (whose chilling “Aathma” closely challenged “Urn” for 2017’s metal album of the year, and whose “Spiritual Migration” is my favorite metal album of the 2010s) sadly had to drop from the bill. In their place were Australia’s The Omnific, whose guitarless instrumental tech weirdness begs for the love of Polyphia fans.
Unfortunately, I missed them, though a bullet train might have prevented that. *Beyond Creation were already more than halfway done through their bloodthirsty set by the time my bitch ass finally returned from a weekend getaway in my native Houston. I remain staunchly inflexible in my conviction that these carnivorous Québécois offer the finest in their genre: I’d actually feared that the mellowness that greeted me when I arrived at the Rock Box was NeO, but the brutality that ensued when I actually walked through the doors perversely set me at ease. Not since Derek Roddy‘sstint with Hate Eternal has music this visceral been so intricately laced with finesse, and I’d venture to say that Beyond Creation may actually be heavier with only bandleader Simon Girard* on guitar.
BEYOND CREATION Photo Gallery:
On the drum throne was new guy Kevin Paradis, whose skill and delivery have earned him the approval of *NeO‘s notoriously scrutinous fans. Also, not one to steal the spotlight from the real stars of this show – that would be the songs and the group’s performance thereof – Paradis selflessly pummeled the intro to “Equus” alongside new-ish bassit Martino Garattoni for a chilling rendition of one of the finest compositions in NeO*‘s intimidating repertoire.
Sadly, a few technical glitches made several unwelcome appearances throughout the set in the form of feedback, uneven vocal mixes, and delays in Charles’ channel. But *NeO are nothing if not pros, and these obstacles did nothing to deter them from delivering yet another blistering performance. The stoic presence of lead shredder Ben Baret almost cartoonishly countered the rock-star panache of Garattoni andguitarist Matt Klavins, to say nothing of Tim’s boyish enthusiasm. Dorton for his part menacingly stalked the stage when the song demanded his subterranean growls, and would wisely exeunt thereafter to allow his benefactors to bask in the spotlight. Even with a noob and a scab, and their bandleader half a world away, *Ne Obliviscaris** are not a band that will let a few setbacks ruin a performance. Hell, if you let them rip through a face-melting rendition of “Graal,” you might even catch a glimpse of a long-haired violinist wailing away in the photopit.
The problem with bands like **Ne Obliviscaris* is that set times are generally not long enough to satisfy every audience member, especially when roughly half the set consists of new material. “*Citadel” and “Portal of I” were represented by a lone song each, for example. But the inclusion of “Devour Me, Colossus” from the damn-near perfect “Citadel” was enough to send even the blackest hearts home happy. The set closed with the compulsory “And Plague Flowers the Kaleidoscope,” the Trve Avstralian Tango Metal of which has perhaps earned this remarkable band the most notice, though I suppose that tour with Cradle of Filth and that appearance on the YouTube channel Lost in Vegas didn’t hurt either.
Tour turmoil notwithstanding, *Ne Obliviscaris* is once again proving to be one of contemporary progressive metal’s leading lights, and a worthy successor to the prog-death throne Opeth abdicated over a decade ago. For a band so full of innovation and drive to still have a full tank in them over twenty years into their career is not just remarkable, it is indeed a blessing from the gods below.
NE OBLIVISCARIS Photo Gallery:
Pat Metheny has forged a staggering career rambling through many different subgenres of jazz. Some more experimental, some more traditional, some more melodic, but all impeccably performed.
As *Pat shared from the stage at The Paramount Theater, in what was the most conversational show I’ve ever seen him perform, the “Dream Box” release is a collection of spontaneous solo guitar performances that were squirreled away and unexpectedly rediscovered while on tour. Given the stripped down nature of the music being basically Pat* and a guitar, they lean heavily on the midwestern chill vibe that serves as background music perhaps more appropriately than full attention listening.
Throughout the show, *Pat showcased the nuances and tone variations of a wide variety of guitars, ranging from nylon and steel string to baritone, hollow body electric and a 42-string Pikaso guitar monster that was custom built for Pat* and is always a spectacle in how much diversity of sound is generated from one instrument played by one man. A sampling of his Orchestrion concept was revealed near the end of the show.
*Metheny wove a tapestry of tones, sneaking in snippets of familiar riffs from the Pat Metheny Group classics, which for my listening tastes, are the best of his recordings. “Song for the Boys” was an energetic strumming exercise that evoked images of his sons racing around before bedtime, which he shared was the actual origins of the tune. Metheny also excerpted songs from the unique recording he did with Charlie Haden called “Beyond the Missouri Sky,” which is fantastic ambient music for a lazy, rainy evening conversation over drinks, as well as from his collaboration with John Scofield, “I Can See Your House From Here.”*
The show, like much of *Metheny’s catalog, was heavy on details of his deft touch and signature style. It was a very laid back presentation that touched on a lot of Pat*’s work over the years, while remaining in the pocket of mostly acoustic focused folk jazz.
His personal memories and stories associated with the songs were a refreshing new approach. He looped a bit in the middle to thicken the layers of melody, soloing a bluesy lead over a muted walking bass line. It was a nice evening that demonstrated *Metheny*’s dedication to the craft of guitar and revealed that, age 69, he’s still as passionate about playing as ever.
The post CONCERT REVIEW: PAT METHENY Demonstrates Mastery Of Guitar In Relaxed Evening Of Musical Storytelling appeared first on Sonic Perspectives.
If you want down-and-dirty rock and roll done right, mixed with some high-energy guitar madness, then look no further than Lynch Mob featuring George Lynch. The band is currently on tour this summer and early fall ahead of their new release, “Babylon”, out October 20th. Tonight’s stop, September 28th, [George‘s birthday], is at Dingbatz in downtown Clifton, NJ.
The latest iteration of *Lynch Mob features Jimmy D’Anda [drums], Jaron Gulino [bassist], and Gabriel Colon [vocals]. Together with George, they wasted no time getting the evening off to a fast start, beginning with “Lightning Strikes Again,”* and so began the musical journey.
With red lighting surrounding the band to compliment *George‘s fiery playing, they pulled out all the stops on their second song, “River of Love,” as Lynch* exploded some heads for over 70 minutes with his unconventional scales, arpeggios, chiming harmonics, whammy bar dives, wah-wah skills, and signature vibrato technique. All songs were filled with his trademark chunky guitar tone.
Before the show, I asked *Lynch how his guitar tone and playing are always identifiable regardless of which band he plays with and if he considers that a gift or a curse. He responded, “I’m fine with it because I don’t think I’m limited with it in my vocabulary. I’m not saying that to blow smoke up my own ass, but I still listen to other styles and know I can push myself further outside. I won’t continue and default to the same lick over and over again. Not to say that hasn’t happened, but the challenge is to continually push myself beyond what I have done in the past. To expand my thinking and creative horizons yet stay true to who I am while not copying anybody or doing something to prove a point. It’s a balancing act, and I try to keep it interesting to myself and the listener.” The all-ages Clifton* audience was clearly mesmerized.
Fans were treated to their big songs, some great deep cuts, and a few brand-new songs off “Babylon”, all designed to deliver a high-caliber performance. In all, thirteen songs were hammered out, including seven *Lynch Mob songs, “For a Million Years,” “Main Offender,” “Rain,” and “Wicked Sensation,” plus six Dokken songs, including “When Heaven Comes Down,” and “It’s Not Love.” The new songs played off “Babylon” were “Time After Time” and “The Synner,” with its slow, sleazy infectious groove. Lynch Mob* is the perfect escape from all the nonsense happening in the world and immerse yourself in live music’s power while taking in some comedic moments of a forgotten song, chop busting, birthday cake, song requests, and a guitar malfunction. Was it scripted? Was it real, it doesn’t matter!
*George has remained musically steadfast and consistently powerful since he first came on the scene in the early 80s as a member of the Dokken, releasing countless albums throughout his career with Dokken, Lynch Mob, KXM, project bands, and as a solo artist, averaging at least an album a year. A feat not many musicians can boast. He is a gifted guitarist with an expansive, colorful, and unique tonal palette as he draws upon his countless years of practical experience, which he showcased on “Mr. Scary” and the extended funky solo at the end of “It’s Not Love.”*
By mid-set, it soon became apparent that his guitar was an extension of his body, and the sounds emanating from his Marshall amp weren’t necessarily guitar sounds but harmonic textures. You could feel the passion, desire, and pain expressed on his face while he played blazed through the set. It was as if he was saying, “I’m George Lynch, and you can’t ignore what I’m doing up here!”
The band was fired up and sweaty, clearly feeding off the energy and vibe that the crowd was throwing out. Vocalist Gabriel, clad in a studded black leather jacket, exudes charisma and a rock-star attitude as he led the band on a rock and roll mission of mad-capped fun. He is a powerfully expressive vocalist and entertainer, which sharply came into focus as he sang the band’s two new tracks. Jaron‘s driving style of bass playing, backing vocals, and head banging propelled the songs nicely as he played in the pocket of nearly naked drummer Jimmy‘s precise and pounding drumming.
The night ended as furiously as it started with “Wicked Sensation” and Dokken‘s “Tooth & Nail.” These four musicians rocked out to groove-inspired songs with insanely good riffs and leads. Together, they provided an evening filled with tremendous flashbacks from *George‘s career while creating some amazing memories with their new songs. George said it best as he ended the show, “I hope everyone enjoyed the bad humor and good music!” Tickets to their remaining shows or to pre-order “Babylon”, visit THIS LOCATION*.
LYNCH MOB Photo Gallery (Photos by Robert Cavuoto):
The post CONCERT REVIEW: LYNCH MOB Delivers a Wickedly Wild Time at Dingbatz, NJ (September 28th, 2023) appeared first on Sonic Perspectives.
On last Wednesday’s rainy night in Boston, “The Used Tour” rolled through Roadrunner with special guests Dead American and Sleeping with Sirens. The line of concertgoers waiting to be admitted inside the venue wrapped around the building as I entered, fans were snatching up merch at the booth right as they were allowed in, and the VIP goers were already pushed up to the barricade to hold down their positions for the night. With already over 100 people moving around this massive venue, it was showtime.
Dead American – formed in 2016 out of California – sported a very 90s, early 2000s grunge rock style, sound-wise and look-wise. I personally had never heard of this band until this night, but they truly have Boston fans with songs being sung back to the band and phone lights swaying side to side when they slowed it down. Lead singer, Cove Reber, who used to be the singer of Saosin, told the crowd “Thank you to the bands for being so f*ing awesome, I am having the time of my life, and thank you, guys, for being the coolest crowd so far on this tour!” The band’s energy started to be matched by the people still filling in and they absolutely commanded the stage with each song they played. For kicking off this night, they did a great job at getting us emo kids ready for what was next to come.
DEAD AMERICAN Photo Gallery
SLEEPING WITH SIRENS Photo Gallery
THE USED Photo Gallery
After honoring the musical landscape for three decades and being responsible for one of the most revered debut albums that ever came out during the grunge explosion of the 90s, Candlebox is retiring. The Kevin Martin-led outfit has been embarked on their farewell tour for several months now, and last Saturday they graced the southernmost lands of Florida with a performance at the Mizner Park Amphitheater, which would become their “long goodbye” to the Sunshine State, which not so coincidentally is the title of their last studio album, which we reviewed here.
It was a humid and hot night, even for South Florida standards, but that did not prevent the show from being sold out, despite modern metal acts Avenged Sevenfold and Falling in Reverse playing the same night a few miles away from the venue. Coming out of the gates with “Don’t You”, also the opening track of their eponymous 4-times platinum debut album, *Candlebox simply owned the night since the first note reverberated through the airwaves. The band’s setlist was a fan’s wet dream: 10 out of 11 songs from plus “Punks” the fantastic lead single off “The Long Goodbye”, which Martin jokingly introduced by saying: “No one here wants to hear a new song!”.*
Photo by Joel BarriosNow, if my man-cave walls could talk, they would tell you the tale of how many times I have blasted that “Candlebox” record at full volume since the first time it landed on my hands, and I pressed play. It was musical love at first sight; therefore I consider myself someone objective enough to confirm that the band on stage played with enough fervor and pizzaz to even surpass the musicality of the studio version, adding an extra touch of dynamism to the ageless magic of cuts like “Change”, “Blossom”, Arrow” and “He Calls Home”, the dedicated to all the veterans by Martin. As you can imagine while reading this chronicle, the crowd’s reaction was second to none, with hundreds of voices joining to sing alone the verses, raising their glasses in the air to celebrate the timeless melodies.
After 40 minutes of pure musical bliss, and with the audience excitement running at high-fever levels, there was hardly a better way to close the set than with the combination of “You” and “Far Behind” – a song originally penned as a tribute to the late Andrew Wood, lead vocalist of Mother Love Bone, the band which sparked much of the grunge movement – which Martin emotionally dedicated to the late grunge heroes when saying: “This song is to the memory of those Seattle friends that I don’t get to see anymore, and all of them had such a tremendous influence in my life: Kurt Cobain, Layne Staley, Mark Lanegan, Scott Weiland and Chris Cornell. Could you please sing this song at the top of your lungs!”
Photo by Joel BarriosEverything this band is about was in full exhibition: the fluid and crisp guitar riffs, the meaty bass lines, the surgically precise drumming, and Martin’s astonishing vocal intensity that saw its peak when he held a wailing not for over 20 seconds after the fantastic middle solo by Peter Klett. It was a climactic ending only surpassed by the thunderous ovation that followed, lasting several minutes while the band waved goodbye.
You know what they say about true rock n’ roll: it must be loud, sweaty, and hot to be real. And that’s exactly what *Candlebox gave us in spades during their final hurrah in South Florida, leaving no doubt as to what band should have been the night’s headliner. I can genuinely say that if you loved the 90’s alternative rock movement and you missed them during these final shows, I feel sorry for you. If anyone needs a masterclass on how to retire with grace, honesty, and at the top of your game, please go ahead and give Kevin Martin* a phone call.
CANDLEBOX Photo Gallery:
I could save us all a lot of time and keep this review down to two words… “Still Great.”
But if you’re wanting to know more about Kansas on its 50th anniversary tour stop in Denver Friday night, let’s start with some facts. I generally don’t like tribute bands, because they always seem to be a subpar version of the original. So when you look at the lineup on the stage at the beginning of the show, a case could be made that you’re going to be disappointed. But that would be listening with your eyes, not your ears.
Fact: Kerry Livgren was a musical genius who wrote many of the masterpieces that would be performed that night. Also fact, Kerry suffered a stroke and is no longer able or interested in playing a nationwide tour with Kansas. So it makes no sense to hold that against the lineup on stage.
Fact: Robbie Steinhardt made Kansas unlike any other rock band out there with his frenzied violin playing that refused to make the rock band soft. Also fact, Robbie passed away two years ago, so it makes no sense to hold that against the line up on stage.
Fact: Steve Walsh was an outrageously gifted singer with a voice like no other in rock music. Also fact, Steve stepped down from the band when the combination of aging and some hard living took its toll on his voice and he no longer was able or interested in playing on a nationwide tour with Kansas. Once again, it makes no sense to hold that against the lineup on stage.
Photo by Alan CoxFact: Rich Williams and Phil Ehart are the only two remaining original members. Rich was confined to playing on a chair, and when the show opened, Phil was not at the drum kit. So arguably we’re down to one original member who is physically fighting to represent the long-lasting legacy of America’s premiere prog rock band.
But if you just closed your eyes and listened to the music coming off the stage, you’d realize that the music of Kansas is big enough to hold center stage on its own. That is, if the people playing it can manage to present it in all its original epic, grandiose goodness. And to the credit of lead singer Ronnie Platt, keyboardist Tom Brislin, violin and guitar player Joe Deninzon, veteran bass player Billy Greer, and drum-tech-turned-live-performer Eric Holmquist, that’s exactly what they did. They presented the complex arrangements of Kansas’ diverse catalog with urgency, precision, fire and finesse. And they did with an incredible amount of class and reverence to the former members of the band. So I do not consider this to be a tribute band. I consider that this new cast has become Kansas.
Photo by Alan CoxThis show was a full circle experience for me. My very first concert was seeing Kansas on the “Monolith” tour in 1979. My father took me, and though he was no fan of the band, he imagined that I would be awe-struck at the sight of Livgren, Hope, Walsh, Steinhardt, Williams and Ehart blazing through their rich catalog. And he was right.
So it was particularly rewarding to hear three tracks from the often overlooked “Monolith” record played passionately again some 44 years later. While the world mostly knows “Point of Know Return” and “Leftoverture,” I was a rabid fan by the age of 8 who relished the symphonic aspects of the more obscure “Song for America” and “Masque” records. This lengthy setlist did each of those records justice, along with many others spanning from the original *Kansas* record released in 1974, to the most recent one released in 2020. And despite the decades of distance between them, they flowed together remarkably well. It’s a tribute to just how good both the songs and the performances are on this tour.
Photo by Alan Cox“Welcome to Kansas.” It’s like the green flag being dropped at a raceway, and the opener “Belexes” comes roaring out on the track blowing dust and kicking up stones. Taken from the debut record featuring the iconic illustration of John Brown, who holds a gun in one hand, a Bible in the other, it’s a barnstorming opener. Brown is the perfect “mascot” for a band whose music is a fusion of fury and peace that casts a spell summoning the spirit of freedom and adventure with a crazy look in its eye. The Bible shows the Alpha and the Omega, the beginning and the end. All quite fitting for a band now celebrating 50 years. Even the long, grey beard seems about right.
I’ve seen a good number of “classic rock” bands trot out the hits that left me feeling sad about how Father Time shows no mercy. Some of these artists have stayed too long at the party. Kansas, on the other hand, brought some new blood to the party and it appears the parents where the party’s taking place won’t be coming home anytime soon.
Photo by Alan CoxFor seven solid studio albums, Kansas kept its original line up together. But when lead singer Steve Walsh departed after “Audio Visions,” John Elefante moved in and the band came up with a pair or radio friendly hits in the era of MTV. The “new” singer, Ronnie Platt, proved every bit as capable of covering either previous singer’s territory, ranging from Walsh’s “Point of Know Return” and “Icarus—Borne on Wings of Steel” to Elefante’s “Play the Game Tonight” and “Fight Fire With Fire.” Somehow, Phil Ehart found a guy in Ronnie whose pipes don’t sound weathered or strained, and are still capable of soaring. That ain’t easy. And it makes a tremendous difference in the live experience.
Hearing “A Glimpse of Home” and “The Pinnacle” was unexpected and wonderfully welcome. These are some deep cuts the band dusted off to keep the setlist fresh and the tour something special. Mission accomplished.
Midway through the set, the band downshifted to an acoustic set that predictably included “Dust in the Wind” and unexpectedly included “Reason to Be,” another song I doubt fans have heard live in a really long time.
Photo by Alan CoxUp until this point in the evening, the drums were handled by Phil Ehart’s decades-long drum tech, Eric Holmquist. And I have to say, he was phenomenal. Precision pounding that clearly sought to emulate the sound and style of Phil, sweatbands and arm-crossed cymbal crashes included. But to the crowd’s surprise, Phil himself took over the kit at this point to finish out the show, which throttled back into high gear with what one band member described as the most difficult song they play—“Song for America.” This song really showcased Tom Brislin’s talent on the keys. It also demonstrated his love for performing it, as he smiled a mile wide while nailing every nuance of the piano and synth wash parts. Phil, who was recovering from an injury, played possibly with a little less force than Holmquist, but demonstrated that he’s the glue that has held the band together both on and off stage for five decades.
There were no weak points in the lengthy set, with Platt earning the spotlight in his performances of “Hold On” and “The Wall” and Joe Deninzon nearly catching fire in the smoldering rendition of “Down the Road.” It should be noted that Joe just recently joined the lineup following years of David Ragsdale handling the rock violin. With the way he played, however, you’d never know it. Joe might have brought a different look with his Mark Woods Viper strapped to his chest, but he sounded like he’s right where he belongs, even when providing background vocals and second guitar support.
Photo by Alan CoxThat’s really what it comes down to. The guys on the stage played with great intensity and care of the music. All throughout the show, Billy Greer made references to the former members, honoring their contributions. The current lineup’s sound was precise, polished and vibrant. There was nothing stale about it, which just goes to show that 50 is just a number. And Kansas is still a band…that kicks ass. The “wheatheads” in attendance might have mostly been on the older side, but they too defied their age with standing ovations and rousing applause. It was well deserved.
Don’t take my word for it. Go see for yourself.
KANSAS Photo Gallery:
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Extreme‘s headlining Thicker Than Blood World Tour kicked off in the US on August 2nd in Portland, and will conclude on December 16th in Italy, with shows in Australia, Japan, and Europe along the way. Their show at the Santander Performing Arts Center in Reading, PA, was the band’s fifth stop.
Gary Cherone [vocals], Nuno Bettencourt [guitar], Pat Badger [bass], and Kevin Figueiredo [drums]are touring in support of their chart-topping new album “Six”. In the US alone, *“Six” has charted on five different Billboard charts, including Top Hard Rock Albums, #2; Top Album Sales and Top Current Album Sales, #10; Independent Albums, #14; Artist Top 100, #42 and Top 200, #67. “Six” is a godsend to the hard rock world. It is modern-vintage, ripe with unforgettable songs, roaring guitars, and fiery melodies. There are killer hard rock tracks, a few dark & stormy tracks, and a track that will put a smile on your face! If you put all songs into a musical blender and turn it up to high, you get Extreme “Six”*.
Being the first new music from the band in 15 years, don’t think for one minute this is a comeback, as *Extreme has never left and have no signs of slowing down. I asked Gary* if fans would have to wait another 15 years for their next album; he laughed and said, “We already have songs recorded for the next release”
In Reading, PA, on a hot steamy night, *Extreme came to rock hard and sounded ferocious. Aggression wins out over sentimentalism with their smoking-hot songs that are too powerful and passionate for even one audience member to show signs of tiredness. They hit the ground running with “#Rebel,” caught their collective breath, and decimated the crowd with “Decadence Dance.” Gary‘s magnetic stage presence, Nuno‘s guitar heroics, Pat‘s pounding rhythms, and Kevin*‘s sonic thunder resulted in a compelling mix of rock & roll meets the Flying Wallendas. There was no safety net as rock & roll is supposed to be dangerous!
Photo by Robert CavuotoThe band delivered a tremendous medley of songs that put them on the map within the 80s’ “Teachers Pet.” “Wind Me Up,” “Flesh n’ Blood,” and “Kid Ego.” They didn’t forget the 90s with “Cupid’s Dead,” “Rest in Peace,” and “Tragic Comic.” Highlights included when Kevin moved his drum kit to center stage while Nuno performed acoustical with his Washburn 12-string guitar to “Hole Hearted” and “Other Side of the Rainbow.”
In the final stretch of their 2 ½ hour show, the most emotionally compelling song of the night came when they performed the brassy “More Than Words” as Nuno and Gary sat on stools to deliver the heart-wrenching love song. Prior to that, Nuno gave the fans “Midnight Express” while he tore up his acoustic guitar.
Gary did a remarkable job singing while he flew around the stage, sliding, spinning, and twirling his mic stand like a phallic baton. Like a pent-up tiger let out of his cage, he circled the stage singing every song with heart and soul. It’s almost as if he is processing the lyrics in real-time and conveying them to the audience. He is the consummate showman and performed for all the fans in the back of the venue.
Photo by Robert CavuotoNuno‘s guitar playing and stage acrobats were amazing, even with his right knee in a brace from an earlier injury this year. Like a fine wine, as he and the entire band are only getting better with time. He epitomizes sheer effortless virtuosity making his fiery fret-burning hammer-ons and alternate-picking look easy. The range of sounds he produced in his solos was impressive. His two-handed tapping arpeggios on “Get the Funk Out” was legendary to watch and awe-inspiring. His entire performance was a dazzling display of guitar-playing wizardry. Fans had to take a bow to the new guitar king.
Pat is the sonic ambassador between the rhythm of Kevin‘s drumming and Nuno‘s guitar playing. Kevin laid down a solid driving beat like a runaway train, while Pat was an unstoppable force with fingers flying at break-neck speed while taking on all the backing vocals. During their performance, they were in lockstep on every beat at the exact moment giving the band their tight sound. These little things make all the difference in a live show.
A song written and designed to showcase Nuno‘s knob-whirling volume swells, phase-shifting prowess, epic delay, and whammy-bar fiddlin’ was “Am I Ever Gonna Change,” as it was equally as fun to watch as to listen to. Of course, no *Extreme show would be complete without Nuno performing “Flight of the Wounded Bumble Bee.” In total, the band also performed five new songs off “Six”, and closed the show with “Rise”* and its explosive guitar solo.
Photo by Robert CavuotoFans have been starved for great hard rock, and *Extreme fits the bill as they were present in-the-moment from the beginning to the middle to the end of the show. They have remained one of rock’s most unpredictable, undeniable, and unbreakable bands. The essence of them is their brotherhood which creates their fantastic music and drives their energetic live performance. Here’s to the winners! Their rabid Pennsylvania fans continuously showered them with gratitude and heartfelt applause as Nuno* continually thanked them for helping reignite their career. In return, the band gave them an unforgettable concert.
There are still more shows available to see *Extreme; please check out the website* for a show near you.
EXTREME Photo Gallery (Photos by Robert Cavuoto):
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At 63 years of age and 45 years of performing across the globe, Steve Vai could just as well repeat his formula over and over again and simply rest on his well-earned laurels. However, as we came to experience at the Danforth Music Hall last night, he continues to push himself and to find new ways to challenge his abilities. His latest “proper” album “Inviolate” impressed the listeners with many twists and turns, and he’s still finding material in his vault to release, as was the case with the “Vai/Gash” album, a collection of straightforward songs recorded over 30 years ago.
*Vai entered the stage at 8 PM sharp and there was no opening band. Honestly, for the average attendance that was quite a relief. Not only because we could go straight to the point and see the main attraction of the night, but also because there would be a lot to digest during his lengthy set. He kicked things off with “Avalancha”, one of the fastest and most accessible tracks of “Inviolate”. This was quickly followed by “Giant Balls of Gold”,* and the wizard was already on the loose, holding his guitar by the whammy bar and reaching the exact notes he wanted at any given time.
Believe it or not, the “Inviolate World Tour” is only in its halfway point, although it has already hit Europe, US and South America. The start of the journey was postponed due to health issues – *Steve had to have an operation on his right shoulder and finger right before the first dates – and will last until mid-2024. And although most of the crowd is here for the fast-paced numbers, Vai does shine on slower songs like “Little Pretty” and “Tender Surrender”, the Hendrix-inspired song from “Alien Love Secrets”. A quick stop to introduce the band – Jeremy Colson on drums, sporting a “Listen to Rush” shirt, Philip Bynoe on bass and Dante Frisiello* on guitars and keyboards – and we’re back in full gear.
Photo by Drew OsbourneEver the generous bandleader, **Steve* gives plenty of room for his support band to shine throughout the show – *Philip, Jeremy and Dante all had solo spots – and during “Incantation”, all roadies joined the band on stage doing well choreographed moves and riffing together. The show progressed by alternating soulful numbers like “Candlepower”, born out of a self-imposed challenge to record a simple trio track with Strat, no whammy bar and no pick, and high-octane moments such as “Building the Church”, with the most insane two-hand tapping this side of Lake Ontario.
“Greenish Blues”, from “Inviolate” was also represented, and is a rare exploration of the blues – a style that Steve mentioned he won’t be revisiting any time soon. Out of all the crowd-pleasing moments in the middle of the set, “Bad Horsie” was probably the one which got the strongest applause by then, with parts of the audience anticipating **Steve’s bends and singing some of the licks. The big screen showed a baby growing from inception to birth during “I’m Becoming”, and “Whispering a Prayer” brought some levity to the proceedings with a welcome change of pace.
Photo by Drew OsbourneIt was then time to bring out the Hydra, a beast of an instrument that **Steve* designed, containing two guitar necks, one bass and a harp. As a sign of the times, this was the most “hang on, let me film this to post a story on social media, while totally missing what this guitar god is doing right in front of me”*. In a different time before the invention of cell phone cameras this would have been the moment for the crowd to go nuts, but that’s a sad sign of the times. Anyway, *Steve played “Teeth of the Hydra” with this humungous guitar held on a pedestal, and I can’t wait for him to adapt other pieces of music to play with it. This was followed by “Zeus in Chains”,* another high point of “Inviolate”.**
There was still time for some crowd participation on “Liberty”, and a hypnotic version of “For the Love of God”, with Danny G., one of the roadies, adding operatic vocals to it. A nice addition to a song that has been played to exhaustion on every tour since the seminal album “Passion and Warfare” came out in 1990, and sounded faithful to the original but very fresh.
Photo by Drew OsbourneThe glorious ending came with an excerpt of the “Fire Garden Suite”. After 21 songs and a million notes, I’m reminded of the words of another fellow shredder, a Swedish guy who goes by the name of Yngwie Malmsteen: “How can less be more? MORE is more!”. **Steve*’s performance is an assault on the senses, and a feast for fans of guitar and music. More than just a show, this is an artistic statement from a man who serves his muse and his art, and refuses to be challenged by physical limitations. If you haven’t checked out this show, there are still a few chances – the tour continues in Canada, then Europe again, Asia and Australia, with a few more selected dates in the US. Make sure you catch Steve*** in one of those stops, and for Christ-sake, live in the moment – leave your phone in your pocket!
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Closing in now on 56 years of age, my bucket list of live acts to see has grown progressively smaller. Some acts, such as The Beatles, Jimi Hendrix and Elvis, will remain forever on that missed list. But perhaps the one I regret most missing in the days of my youth is the mighty Pink Floyd. Even as a young lad, I was fascinated and captivated by the wonderfully weird cover art by Storm Thorgerson. The band’s sound, too, had a remarkably unique timbre, with the emotionally drenched guitar work and soothing voice of David Gilmour colliding with the awkwardly angular bass lines and edgy vocals of Roger Waters. They created musical tension on tape, and interpersonal tension in real life, leading to the band’s division and ultimate demise. With the passing of Richard Wright, the ship of seeing the authentic *Pink Floyd* definitively sailed off into the night.
Seeing The Australian Pink Floyd Show in Denver, therefore, was never going to substitute for the real thing. But damn if it didn’t come pretty dang close! Not that anyone on stage had any physical resemblance to the original members, but the sound…the light show…the vibe. It was a thoroughly enjoyable evening with just enough Aussie modifications to add some visual humor to the gig. The crowd was a mature bunch, some clearly ready to transport back to their younger days of drug-infused classic rock. Judging from their response, *The Australian Pink Floyd Show* successfully provided a musical time machine that spotlighted the fantastic music and creative visuals that cemented Floyd’s reputation as a stellar live act in the 70s and 80s.
Photo by Alan CoxThe first set showcased the entire “Dark Side of the Moon” album, celebrating is uncanny 50 year as the third best-selling studio album of all time, played in sequential order. While I generally feel like I never need to hear the overplayed songs of that record ever again, the live renditions were really well done, with the backup trio of Lorelei McBroom, Emily Lynn and Lara Smiles adding valuable layers of vocal sheen. Grant one additional point towards authenticity, since McBroom toured with the original **Pink Floyd* on the *“A Momentary Lapse of Reason” and “Delicate Sound of Thunder” tours. As for the rest of the members on stage, they served the song rather than drawing any particular attention to themselves.
Photo by Alan CoxThe spectacular light show enhanced the “Dark Side of the Moon” performance tremendously, with images of Putin, Trump and other targets of liberals gracing the screen during the “lunatics on the grass” section. The round video screen, with multi-color spotlights rounding the frame morphed into a multitude of visual spectacles that were pure eye candy supporting the sonically pristine audio. One needn’t have dabbled in drugs to find the show quite a trip. In concluding the record, the band leapt into “On the Turning Away” from 1987’s “A Momentary Lapse of Reason” album, which did not have Roger Waters’ involvement. The song slotted in so well it simply solidified the legitimacy of the post Waters **Floyd*. Set one wrapped up with the anthemic “Another Brick in the Wall,”* with an eye-catching inflatable teacher character towering massively over the band on stage with the bizarre *Floyd*-esque art style fully intact. “Hey, teacher! Leave those kids alone!”
Photo by Alan CoxAfter a 15-minute intermission, the natural choice of “In the Flesh” called the crowd back into its rock trance as the band expertly explored the finer moments of the “Wish You Were Here” album. The dramatically building “High Hopes” proved to be an emotionally poignant highlight of the second set. And from there, the visual and musical intensity just continued to build. The stunning visuals of “Pigs” were entertaining and captivating and the terrifying opening of “One of These Days” gave way to a raucous prog instrumental romp that was absolutely on point, with green lasers flying everywhere. The set wrapped up with an energetic version of “Run Like Hell” that came off as an upbeat call for the entire hall to clap and dance. If that had been all, it would have been plenty. But the obvious choice for an encore, “Comfortably Numb,” took the crowd over the top with its gloriously reproduced guitar solo and vocal harmonies.
Photo by Alan CoxThe music of *Pink Floyd* is so iconic, it’s probably very difficult to recreate without disappointment. But hats off to the lads from down under, who after playing more gigs than the actual band themselves, have fine-tuned their performance into a very well-oiled machine. While one might take exception to the lack of spontaneity and risk in the show, the simple truth is that they’ve crafted a wonderful tribute that evokes much of the spirit and vibe of the original act, and it is certainly worth seeing if it rolls through your town.Gigantic bouncing inflatable kangaroo and all!
Set 1: “Dark Side of the Moon” and More1. Speak to Me 2. Breathe (In the Air) 3. On the Run 4. Time 5. The Great Gig in the Sky 6. Money 7. Us and Them 8. Any Colour You Like 9. Brain Damage 10. Eclipse 11. On the Turning Away 12. The Happiest Days of Our Lives 13. Another Brick in the Wall, Part 2
Set 2:1. In the Flesh? 2. See Emily Play 3. Shine On You Crazy Diamond (Parts I-V) 4. Welcome to the Machine 5. Wish You Were Here 6. High Hopes 7. Pigs (Three Different Ones) 8. One of These Days 9. Run Like Hell
Encore:* Comfortably Numb
THE AUSTRALIAN PINK FLOYD Photo Gallery:
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Coming off a string of European and UK festival dates that ran from mid-June through early-July, Queens of the Stone Age (QOTSA) are touring North America in support of their new album (and 8th overall), “In Times New Roman…” their first new material in more than five years! Dubbed The End Is Nero Tour, the Seattle, WA quintet formed in 1996, led by front-man/guitarist and founding member Josh Homme (a.k.a. Baby Duck), visited the Hartford HealthCare Amphitheater (better known as the Amp) in Bridgeport, CT this past Monday evening on the fourth date on their 28-city trek.
At 5:30 PM sharp, gates to the former home of the Bridgeport Bluefish minor league baseball franchise – The Ballpark at Harbor Yard – opened to a line of diehard QOTSA fans that had been waiting for hours already. Nestled along the Long Island Sound waterfront, the boutique amphitheater that seats nearly 6,000 souls opened on July 28, 2021, with inaugural performances by REO Speedwagon and Styx.
The first of two bands performing this night in support of *QOTSA were The Armed, a musical collective of at least seven members, with noise rock and post punk leanings. Created in Detroit, Michigan in 2009, the project has featured several guest collaborators on their releases, including QOTSA’s very own Troy Van Leeuwen who produced The Armed’s newest album (“Perfect Saviors”), and fifth overall, which is set for release on August 25. As membership in The Armed is anonymous, I did my very best to dig up these band-mate names – Cara Drolshagen, Patrick Shiroishi, Randall Lee and Urian Hackney. However, The Armed* have gone to great lengths to deceive and misdirect their fans when it comes to who actually is in the band, even hiring actors to pretend to be members, using fake names and several other ruses. So, you can basically take these four names with a grain of salt.
Taking to the stage at approximately 7:00 pm, the outfit’s tornado of bodies twisted and swirled in all directions for the entire duration of their dizzying set, spilling into the audience on more than one occasion. The Armed offered up nine songs best described as experimental pop, including a few which were pulled from their fourth, highly acclaimed full-length album (“Ultrapop“) released in 2021, including “All Futures,” “An Iteration” and “Big Shell.” As The Armed’s 35-minute set turned for home, an awkward exchange occurred between one of the outfit’s male vocalists and someone in the audience. Nonetheless, the incident was short-lived and despite the slightly bad vibes, the apocalyptic delivery of fast, hard songs with tonsil-shredding vocals was still a welcome sight to behold.
THE ARMED Photo Gallery
Like The Armed before them, Phantogram also tendered a nine song set which they spread across their four album discography. The heaviest dose of their set-list was gifted from 2014’s “Voices“, including “Black Out Days,” “Bad Dreams,” “Fall in Love,” and one of their biggest hits, “Howling at the Moon.”
The soft spoken Barthel – rocking a Pixies tee, black patent leather boots, shiny silver shorts and fishnets – and her hypnotic, engaging lyrics were on point all evening. As is accustomed when the duo performs live, her vocals were perfectly complimented by Carter’s atmospheric guitar work (sporting his signature baseball hat) and the rest of the band’s trip-hop instrumentation for a captivating, dreamy set.
PHANTOGRAM Photo Gallery
Spreading the wealth around their career-spanning discography (with the only absence being from their 1998 self-titled debut album), Homme and his supremely cool mates bestowed upon their fans 17 songs which more than adequately displayed their prowess as alternative rock gods. At the pinnacle of their careers, each member commanded total mastery of his craft, all set to a blues-infused backdrop established by Homme’s distinctive guitar playing style and falsetto vocals.
The first of four offerings from 2023’s “In Times New Roman…”, “Emotion Sickness,” was soon to follow. *QOTSA also presented “Carnavoyeur,” “Negative Space” and “Paper Machete” a bit later. Noteworthy, the final entry to their latest studio offering, “Straight Jacket Fitting,” was on the printed set-list between fan favorites “Make It Wit Chu” and “Little Sister,” taken from “Era Vulgaris” (2007) and “Lullabies to Paralyze” (2005), respectively, but did not make the cut. No worries though, as “God Is in the Radio”* took its place as the penultimate song to the encore.
As the end of the epic night of stoner rock approached, Homme dedicated “In the Fade” to the late Mark Lanegan – prominent singer for the early grunge band Screaming Trees (1984-2000) and former *QOTSA* member (2000-2014) – who co-wrote the song with him.
Circling back to the encore, there really wasn’t one, as it was more of an acknowledgment by Homme as to where it should be had *QOTSA physically walked off, and back onto the stage. So, for the sake of saving precious time in their 105-minute set, and in lieu of a traditional encore, Homme simply turned his back to the sold-out venue and then spun back around toward us, exclaiming “here we are again!” physically walked off, and back onto the stage. So, for the sake of saving precious time in their 105-minute set, and in lieu of a traditional encore, Homme simply turned his back to the sold-out venue and then spun back around toward us, exclaiming “here we are again!”*
With the band’s outlaw swagger meter still registering 100 percent, the final coupling of songs (“Go with the Flow” and “A Song for the Dead”) was upon us. But before the final number commenced, Homme addressed his loyal, rapturous fans one last time. “It was a pleasure to get to know you, thank you so much. I hope you had a wonderful night. C’est la vie motherfckers.”*
The first leg of ‘The End Is Nero Tour’ runs through August 19, with a stop at the Ascend Amphitheater in Nashville, TN. After a festival date in Sao Paulo, Brazil (September 9), the second leg of U.S. dates resumes on September 16 at Riot Fest in Chicago, IL, ultimately wrapping at the Aftershock Festival in Sacramento, CA on October 8. Less than a week after their North American tour culminates, **QOTSA**** are off to Guadalajara, Mexico (October 14), followed by gigs in the Netherlands, Luxembourg, France, Germany, the UK, and finally, Dublin, Ireland on November 22.
QUEENS OF THE STONE AGE Photo Gallery
“Red Rocks always has the best crowd!” exclaimed Jason Bonham halfway through his set of Led Zeppelin classics. With an image of his father John pictured on his bass drum-head, he continued, “I’ve been doing this for 13 years, it’s my way of saying thank you to the greatest rock ’n roll drummer ever.” Indeed, the Jason Bonham Led Zeppelin Experience (JBLZE) does the tribute thing as well as anyone could hope to. The 4-piece band (augmented by a 5th player off to the side on keys & acoustic guitar) ripped through an hour-long opening set, focusing on the first five Zep albums. With Jimmy Sakurai (Mr. Jimmy) striking a Page-like pose on guitar, it felt as close to the real thing as one might get these days.
*Bonham had his drums up in the mix and it totally paid off. Even the more mellow acoustic numbers were infused with extra drum fills, such as when the band went into extended jams like at the end of “Thank You” or “Ramble On”. But when they decided to go full-on, they really brought it: “Immigrant Song” was one of the highlights of the night with a searing rendition and added guitar solo. Bonham*’s sincerity and devotion were palpable, his performance impeccable. They packed in 11 songs but could have gone on much longer, the crowd clearly never was going to get enough of these classics.
After a half-hour break, with lasers being “sound-checked” amidst billows of fog, it was clear that the echoes of Floyd were headed our way. “We’ve got a long night of music so it’s up to you to pace yourself,” warned Warren Haynes at the outset. First up was a 50-minute set of Mule’s original material, starting with “Same As It Ever Was” from their excellent new album “Peace…Like A River”. In fact, half of their set was compromised of new songs (“It being Red Rocks, we’ll give you another new one,” commented Haynes) including the charged “After The Storm”.
There were jams, of course, the second song “Time To Confess” found Haynes already leaning into the six strings with inspiration alongside Danny Louis on keys. New bassist Kevin Scott – who was brought in this past spring to start touring after longtime bassist Jorgen Carlsson left the band – fit like a glove, easily finding his place in the material and holding down his own on every song.
The *Mule’s approach to Pink Floyd is not one of note-for-note recreation, so this isn’t a tribute band performance like Brit Floyd might offer. Rather, it’s about 90% following the important parts of the original but then adding their own jamming and interpretations, Mule-style. For fans of both Mule’s distinctive sound and the original material, it’s a great combo. However, it does seem to be lacking some of the nuanced subtlety that makes Floyd* unique, but that hardly seemed to matter to the Red Rocks crowd who ate up each choice from the band.
Although the evening was billed as “Dark Side of the Mule” to commemorate the 50th anniversary of one of rock’s most impactful albums ever, the band equally featured songs from “Meddle” and “Wish You Were Here”. The band brought in Jackie Green on keys/vocals/guitar and Ron Holloway on sax to fill out the sound, as well as Machan Taylor and Sophia Ramos on background vocals, a *Floyd staple. “Shine On You Crazy Diamond (Pt. 1-5)” is always a great way to open a set and give Haynes a chance to play those classic Gilmour licks in his own way. It also brought Holloway onto the stage for his first sax solo to big applause. He would stay on throughout the night, adding his soloing even to songs which don’t usually feature sax like “Echoes”.*
Surprisingly, one of the highlights came next as drummer Matt Abts donned a pink coat while taking lead vocals for “Have A Cigar”. As it was originally sung by Roy Harper instead of a member of *Floyd, this seemed to give Abts permission to have some fun with it, even as he was mostly speaking the lyrics as opposed to singing. When he rearranged the lyrics to be able to say, “Oh by the way, which one’s Mule?” the crowd erupted. With plenty of extra drum fills added, Abts* really made this one his own.
The distinctive heartbeats that open DSOTM brought cheers, accompanied by the logo of a mule in the center of the *Floyd prism. Most of the album was performed sequentially, leaving out Waters’ closing “Brain Damage/Eclipse”, but including the seldom-performed “On The Run”. Often the band added in more than is on the original recording – solo’ing, jams, etc… – but occasionally something was left out like the signature slide/pedal steel guitar on “Breathe”. Towards the end of “Any Colour You Like” the band drifted into “One Of These Days”, “Fearless” and ultimately “Echoes”. An epic set-list, for sure, which was then capped off by encores of “Comfortably Numb” and “Wish You Were Here”.*
All in all, it was an evening of classics at the legendary Red Rocks venue, benefiting even further from ideal weather on a perfect August eve. Dark Side of Mule On The Rocks plus **Bonham*’s *Zeppelin was an extended treat for fans, most of whom were well into their 50s and beyond but rocking out like it was 50 years earlier.
Photo Gallery courtesy of Joshua Hitchens Photography
In the late afternoon of August 5th, a queue of at least 200 fans wrapped around the corner of E. 23rd Street and Lexington Avenue in the Gramercy neighborhood of Manhattan, hours before doors opened to the event billed as a “Metallica Weekend Takeover” event. On each Saturday between Metallica’s ‘no repeat’ weekend shows on their M72 tour of North America, the hosting city is holding “takeover” events involving film festivals, pop-up stores, long-time *Metallica photographer Ross Halfin* book signings, sponsored charity opportunities and of course, live music.
As Metallica’s tour kicked off just across the Hudson River at MetLife Stadium on Friday, Gramercy Theatre welcomed co-headliners OTTTO (a Venice, CA heavy metal trio featuring bassist Tye Trujillo, the son of *Metallica’s Robert Trujillo) and Bastardane (featuring Castor Hetfield on drums, son of Metallica front-man James Hetfield*) to their intimate, 86-year old venue.
Fans of Neftflix’s wildly popular Stranger Things are no stranger (no pun intended) to then 17-year old Tye Trujillo. A musical prodigy, he contributed newly recorded guitar parts (the intro and solo) for the Season 4 finale which saw Eddie Munson battle the evil Vecna and his Demobats by shredding Metallica’s “Master of Puppets” in the Upside Down.
With their proud papas in attendance, the festivities kicked off promptly at 8:00 pm with OTTTO’s Bryan Noah Ferretti (vocals/guitar) and Patrick “Triko” Chavez (drums) joining Tye on stage in support of their first full-length album “Life Is A Game”. Influenced by bands such as Alice in Chains and Red Hot Chili Peppers, OTTTO unleashed a 12-song, mosh pit-inducing set as Tye absolutely slayed on his low-end thunder.
*OTTTO* Setlist: Ride Low / Cosmos / Let Them Return / Night Howlers / Sorius / Ghost Rider / Scopa / The Void / Trip / Dance of the Dead / Rising Machines / Skyscraper
- Promoting their independently released debut offering “Is This Rage?“, 22-year old Castor Hetfield and his *Bastardane bandmates who formed in 2019 while attending college in Savannah, Georgia are comprised of Jacobius Lovebone (vocals) and Ethan Sirotzki (guitar). Taking the stage at 9:20 pm and accompanied by a touring bassist, Bastardane’s brand of entertainment melds high-gain guitar riffs and power chord grooves with heavy feedback and well-written lyrics. With Castor* behind the kit, it won’t be long before these sludgy thrashers are ready to take their own seat upon the heavy metal throne.
**Bastardane Setlist: Gaslight / Bass Breaks / Slow Decay / Revolt / Chum / Imposter / Praise No Bliss / Grand Slam / Masquerade / Above All
- OTTTO/BASTARDANE TOUR DATES:
August 5 – New York, NY
August 6 – Hartford, CT
August 8 – Boston, MA
August 9 – Portland, ME
August 11 – Quebec City, QC
August 12 – Montreal, QC
August 13 – Toronto, ON
August 15 – Cincinnati, OH
August 16 – Nashville, TN
August 17 – Memphis, TN
August 19 – Dallas, TX
August 20 – Lubbock, TX
August 22 – Colorado Springs, CO
August 23 – Denver, CO
August 26 – Los Angeles, CA
August 27 – Bakersfield, CA
August 28 – San Diego, CA
August 30 – Sacramento, CA
August 31 – Fresno, CA
September 2 – Phoenix, AZ
November 4 – St. Louis, MO
November 11 – Detroit, MI *
- Metallica Weekend 2023 Takeover Performances
*Bastardane*** only
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Sevendust, Alter Bridge, and Mammoth WVH‘s long-awaited return to the New Jersey area blew into the Stone Pony Summer Stage in Asbury Park, NJ, like a Category 5 hurricane.
Sevendust has just released a metal masterpiece, Truth Killer; Alter Bridge is supporting their 2022 release, Pawns & Kings, and Wolfgang Van Halen‘s Mammoth WVH is releasing his sophomore album Mammoth II today. Three outstanding bands and musicians on one bill who continually release exceptional music. They are carrying the flag for hard rock and heavy metal.
The excitement for tonight’s show has been palpable since tickets tour went on sale. Tonight, it reached a frenzies pitch from the fans waiting under the hot summer sun in line for hours for the venue doors to open. They chatted about which band, songs, albums, and tours were their favorites. Seeing all ages, races, and nationalities beaming with pride wearing their Alter Bridge, Sevendust, and Mammoth WVH shirts in a unified moment of happiness was nirvana. These are the moments that metal fans live for; it’s their drug and religion all rolled into one. From a glimpse of this pre-show excitement, you instinctively knew this show would be extraordinary!
As soon as Wolfgang stepped on stage, the crowd at the Stone Pony Summer Stage erupted. You could tell by the look on his face that this would be a fun-filled performance as he came out smiling, waving, and pointing to fans he recognized. It was a warm and personable way to greet this overjoyed New Jersey crowd.
Once he had everyone’s attention, the guitarist and lead singer kicked into his first song, “Mammoth,” from his debut album, with his touring band Frank Sidoris [guitar], Jon Jourdan [guitar], Ronnie Ficarro [bass], and Garrett Whitlock [drums]. It’s been over eight months since New Jersey fans have seen him perform, and they were eager to delve into his set, where fans were treated to three new songs from Mammoth II; “Like a Pastime,” “Take a Bow,” and “Another Celebration at the End of the World.” The crowd instinctively sang every word to them, creating a symphony of backing vocals. Wolfgang was visibly humbled by the outpouring of love from this crowd as his proud mother, Valerie Bertinelli, looked on from side-stage.
Wolfgang has his own undeniable style of playing and songwriting that marries melodic riffs with catchy choruses. Combine that with some tasteful vibrato during the leads, and the songs are enhanced beyond expectation. Watching him combine his signature techniques of speed, dexterity, melody and reach into a tremendous display of guitar playing was awe-inspiring!
Mammoth WVH Photo Gallery (Photos by Robert Cavuoto):
Clint handled all the guitar parts perfectly as John is recuperating and will be band back on stage in a few days. Despite not having his guitar partner, he never missed a beat and gave the performance of his life, handling all the rhythm parts and solos. Vince is the sonic ambassador between the pounding of Morgan‘s drumming and the guitar playing. He is responsible for holding the low end together with rhythmic fury. Lajon is a captivating and charismatic performer not only for his singing but as a lyricist who can paint thematic pictures in our mind’s eye. He tirelessly sang every song with heart and soul, with the summer sun behind the band. Lajon, who is not a typical fan of cursing in songs or on stage, apologies to the surrounding apartments and people on the boardwalk for dropping the F-Bomb once or twice, as the community has a laughable no profanity policy from the stage. The energy and fury emanating from the stage could be felt and heard outside the fenced-in venue into the parking lot, where fans and onlookers gathered!
Sevendust delivered a set that included “Denial,” Crucified,” Disgrace,” and the hauntingly beautiful “Angel’s Son,” which Lajon wrote in memory of James Lynn Strait of the band Snot. As a prolific lyricist, I asked Lajon during our last interview how he would like fans to interpret his lyrics; he replied, “I invite fans to interpret the lyrics in their own way. It’s what I do when listening to other bands’ music. It makes me feel present and in the moment. It’s supposed to make you feel good! Music is the healer, and I’m the doctor here to give the medicine.” When Doctor Lajon was on stage, there was contagious energy in the air! 7D are musical masters, as they can turn pure emotion and angst into a defiant celebration!
SEVENDUST Photo Gallery (Photos by Robert Cavuoto):
The band came out with three strong opening songs; “Silver Tongue,” “Addicted to Pain,” and “Ghost of Days Gone By.” The chemistry between the band members is instantaneously noticeable. All members were working in perfect harmony, knowing all their parts, nuances, and queues without hesitation. There was no shortage of highlights in tonight’s performance, like when Myles performed “Watch Over You” acoustically or Mark took lead vocals on “Burn it Down” or “Cry of Achilles” with its flamenco guitar intro. The song that everyone was waiting for, “Blackbird,” came towards the end of the set, which has become a staple in their set.
Myles‘s hypnotizing, seasoned tenor voice filled the air as he tirelessly played guitar, danced on his pedal board, and sang confidently as a steady breeze continually blew across the stage. Mark is a true innovator on the guitar and gave his diehard fans a healthy dose of some dazzling guitar techniques like down picking, alternate picking, blues runs, and fluid legato playing. He is a visionary player who can sculpt sound and bend minds in equal proportions.
The band played the title track from their latest album; I asked Mark about the importance of playing “Pawns & Kings” live. He responded, “It encapsulates everything there is about the album. It also has one of the best choruses on the album. When the album was finished, we put it last because we want fans to experience the entire before they get to that song. It’s a must-have song in our set because it’s so fun to play live!”
Scott is the band’s engine room, ensuring all songs are timed and paced to perfection. Brian laid down the low end and knew how to handle a song by playing between the melody and the harmony, which is felt more than heard.
The night ended with two final songs in the encore, “Open Your Eyes” and “Rise Today.” Alter Bridge remains a no-nonsense band who is redefining modern-day Rock & Roll that is guaranteed to leave a mark on your soul!
ALTER BRIDGE Photo Gallery (Photos by Robert Cavuoto):
Hailing from California, TESLA has always been one of the best American rock bands. American-made and American-strong is what it took as they sold out the Parx Casino.
Jeff Keith [vocals], Frank Hannon [guitar], Brian Wheat [bass], Dave Rude [guitar], and Steve Brown [drums]came out firing on all cylinders right from the start of their 90+ minute set with “Lady Luck” off The Great Radio Controversy then assaulted the crowd with “Modern Day Cowboy.”
Fans came out to hear TESLA take them down memory lane to a lost time but don’t think for one minute TESLA is a nostalgia act; their show incorporated a new song they recently released as a single, “Time to Rock,” with its classic rock vibe. It was created in the same spirit and energy as their 1982 debut release. Regardless of when the songs were created, they were all played with the same conviction in an unblemished performance. The set list consisted of 16 songs. Jeff told me the band decides the set list right before the show. They must play their 12 staple songs and four other songs they call “Pulling a rabbit out of their hat!” These four songs were “Lady Luck,” “We’re No Good Together,” “Call it What You Want,” and “Private Ledbetter,” which the band dedicated to all the veterans and military personnel.
Jeff told the crowd that’s a song they never want to mess up. The night would not be complete without “Love Song,” where Frank and Dave pull out their acoustic guitars. You could have heard a pin drop as they played the intro, as the audience was completely present and focused on the singularity of the moment. Other highlights included the bluesy “Miles Away,” the soulful “Lazy Days, Crazy Nights,” the rocking “Changes,” “Edison Medicine,” and “Heaven’s Trail.” The band seamlessly transitioned between these multi-styled songs smoothly without losing the audience’s attention or skipping a beat.
Frank and Dave playfully competed for the audience’s attention during the songs and joined forces shoulder-to-shoulder for duel leads and harmony runs. Having two of rock’s strongest guitarists are the icing on the cake that brought the songs to a new level. They have an undeniable chemistry and style of playing, which complement the songs and each other. All members seemed to have so much respect for each other and camaraderie as they were smiling, laughing, and standing next to each other, which surprisingly is not all that common with most bands.
Jeff told me before the show, “TESLA is all live all the time; we don’t roll tape and don’t use machines. When you see TESLA live, we either sound good or are having an off night – we have to keep it real!” Tonight, at Xcite Center, they delivered on that mantra. He radiated showmanship while singing song after song, while his unmistakably soulful and raspy voice cut through the band’s heavy guitar-driven sound. He interacted with the audience by giving high fives, taking selfies, and smiling at all the cameras pointed in his direction. He is a musician who is comfortable in his own skin, a consummate performer with tremendous talent.
Brian was the muscleman giving the songs their bottom-end punch, along with new addition to the band, drummer Steve Brown who replaced Troy Luccketta. You have Brian to thank when you feel the beat kicking you in the ass. He brings energy to the big moments and understands the sensitive ones making the music sound and feel good. He also knows the balancing act of when to use it and when to entertain the audience.
The band was having such a good time playing; their vibe was infectious. The fans’ connection to their music was instantaneous; communicating through music is the key for TESLA. These are the moment you live for as a fan! It’s a testament to the strength of this veteran hard rock band’s love for their fans and the perfect set that made this a TESLA‘s devotee’s dream come true. This band will not go to their retirement playing songs off the old records; they love to write new music, and a new album is in the works.
Their 2023 Time to Rock Tour takes them across the US to September before doing a Las Vegas Residency in October; I promise you’ll leave the show grinning from ear to ear! Tickets can be purchased HERE.
TESLA Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: Full Throttling with TESLA at Xcite Center, Parx Casino, PA (July 28th, 2023) appeared first on Sonic Perspectives.
If Bret Michaels‘ is on stage, you can be sure it will be a Rock & Roll Party party! Bret and his band are taking Jefferson Star and Night Ranger across America with his 2023 Parti-Gras Tour. Joining Bret during his set is Mark McGrath of Sugar Ray and Steve Augeri, formerly of Journey, performing some of their band’s signature songs. Together they delivered all killer hits, no filler! The Rock & Roll party rolled into Camden, NJ, at the Freedom Mortgage Pavilion, so leave your troubles in the parking lot and join the party. Bret will be your party host and ringleader like no other for the evening.
The Bret Michael Band [BMB] played all of Poison‘s biggest hits like they were all reborn. They captured the energy, fun, and spirit in which they were written decades ago. His outrageous glam look from the 80s is long gone and replaced with more straightforward black jeans, ripped t-shirts, and cowboy boots. Don’t let this look fool you; he still wears his signature bandana. He also hasn’t slowed down a nanosecond and can still easily deliver a high-octane show.
Photo by Robert Cavuoto
Bret sang and ran the stage in the sweltering heat while high-fiving fans in the front row and the catwalk continuously. He told the crowd, “It’s your party New Jersey; let’s have some fun!” and then turned up the charm by throwing out smiles and winks to all the ladies. He looked like he was having just as much fun as his fans and infused all his songs with the spirit of a good time.
Steve Augeri came out to sing “Separate Way,” Don’t Stop Believin,” and “Any Way You Want It,” while Mark McGrath performed “Every Morning” and “Fly” with Bret‘s band. They both sang with heart and soul while intermixed with Poison‘s songs.
All band members entertained the crowd from every part of the stage on every song. Pete Evick, who has been Bret‘s right-hand man for 19 years in BMB, is not only his guitarist but also holds down a myriad of other responsibilities, like music director and marketing, to name a few. He played all the songs flawlessly with their unique idiosyncrasy to match the sound and tone of how they were initially recorded. He nailed Poison‘s songs note-for-song as fans expected it and counted him delivering it. Before the show, I had the chance to ask Pete what was working with Bret really like. He responded, “Bret is my favorite front-man. He has outlasted all front-men from that era and still looks and sounds great while delivering 100% each night. He is as cool as Robert Plant and Steven Tyler. After 19 years, I crack up that I spent 19 years with the definitive 80s rock front-man. I’m the luckiest guy because I get to play with my hero night after night. The way he holds the crowd in his hands is a gift!”
Photo by Robert Cavuoto
Bret continued to win over the audience in a more striking moment of the show when he recognized the troops at home and aboard, thanking them for their service and allowing us to have our freedom. To celebrate their heroics, 15-20 men and women joined Bret on stage for “Something to Believe In!”
By the time he performed “Every Rose Has It’s Thorn” on his black Dean acoustic guitar, he did indeed have Camden in the palm of his hands. The audience lite-up their iPhones in approval and swayed back and forth to the heartfelt tune that made up their life’s soundtrack.
It was the most energetic and inspiring 90 minutes of pure rock and roll as the band performed all the hits; “Talk Dirty To Me,” “Ride the Wind,” “Your Momma Don’t Dance,” and “Nothin’ But a Good Time.” He closed the show with a monster jam having all the musicians from Jefferson Starship and Night Ranger join in for a killer version of “Sweet Home Alabama.” These are the moments you live for on hot summer nights. It is a fitting tribute to end the night of partying at the Freedom Mortgage Pavilion!
Tickets to the party are available HERE.
Bret Michaels Photo Gallery:
By the indication of the packed house at NYC City Winery, Lauren has a steadily growing fan base with each show! She is the queen of empathy and hope, giving people songs about all that there is in life to enjoy. It’s a welcome change to the idealism outside of the venue walls. Hopefully, her message of resiliency will continue to spread as fans push it forward.
This is Lauren‘s third time playing this venue since March 2022; one could say that she has a residency here. With three albums’ Messages from Aphrodite [2022], Under the Wolf Moon [2021], and The Freedom Sessions [2008], under her belt, Lauren has a full armamentarium of songs to entertain her audience. Before the show, audience members chattered about what to expect tonight. Regardless of what she will play, the fans all agree she is worth the wait to see her. Three of the 15 songs on the set list were from her latest album, which has some of her most emotionally wrenching material.
Photo by Robert Cavuoto
When the show began, Lauren emerged from backstage with her band, including Dylan Rose [guitarist], Tammi Brown [keyboardist], Steve Uccello [bassist], Javier Torres [drums], and her husband, Rick Allen [drums], who has sold 100 million albums and toured the world over countless time with Def Leppard.
The stage was minimally adorned with amps, instruments, and an accordion-like curtain that frames the band so the audience could be fixated on the singular impact of a voice in close-up. The relatively straightforward presentation emphasized Lauren‘s lyrics with a detailed exploration of Americana. Songs that vibrate with positive energy and messages of love that only she can create. There was plenty of storytelling throughout the night, as Lauren wanted this show to be a beacon of hope while highlighting the talented musicians in her band.
It is fascinating to note that Rick, who just came off a European festival tour with Def Leppard performing in front of 50,000 a night on his electronic set, is now only a few feet away in this intimate setting. Regardless of the type of kit, music style, or the audience’s size, it’s always enjoyable to see him perform. His playing along with Javier‘s propelled the beat like “Big Love” and kept a smooth jazz-like touch for the more subtle songs like “When the Rain Comes.” He methodically kept perfect time but in a highly technical fashion. He is a master at serving the song with his unique execution.
In the final stretch of the show’s 90 minutes, the most emotionally compelling song of the night came when Lauren performed the brassy “Color of Snow.” It was written about a veteran with PTSD who was going to commit suicide, but his loving family and community intervened immediately to save him! An emotional story to raise awareness for suicide prevention. Stories in a song like this of a person’s journey, memories, desires, conflicts, and regret are charged with deep-seated emotion, long-view perspective, and mature wisdom. This is what makes Lauren‘s show such an entertaining experience; the feelings she’s processing in real-time and conveying them to the audience.
Photo by Robert Cavuoto
I spoke to Lauren before the show about how she conveys emotion through her lyrics. She shared, “It’s not about the music or technical expertise. It’s about how you feel while listening. It’s an exercise on being present in the moment from the beginning to the middle to the end. My songs are from a healer’s point of view, not a songwriter’s.” Her songs espoused a simplicity that extended beyond the stripped-down structures and how one should approach life.
Her new single “Brave,” which she debuted, was a testament to that philosophy. She explained from the stage, “It’s about being brave and kind to ourselves while making peace with it.”
The night’s vocal highlight was a masterful rendition of Lucinda Williams‘ “Can’t Let Go,” a mid-tempo track about devoting oneself to true love, which Lauren seemed to be living each word. Two of the rockers that were played were a cover of Lenny Kravitz‘s “Always on the Run” and 70’s rocker “Love is Alive,” which got the crowd standing and dancing.
As the band steered their song to its final notes, Lauren graced the fans with one final song, “Calling All Angels” by Jane Siberry, and wished that an angel followed everyone home tonight to guide and protect them. A perfect close to a perfect show!
Lauren* and Rick support first responders and veterans at their shows and through the Raven Drum Foundation. Please visit the site* to see how you can help too.
Lauren Monroe Photo Gallery:
Have you ever dreamed of playing “Sweet Emotion” next to Tom Hamilton of Aerosmith, performing on stage with Pete Best, a founding member of The Beatles, or Daryl Jones from the Rolling Stones? Well, dreams can come true, and it did this past week for musicians who attended the New York City Rock ‘n’ Roll Fantasy Camp.
How it works is simple: musicians from all walks of life and all levels of experience sign up for the camp; when on site, they are formed into bands and then schooled by their Rock Star counselors/musical directors to work as a team. Together they learn songs they will perform on stage with Tom, Pete, and Daryl. There are also master classes, recording sessions, and Q&A sessions with the artists and authors. It’s all designed to make you a better musician and performer than when you walked in! This New York City camp had some very impressive and heavy hitting Rock Star counselors, including Tom Hamilton [Aerosmith], Pete Best [The Beatles], Darryl Jones [The Rolling Stones], Joel Hoekstra [Whitesnake], Gary Hoey, Bumblefoot [Guns N’ Roses], Tony Franklin [The Firm] and Vinny Appice [Black Sabbath & Dio] to name just a few. It is like being on vacation with your favorite Rock Stars.
Photo by Robert Cavuoto
Their hard work and dedication was to be showcased at the Cutting Room in mid-town Manhattan on Friday evening, July 14th, with Tom Hamilton joining each band on stage. Campers spent the day at Smash Studios perfecting the songs, learning timing, exploring different tunings and techniques from their heroes. Tom came to each camper’s rehearsal room to jam to the band’s favorite Aerosmith song. During the rehearsal, Tom gave some encouraging words and pointers while taking photos and signing autographs. Watching the campers during these rehearsal sessions, you couldn’t help but feel their excitement about going to be on stage with Tom. They hung on every word and advice Tom offered to hone and perfect the songs.
The reason why musicians come to this camp is as vast and varied; camper John Dupont told me his reason for attending: “I love learning new things and how to make a band sound better collectively.” Scott Lucia, a six-time camper and Beatles fanatic, told me, “Having Pete Best attending this week pushed me over the edge as it would be my only chance to ever play with a Beatle.” Angie Mariasiane shared, “I got sick and almost died, and I put off singing, but after the recovery, I decided to treat myself to the camp. Six camps later, I now consider myself a mascot. This place brings us all together for the love of music!”
The Rock Star counselors were incredibly talented and patient with every musician looking to improve the band’s collective skills. They were not only dedicated to helping the campers learn songs but also passionate about pushing them out of their comfort zone to try new things like scales, how to move on stage, and interacting with the other band members while on stage; an essential and often overlooked aspect of being in a band.
Photo by Robert Cavuoto
In speaking with Tony Franklin, his main advice for the campers at show time was to “Breathe, relax, have fun and do your best! Also, it’s important not to stop in the middle of the song for a mistake. Mistakes happen in the professional world, and we never stop; when things fall apart, just keep going!” He went on to say, “A band is also about the vibe and chemistry as much as it is about the playing.” He shared his experience as bassist for The Firm, which featured Jimmy Page, Paul Rodgers, and Chris Slade. “I was never asked to audition for The Firm; I was asked if I would like to sit in on the rehearsals with a new band that was forming. I was 22, and not only did they want to see how I played but see how I could hang with them. That went on for five to six weeks before I got the job!”
Gary Hoey added, “If you play with better musicians, your skills will improve! When you get to a higher level, it’s important to play with musicians not as good as you to lift them up! Give a handout and hand-up to other musicians.”
In speaking with Joel Hoekstra, he shared his experiences when he was learning to play while looking for the right mentor: “I was learning guitar out of a book with a teacher and almost quit. It wasn’t what I wanted; I wanted to be Angus Young of AC/DC. I went over to a friend’s house who was playing all these great rock songs, and he gave me his teacher’s name. Thank God, I went to him, and he taught me rock songs, which hooked me. I was playing music that I loved; it was a new concept to me that learning to play guitar can be enjoyable! It made me want to practice and get better!”
Photo by Robert Cavuoto
All the rehearsing and advice paid dividends when the bands performed their songs at the Cutting Room. All the musicians shined and became Rock Stars themselves. They all navigated the stage and songs with style and grace while delivering the music to the packed house next to Tom Hamilton and their counselors.
Watching the show, I realized that no one who attended the camp would ever be the same again. They all walked away with a better musical knowledge and confidence they didn’t have coming in while creating lifelong friendships. Maybe one of the campers this week will be a counselor to future generations of musicians…well, that’s a Rock ‘n’ Roll fantasy for another day. If you’re looking for a unique and unforgettable experience, I highly recommend attending Rock ‘n’ Roll Fantasy Camp as they take place all over the US, with the next camp being a heavy metal camp, Metalmania III, in Los Angles, CA, featuring Zakk Wylde [Ozzy, BLS & Pantera], Marty Freidman [Megadeth] and Mike Portnoy [Dream Theater & The Winery Dogs] this November. It’s not too late to reserve your spot on the fun; check out HERE for all the details.
Rock ‘n’ Roll Fantasy Camp Photo Gallery:
Seating on his chair, while his fingers run wild over his signature modified Les Paul guitar – the iconic instrument he played almost exclusively for 10 years in the 70s, the same that made its way back to his hands after being lost another 31 laps around the sun – Peter Frampton is the living proof that determination can conquer any obstacles.
Long gone are the days in the mid-seventies when “Frampton Comes Alive” was everywhere, and its anthemic hits “Do You Feel Like We Do”, “Show Me the Way” and “Baby, I Love Your Way” were in constant rotation, successfully turning Frampton into a superstar. The passing of Father Time has confined Frampton to a chair during his live performances – he was diagnosed with a progressive muscle disorder (inclusion body myositis) years ago – yet his charm, sense of humor, and more importantly his playing and singing abilities remain as intact as ever, his contagious smile and enthusiasm spilling over the ecstatic audience.
The night’s main set exclusively focuses on Frampton’s solo career, including eight cuts from “Frampton Comes Alive”. The album’s biggest hit “Show Me the Way”, is the fourth song in the running order, and his talk box guitar solo sounds as emotional and vibrant as when I first dropped the needle on that vinyl, many, many moons ago. Frampton does not look like his likeliness in the video slideshow the show starts with – highlighting moments from his career with Humble Pie, hanging out with David Bowie, or playing in massive stadiums – but the joy he plays and shreds with exudes might, complexity and the skills that only come with decades of experience. The night belongs to him and his band, song after song. This is not a nostalgic evening, but a jubilant celebration of the legacy of a brilliant musician, one who refuses to walk away from the stage when there are still notes to play.
The highlights of the 17-song-long set-list are as frequent as the cheering from the crowd is. The euphoric instrumental rendition of “Georgia (On My Mind)” is sublime, with Frampton playing the vocal melody in a refined exhibition of blues guitar. Soundgarden’s massive hit “Black Hole Sun” has been a staple of Frampton’s live shows for a while, and the interpretation carries his own touch all over – as any good cover should – with the original vocal parts replaced by Frampton’s distorted and effect-laden guitars, with a talk-box section added at the very end while a photo of Chris Cornell shows in the big screen. Simply poignant.
“Can’t Take That Away” is a 10-minute masterclass of perfect blues phrasing and note choices, including Frampton’s humorous banter about the differences in the pronunciation of the song title between American and British English. The sophisticated and jazz-infused interplay between Frampton and Rob Arthur is only rivaled by “I’ll Give You Money,” a rousing rocker that evolves into a showcase of guitar dexterity as Peter and his long-time wing-man Adam Lester swap off solos back and forth, while the unremitting bass/drums section pushes steadily as the backbone for the tour-de-force rendition.
“Do You Feel Like We Do” is the last cut of the main set, and as expected it gets everyone on their feet, clapping and singing: a 17-minute journey that kicks the proceedings into overdrive, extensively featuring Frampton’s trademark talk-box guitar effects, while the spotlight bounces between Arthur, Frampton and Lester. When the thunderous applause fades, Frampton addresses the audience once again: “This is the moment where, in the old days, we’d stumble off stage, do some drugs, and come back and play three fast songs, but today we are not going to waste your time or ours, we are gonna carry on. Are you OK with that?”
The three-song encore veers away from Frampton’s solo career and take us on a trip down memory lane. Two upbeat Humble Pie renditions from the “Performance: Rockin’ The Fillmore” album make presence: first “Four Day Creep”, which segues into an unexpected guitar solo, and then their energetic blues-rocker “I Don’t Need No Doctor” featuring an instrumental section of “Walk On Gilded Splinters”. It’s pure classic rock heaven at this point, and the nightcap couldn’t be more fitting: a beautiful version of The Beatles’ “While My Guitar Gently Weeps,” where Frampton summons George Harrison in an eloquent and tasteful way.
In an awe-inspiring evening flooded with timeless songs, Frampton – who really doesn’t have anything to prove at this point – shows us the way, and demonstrates once again why he’s undeniably one of rock’s finest guitarists; one who defies the odds and continues to thrill audiences, while still very much at the top of his game.
PETER FRAMPTON Photo Gallery:
Cinderella front-man Tom Keifer and his #keiferband recently embarked on a U.S., with support from WINGER and former Mötley Crüe singer John Corabi. One of the tour stops happened two days ago at New York’s Palladium Times Square, and it you miss the magic of rock music which reigned supreme during the second part of the 80s, I truly hope you were in attendance.
Opening the night, John Corabi treated the audience to an enchanting acoustic jam session, showcasing his incredible talent that has stood the test of time. With his mesmerizing charisma, John effortlessly took the audience through a career journey, back to his days with Union, The Scream, Mötley Crüe and even veered into more recent times with The Dead Daisies, reminding us why he was hailed as the standout vocalist of his era. The crowd couldn’t resist joining in as he belted out the iconic “Hooligan’s Holiday,” and his charismatic stage presence created an deep connection with the fans, despite it was a one man and his guitar show, and certainly a short one. Amidst the cheers and applause, John playfully poked fun at the infamous movie “The Dirt,” reliving some of his “etched in history” moments with the Crüe boys. Undeniably, John Corabi remains one of the finest voices in the realm of hard rock, and this night only served as a confirmation of his talents.
JOHN CORABI Photo Gallery:
TOM KEIFER’s KEIFERBAND Photo Gallery:
It’s beginning to look a lot like summer in Canada, and with that, a barrage of concerts and other events are taking place every weekend. On Sunday, June 18th, it was time for Nita Strauss to make her first solo appearance in Toronto, at the legendary Horseshoe Tavern. Fittingly, the tour is called Summer Storm.
Located in Toronto’s Queen West neighborhood, the Horseshoe Tavern has been a Canadian musical institution since it opened its doors in 1947. Though its history, the 400 capacity venue has hosted artists that would become legendary, such as The Police, Talking Heads, Jeff Healey and more. Famously, The Rolling Stones played a secret gig there, in 1997. Tonight the proceedings started with the Brampton-based Sticks N’ Stones who have consistently played in the city’s live circuit. While it’s clear they’re still honing their skills and developing their style, their blend of sludgy riffs, catchy choruses and heavy moments is promising. The cover of Gojira’s “Only Pain” was a nice touch, and the skeptical crowd was left pleased at the end of their set.
Next up it was time to check out Lions at the Gate, the band featuring former Ill Niño members Cristian Machado (vocals), Ahrue “Luster” Ilustre (guitar) and Diego Verduzco (guitar), alongside bassist Stephen Brewer (Westfield Massacre) and drummer Fern Lemus. They have been together for about two years, and their debut album, “The Excuses We Cannot Make” is scheduled for release on August 25th. Right off the bat it was clear that the stage of the Horseshoe was too small for the band’s ambitions and stage moves. Cristian and Diego’s dreadlocks were a dangerous weapon throughout their set, eventually hitting other band members as they head-banged. Catapulted by Luster and Diego’s powerful riffs, they kicked it off with “Not Even Human”. Their sound drinks heavily from Ill Niño, Drowning Pool and other contemporaries from the alt metal scene.
“Scapegoat” came next, and the energy of the band – particularly Cristian’s charisma and versatile voice – was palpable and contagious. Things got funky on “The Climb”, and alternated between insanely heavy moments and pop chorus on “Digital Sea”. They finished the show with the intense and emotional “Find My Way”, which features Tatiana Shmayluk of Jinjer in its studio version. Lions at the Gate are picking up the pieces of the dispute between Ill Niño members, and something tells this reviewer that we’ll be talking a lot more about them once their debut album comes out.
Nita Strauss entered the stage around 10 PM, starting her show with the thrashy and melodic “Summer Storm”, and hit the speed of light with “Our Most Desperate Hour”. If the years she spent in Alice Cooper’s band and the recent stint with Demi Lovato have taught her anything, it’s how to work up a crowd. She moved across the stage and commanded the crowd as if she was playing at Wembley Stadium. Her musicians were no slouch either, headbanging in synch with Nita on the melodic “Alegria”.
The show was originally scheduled for December 2021, and had to be rescheduled due to COVID. The long wait made the crowd even hungrier for Nita’s solos, and she wasted no time. The only moment of her show to catch a break was actually not planned – the band had to deal with technical difficulties between songs. But even that did not stop her from being an entertainer, and while the roadies were fixing the problem, she told the crowd this was the fist sold out show of her tour, which was met with great applause.
It’s not easy to form a sonic identity and remain a creative force as a solo artist, but Nita’s career has been carefully planned and nourished. The controversial move to join Demi Lovato’s band was a stroke of genius, exposing her to a whole new audience. Her credentials from the metal world came from playing with Alice Cooper for a number of years, and now there are many more doors opened after the shows with Demi. One could argue that this is translated also in the versatility of her sound, and there was no shortage of evidence of such claim during her set. She gravitated between the black metal elements of “Lion Among Wolves” and the neoclassical, Malmsteen-esque motifs of “The Quest” without skipping a beat.
Another element that cannot be neglected in the music business these days is the social media presence. Like it or not, the number of subscribers, likes and views are a modern day currency, and Nita wisely chose to embrace that concept. She brought in the Tiktoker Kasey Karlsen on tour to perform the vocals on several tracks. This is Kasey’s first ever tour, and judging by the confidence she showed in a live setting, it seems that she was born to be on stage. She quickly won the crowd with the guttural screams on “The Wolf You Feed” an “The Golden Trail”, and got everyone to sing along the chorus of “Through the Noise”. “Dead Inside”, which has Disturbed’s David Draiman in it studio version, was yet another crowd-pleaser. And they closed it in bombastic fashion, with a blistering version of Pantera’s “Cowboys From Hell”.
Heavy music did take a beating during COVID, and at the current rates, touring will likely become more and more expensive. However, nights like these give the fans hope that more artists will be able to play in Canada and still make a decent profit. Nita’s tour will hit a few more locations in the US and Canada until its last date on July 14th in New Orleans. If she’s playing near you, do not miss the chance to see a night of melodic shredding, in-your-face riffs and anthemic choruses. What more can a metal fan wish for?
“Summer Storm” Tour Dates
“Summer Storm” Tour Dates:Jun. 21 – Harrison, OH – The Blue Note
Jun. 22 – Flint, MI – Machine Shop
Jun. 23 – Angola, IN – The Eclectic Room
Jun. 24 – Bloomington, IL – The Castle Theatre
Jun. 25 – Madison, WI – Majestic Theatre
Jun. 26 – Omaha, NE – Waiting Room
Jun. 28 – Denver, CO – Blue Bird
Jun. 29 – Salt Lake City, UT – Urban Lounge
Jun. 30 – Boise, ID – Neurolux
Jul. 1 – Portland, OR – Hawthorne
Jul. 2 – Vancouver, British Columbia, Canada – Rickshaw
Jul. 3 – Seattle, WA – El Corazon
Jul. 5 – Sacramento, CA – Goldfields Trading Post
Jul. 6 – Los Angeles, CA – Whisky A Go
Jul. 8 – Las Vegas, NV – The Space
Jul. 9 – Phoenix, AZ – Crescent Ballroom
Jul. 11 – San Antonio, TX – The Rock Box
Jul. 12 – Dallas, TX – Trees
Jul. 13 – Houston, TX – Scout Bar
Jul. 14 – New Orleans, LA – The Parish @ House Of Blues
Photos by Ryan Miles Leblanc
Words by Gonzalo Pozo & Ann-Jinette Hess | Photos by Gonzalo Pozo**
The Dreamsonic tour, a prog metal tour package anchored by none other than Dream Theater, kicked off in the Austin suburb of Cedar Park at the lofty HEB Center on Friday, June 16, 2023. Joining the Long Island legends were instrumental djentlemen Animals as Leaders, and the inimitable Devin Townsend.
Animals as Leaders opened the Dreamsonic tour, showcasing their immeasurable talent as one of the leaders (see what we did there?) in the djent movement. Originally from Washington DC, the trio formed when Prosthetic Records approached then-Reflux guitarist Tosin Abasi and asked him for some solo material. Now on their fifth album, Animals as Leaders enjoys throwing curve-balls at their audience by marrying their trademark technical prowess and crushing heaviness with trippy electronica and jazzy swagger. Opening their set – and the Dreamsonic tour itself – with “Ectogenesis,” the trio brought the audience in from the scorching Central Texas heat and into a funky, instrumental journey.
Bluntly, an Animals as Leaders set is nothing short of mesmeric. Abasi and fellow guitarist Javier Reyes spearhead the modern shred movement, often eschewing conventional pick or fingertip attack entirely and playing nearly fully tapped compositions. A technique pioneered by Michael Jackson guitarist Jennifer Batten, eight-fingered tapping kinda vanished for a few decades, but currently enjoys a resurgence among djent, jazz, and tech-metal woodshedders. Abasi and Reyes not only master this technique individually, they do it in freaking harmony because no, your head can’t spin enough, dammit. Rounded out by the simultaneously bombastic and understated drummer Matt Garstka, Animals as Leaders is an intoxicant for the mindful shredder, and can perhaps be fairly summarized as being really, really loud jazz.
ANIMALS AS LEADERS Photo Gallery:
DEVIN TOWNSEND Photo Gallery:
Klaus Meine compensated for his aging voice by asking his bandmates to tune down. James Hetfield learned how to sing rather than shout. And Ray Alder famously rewrote old melodies to fit his new, lower range. Scorpions, Metallica, and Fates Warning all benefited from these moves, and their longevity is testimony to that. There are ways to adapt to your newfound limits, but paper-thin screeches, thoughtless melissmas, and off-target scooping ain’t cutting it, good sir. Your bandmates are absolute beasts in their respective crafts. Please do what you need to do to get back on their level, because if you don’t, you risk becoming the Fish of progmetal, and none of us want that for you.
Despite Labrie‘s reluctance to adapt, wave his arms convincingly, or even deliver a good joke, Dream Theater as a unit still has it. And while it can’t go unsaid that much of the fun left Dream Theater with Mike Portnoy, it must be noted that not only is this quintet still fire on stage, Labrie often sounds fine when he’s within his new comfort zone. The graphics and animations on the Jumbotron Jr have gotten ridiculously good; the “enough injustice” graffitti and burning matches that accompanied “Answering the Call” were downright chilling.
You know what else was chilling? The sound fucking dying during the ass-end of that same song. The entire PA just freaking expired, leaving only Petrucci‘s stacks and Mangini‘s acoustic drums audible to any degree. Despite having attended literally hundreds of concerts over the past three decades, I have only seen this happen once, and I give massive props to the sound crew for reviving the PA in about two minutes. Mangini seized the opportunity to take an informal solo, even playing the intro to Led Zeppelin’s “Rock and Roll” and Van Halen’s “Hot For Teacher.” I personally would have preferred he play a proper solo like the one he took during his first tour as the new Dream Theater guy, but that may have been a challenge given that he’s scaled back the size of his kit so dramatically. Before long, the band were tearing their way through “Solitary Shell.”
The real highlights of the set came at the very end though. Petrucci soloing over the piped-in acoustic intro to “The Count of Tuscany” assured me that even though backing tracks are something to which I normally object, they are sometimes appropriate, especially if the payoff is that I finally get to hear this song live. Petrucci extended the swell solo, peppering it with snippets of “When You Wish Upon a Star” – an homage to Pinnochio’s creator Carlo Collodi, himself a Tuscan – as well as “Beauty and the Beast” just to keep with the Disney theme; Ruddess dutifully added some simply wonderful sounds underneath the swell’s cadence, and man what a great reminder that was that just because you can shred doesn’t mean it’s necessary. The following acoustic passage and the solo that leads the closure are among my favorite moments in Dream Theater‘s storied discography, and experiencing that glory live reminded me that even if the “classic” prog-metal sound is no longer my preferred cup of tea, it is the very foundation upon which my love for metal is built.
I noticed a peculiar thing when the stage lights reanimated the darkened stage for set-closer “The Spirit Carries On:” there were not one, but two keyboardists flanking Mr Mangini‘s kit, and the second one was none other than Mike Keneally. I braced myself immediately, because I knew we were in for something special. And I was proven right when Petrucci emerged accompanied by Tosin Abasi at the start of the second verse, when the guitars enter the mix. But even though I spied a deranged bald elf creature crawling around backstage during this verse, I was absolutely not prepared for Devy himself to take Victoria’s lead vocal so that Labrie wouldn’t have to. Seeing Devy front Dream Theater, if only briefly, was something my decades of metaldom hadn’t prepared me for, and I lost my shit so heavily that I didn’t even notice Darby Todd flawlessly taking the kit from Mangini at the very moment Devy started doing the thing. Darby kept going right through that scorching Petrucci solo, handing the kit off to its rightful owner at the solo’s concluding salvos without even threatening to miss a beat. Devy again joined Labrie for the song’s closing verse and refrain, which was punctuated by Petrucci and Abasi playing that searing guitar melody in harmony together. Words cannot describe how transcendent this experience was, so maybe hit the YouTubes. I’m sure someone has posted it.
There have been many times in Dream Theater‘s career that I’ve been tempted to write them off as static or irrelevant, and without fail, their live performance disabuses me of such absurdities. They continue to be the reigning kings of their genre well into their fifth decade, and their willingness to bring more obscure talents out on the road with them demonstrates that they are both humble and self-assured enough to nurture groups who more skeptical minds might deem a threat.
DREAM THEATER Photo Gallery:
What kind of idiot drives six hours — each way — to see an opening act that has one hour to show its stuff? Ahem. I guess that would be me.
Granted, I basically knew what to expect, having listened to and been a fan of We Came From Space. But the band had done only a handful of gigs, and I wanted to check them out in the live setting.
It was a relatively small club in Pittsburgh, a homecoming for WCFS. Some of the folks there were already fans (including friends and kin); many were newcomers who wanted to hear the main act. They weren’t disappointed.
WCFS kicked things off with the title track from their most recent album, “Overlords”. This is the group’s penultimate song, featuring shifting rhythms and melodies within a driving framework. It’s also a challenging piece on a couple of fronts. “Overlords” is a tip of the hat to the great band Crack the Sky (for whom WCFS opened on their first-ever live performance). It goes beyond the music; the lyrics include mentions of many CtS songs. As such, it’s something of an insider piece, but it is catchy and fun. Live, it featured guitarist/singer Davc Buzard, who is a great front-man presence. The surprise came about ½ way through the song. Bill Hubauer — the best-known member of the band due to his work with Neal Morse — came out from behind his keyboards, picked up a guitar and kicked into a power solo/duel with Buzard. It was impressive and fun, and the two guitarists gave each other looks that indicated they were enjoying things as well.
That’s no surprise. Hubauer, Buzard and bassist/vocalist Dave Hawk have known each other since they were kids, listening to rock records in a home basement and dreaming about making it big in the music world. Drummer Tim Malone — the new guy — is now part of the fulfillment of that dream, presenting Prog and Roll to the masses. Or at least the folks in the clubs.
The band moved into “Vivid Colours”, a rocker from their previous album “While You Were Away”. With some music hall flourishes (featuring Hubauer’s piano), there is a Beatle’s feel to things. The lyrics talk about “those vivid colours turning grey,” but Buzard’s vocal and guitar break make for a colorful performance. Er, colourful.
“Pieces of the Sky” follows on the record, so it seemed natural that it would do the same in concert. It’s several notches down in terms of pace. It’s a bit dreary, sad, and yet there was still power in the proceedings. Hubauer and Buzard traded lead vocals — impressively. And Buzard’s guitar was hard and harsh, like pieces of the sky falling down.
And speaking of the guitar, the mix wasn’t always the best. Buzard’s axe wasn’t “up” enough, especially in some solo sections. Hawk’s bass provided a couple of jolts of feedback. And for these ears — admittedly old and abused — I’d have boosted the vocals a tad as well. But maybe that’s just me.
Next up — a third song from “While You Were Away”, “Business as Usual”. This one drives ahead, in a hurry and urgent. It’s a toe-tapper, a fist pumper, and a great example of what WCFS does in the song category (those that are less than six minutes in length). Hubauer’s keyboard solo was frantic but not out of control — and there were some points that reminded one of Steve Walsh and Kansas.
Then came the big hit single. Or it was supposed to be, according to emcee Buzard, showing his dry wit that adds to the overall performance. The problem was, the group kept adding things…. and before you know it, “She’s the Bomb/Atomic Blues” is a 10 ½ minute epic. But it’s worth every second, both on record and live. Hubauer’s piano provided strong underpinnings (as did the later synth section). This one could have come from the early Ambrosia catalog — lyrically interesting with a melody that grabs. Then Hawk’s ominous bass line announced the second part, and it is bluesy, just as the man said, the band building higher and higher in energy and volume until the end section took things down. Again, the keyboards grabbed the lead and didn’t let go. Bill Hubauer is a singular talent, in so many ways. This one demonstrated that fact. And then some.
The band then showed another of its influences, offering a cover of the Michael Stanley Band’s “Let’s Get the Show on the Road.” Hawk took lead vocals on this, with his mellow tone fitting right into a song about what travel and touring is like for most groups — it can become drudgery and wearying. WCFS’s version was a bit more uptempo than the original, a bit more sonically powerful. But I think Stanley would have approved. There’s just one problem with this one — it’s not available on record, yet, although it has been recorded. This one should be heard by the masses; the live performance proved that.
“Façade” was the real thing, another showcase for Hubauer’s vocals and keys. There were some Kansas organ flourishes midway through, but this was more power ballad than “Point of Know Return”. And Bill’s vocals were at their most plaintive, really hitting a range of emotions. Powerful.
On “Overlords”, that segues directly into “Seize the Day”. On stage, the boys broke it up as Buzard informed folks that the next one would be the last song of the set (okay, they’d gone over an hour…but who was counting?). The rhythm section of Hawk and Malone did some wonderful work on this one.Buzard added a crying guitar solo. This was a showcase for the band, pure and simple, and a great way to sign off. It’s hard not to compare the piece to “Time Waits for No One” by Ambrosia, lyrically as well as musically. And that’s a good thing, by the way.
As I noted earlier, the crowd was a mixture between friends of WCFS and those who didn’t know a thing about them. But it was telling that almost everyone gave the group a standing ovation when the set was done. That was impressive; it was also deserved. And it’s even more remarkable when you consider that these are four guys with day jobs, not full-time musicians, who get together here and there to create some memorable and compelling songs — mostly on record, occasionally in small clubs in the Midwest.
So what kind of idiot drives six hours — each way — to see an opening act that has one hour to show its stuff? I did. I would do it again for We Came From Space. I’d probably travel even farther. They are that good. And they deserve more live gigs to further build an audience. Don’t be surprised if you see me in the front row.
The post CONCERT REVIEW: WE CAME FROM SPACE is Other-Worldly (June 15th, 2023) appeared first on Sonic Perspectives.
“I got some bad news for you sunshine, Pink isn’t well, he stayed back at the hotel. And they sent us along as a surrogate band, we’re gonna find out where you fans really stand.”
It’s funny how classic rock has evolved over the decades since its heyday in the 70s. These days, surrogate bands – or tribute bands as they’re more affectionately called – have grown in stature to a level not dreamed of a couple of decades ago. Sporting their own merch, concert DVDs and even VIP meet and greets, these surrogates are creating their very own cult of personality as hungry audiences gobble up any chance to relive their youth, or perhaps experience a sliver of what they missed out on back in the day. The fact that the actual final incarnations of Queen, Yes, Roger Waters/Nick Mason and – until recently – Genesis are still touring in real time doesn’t diminish the dozens of tribute bands who also tour their music and who draw impressively large crowds as they do so.
Case in point – Brit Floyd. Billed as “The World’s Greatest Pink Floyd Experience”, this tribute concert delivers what the fans want: the band’s entire catalog played impeccably, supported by a stage show to match (or at least approximate) the scale of the original. Although Brit Floyd may only employ 2 trailers of equipment, unlike Roger Water’s 21 trailers for his tour of The Wall, it’s still a most impressive stage show including lasers, fog, banks of lights and, most importantly, the circular video screen at its center. The Red Rocks show is the pinnacle of their massive 110-date tour but it is not an anomaly. To the contrary, the band has played the Rocks ten times before! Which is why tonight’s show being a sell out months in advance came as no surprise. In the past year Denver Pink Floyd fans have had the chance to see Nick Mason performing pre-Dark Side material with his excellent band, Roger Waters performing his renditions and political overtures, but the crowd still clearly calls out for more. Brit Floyd is here to meet that need and then some.
Photo by “Iron” Mike Savoia
Although the band is celebrating the 50th anniversary of one of the most popular and well-known albums in the history of rock, Brit Floyd isn’t pandering just to the casual Floyd fan. This approach is apparent even in the recorded warm-up music played during the hour before the band takes the stage, including such Floyd rarities as “Grantchester Meadows,” “Terminal Frost” and “Obscured By Clouds”. Similar nuggets will appear in the evening’s set-list but the inevitable concert opener has to be “Speak To Me/Breathe” which establishes the skill of the band and their dedication to replicating the original, complete with steel guitar. They quickly jump forward in time to the Gilmour-led era with the standout “What Do You Want From Me”, which is accompanied by a stinging guitar solo and the appearance of three female backup singers, a Floyd staple.
The first set is mostly a slow-paced affair which isn’t too surprising given Floyd’s catalog. “The Great Gig In The Sky” features spot-on vocals from Eva Avila, while bassist Ian Cattle gives his best Waters vocal homage during the unexpected “Gunner’s Dream”, segueing into Ryan Saranich’s soulful saxophone solo. The band does rock it up a bit with the fan-favorite “Young Lust”, accompanied by a saucy video montage, and they are sure to do it right by including the opening intro “Empty Spaces”. Brit Floyd displays their ability to seamlessly traverse era’s by playing the acoustic deep cut “Fearless” (a personal favorite) from “Meddle” followed immediately by “Happiest Days of Our Lives/Another Brick Pt. 2”, which works convincingly well. After band leader Damian Darlington flawlessly executes one of the best guitar solos in rock ’n roll as we know it, Edo Scordo rounds out the song with an inspired additional guitar solo, one of the night’s few moments of expanding on the original recording (which he later follows up by adding tasty Spanish guitar to the end of “High Hopes” after Darlington’s steel guitar solo). And yes, they do bring out a local school choir on stage to add to the visual impact of “We don’t need no education”.
Photo by “Iron” Mike Savoia
By the time Intermission ends, the summer night is sufficiently dark to make the most of the band’s special effects, nicely complimenting the natural effects that Red Rocks is renown for. “Shine On You Crazy Diamond” is the other classic set opener and the crowd revels in Matt Riddle’s keyboard treatment of it, along with the 4-note signature guitar motif that shook the world. Still, Saranich seems to always garner the most applause with those short but impactful sax solos, and it’s always a treat to hear the deep tone of a baritone sax in “Shine” before he pivots to the tenor. As the sax fades out into the mist, an image of Sid comes onto the circular screen, a nice nod to some of the source inspiration for the song. Brit Floyd are very good at adding classy touches like this throughout the show. Appropriately, “See Emily Play” follows, one of Syd’s early hits for the band.
A highlight of the second set is “Pigs (Three Different Ones)” which finds Scordo pulling swine calls out of his guitar during the interlude as Darlington commands the talk box guitar. The latter portion of the 12 minute piece is spotlighted by Darlington launching into one of the fiercest guitar solos of the evening. The audience needs a breather afterwards, which “Wish You Were Here” is perfectly timed to offer, the screen lighting up with images of the Floyd band members throughout their career and ending with the final group appearance at Live 8, bringing a tear to the eye.
Photo by “Iron” Mike Savoia
The lighting and laser displays take it up a notch for the final run of “One of These Days”, “Brain Damage/Eclipse” and finally “Comfortably Numb”. The closing piece adds a bit of classic Floyd theater to the stage, with a Bob Geldof-like “Pink” slouched in a chair in his living room while the film version of The Wall cleverly plays on the TV. Cattell plays “the Doctor” and acts out the role during the verses while Andy Robbins takes his spot on bass. Again, Brit Floyd going the extra mile to make a show more than just the music. But ah, the music is there, too, in all its glory. This time around Scordo takes the first classic guitar solo, leaving Darlington to follow up with one of the all-time greats in rock guitar moments. The grand disco ball descends from its overhang and Red Rocks is bathed in the glow of visual and aural bliss.
After leaving 10,000 fans comfortably numb, there’s hardly need for an encore. But Brit Floyd are up for the task, not only delivering the expected “Run Like Hell” as the final visual blowout, but also pulling in “The Final Cut”’s rocker “Not Now John”. Fuck all that. It’s good fun and at nearly 3 hours, this is an epic Floyd show to please nearly any fan of the band. (No, there was no “Echoes” tonight, they played that in last year’s set) Truly, Brit Floyd is an experience that does justice to the massive legacy that the original Floyd has left. Hats off to the entire band and staff who worked hard to add a little Pink to these Red Rocks. Most assuredly they’ll be back again next summer with a new set-list to continue the tradition.
Photo Gallery by “Iron” Mike Savoia
In the middle of a week when Canada was still fighting the bushfires that substantially damaged the air quality across North America, the Klash of the Titans tour hit the Danforth Music Hall in Toronto. The smoke from the bushfires created a foggy and red landscape throughout the city, with the perfect post-apocalyptic scenery for a show of this kind.
Old school fans might remember another similarly titled tour, the legendary Clash of the Titans, which happened in the early 90’s and consisted of Slayer, Megadeth, Anthrax and a rotated spot which was occupied by Suicidal Tendencies, Testament or Alice in Chains, depending on the leg. This year’s Klash of the Titans, although not exactly linked to that one, counted on at least two names that were invited to join the 90’s tour, but for one reason or another, could not make it: Kreator and Death Angel. Another staple of the thrash metal community, Brazilian band Sepultura, was the co-headliner with Kreator, and new-ish band Spiritworld concluded the lineup.
The 22 dates ran from May 12th to June 10th, and seeing how most venues in North America have early curfews, Spiritworld had to start at 6:30 PM. For the Torontonian audience, this meant that most fans would have to arrive halfway through their set, but that didn’t stop the Las Vegans from committing to the show and delivering a captivating performance. Wearing colourful jackets full of glitter and cowboy hats, they entered the stage with the bucolic and calm “Cattle Call”, from country artist Eddy Arnold sounding in the PA system. It was the last time something so soft would be played on the night. Their setlist was perfectly split between their two albums to date, 2020’s “Pagan Rhythms” and 2022’s “Deathwestern”. If you listened to both these albums, you’ll know that the future is bright for them, considering the jump in songwriting quality and ambition between the two. Their blend of country music with thrash metal appealed to the younger crowd that night, especially on songs like “Comancheria”, “Relic of Damnation” and the Slayer-infused “Ulcer”.
Photo by Joel Barrios
Death Angel entered the stage around 07:20, for a short but very intense set. If you have been following our page for a while you know we’re huge Death Angel fans (check out our review of their show in Toronto in 2019 HERE). By that time the venue was at full capacity, and they certainly did not disappoint. With their backdrop showing the cover of their latest studio album, 2019’s “Humanicide”, they held no punches on their performance. Kicking things off with “Thrashers” and the galloping “Voracious Souls”, from their debut album “The Ultra-Violence”, then following up with the title track of 2013’s “The Dream Calls For Blood”, the band had the audience in their hands the whole time. They reached the speed of light on the intro of “The Moth”, and it was refreshing to see Will Carroll pounding the drums like his life depended on it, after battling Covid-19 in the beginning of the pandemic and being on the verge of death. The interaction between guitarists Rob Cavestany and Ted Aguilar is almost telepathic at this point, and Mark Osegueda remains one of the most underrated and iconic frontmen of his era. He addressed the crowd several times mentioning how they played two sets on the same night at the legendary venue El Mocambo in 1987, and another show at the Danforth on the day his mother had a bypass surgery. The set progressed with “Humanicide” and concluded by coming full circle with their staple thrash anthem “The Ultra-Violence”.
Photo by Joel Barrios
Next up was Kreator, who came on stage with the intro “Sergio Corbucci Is Dead”, from their latest album “Hate Über Alles”, followed by the title track of the same album. From the onset, it was clear they were the band with the biggest production of the night – strobe lights, stage props and an inflatable demon in the back, with arms that embraced Jürgen “Ventor” Reil’s drum riser. Staples of their set, “People of the Lie” and “Enemy of God” came next, the former with a great solo from Finnish lead guitarist Sami Yli-Sirniö, and the latter being played at breakneck speed. Mille Petrozza, the bespoke leader of the band, at this point is no longer only a musician, but a metal institution. Throughout their set, he summoned the crowd to do walls of death, circle pits and the good old crowd-surfing, most notably during the breakdown of “Betrayer”. His abrasive singing style is intact, with the same power he had since the band’s inception in the distant year of 1982.
Photo by Joel Barrios
At this point, the experimentation done by Kreator on albums like ’“Renewal” and “Endorama” are log gone from their sound, and they have reached a cadence of releasing a new studio album every five years, with relentless touring in-between. Their set consisted of one song only from each album they chose to represent, with the exception of “Violent Revolution”, of which they played the title track and “The Patriarch”. Although the crowd was totally satisfied, one can hope they return to North America with a longer set in the near future. The ominous “Satan Is Real” received the biggest reaction of the night, followed by early hit “Flag of Hate”. Another high point of their show was “666 – World Divided”, a song release in early 2020 to promote a then upcoming tour of Europe, which never materialized due to the pandemic. The proceedings ended with the title track of their landmark release, 1986’s “Pleasure to Kill.”
Photo by Joel Barrios
A 10:00 PM sharp, it was time for the Brazilians of Sepultura to enter the stage. Their latest release, 2020’s “Quadra”, did not have a proper tour to be promoted, and since the pandemic has eased, they seem determined to make up for lost time. They played in Toronto in March of 2022, and were now back to headline this night, on a much larger venue.
The last time I had seen Sepultura live was on the third installment of the Rock in Rio festival, on a night that also had Queens of the Stone Age, Halford and Iron Maiden, playing the show that would become their “Rock in Rio” live DVD. And boy, have things changed since then! At that time, Igor Cavalera was still on drums, and the band has only released on studio album with then, “the new vocalist” vocalist Derrick Green at the helm (“Nation” which had come out a few months before that performance).
Photo by Joel Barrios
I must admit, my connection with Sepultura had been broken for a few years. I did listen to some of their releases such as “Dante XXI”, “A-Lex” and a few others, and although the concepts were great, the music was just not that appealing to me. However, 2017’s “Machine Messiah” and the aforementioned “Quadra” rekindled my love for the band, and tonight I was more than ready to have my ears bleed due to their sonic onslaught. The intro song as they came on stage was “Polícia”, from the Brazilian pop rock band Titãs, and they quickly started with “Isolation”, one of the best songs from “Quadra”. As a stark contrast with the high end production of Kreator, Sepultura’s stage felt more like a boxing ring, with the four musicians feeding off each other constantly. The classic “Territory”, from “Chaos A.D.” came next, much to the joy of old schoolers like me.
Photo by Joel Barrios
The confidence of the band in their newer material is strong, and they chose to represent the new album with four more songs: “Ali”, the heartfelt homage to the late boxer Muhammad Ali, the brutally percussive “Means to an End”, the evocative, Opeth-esque “Guardians of Earth” which celebrates the indigenous people of Brazil, and the atmospheric and brooding “Agony of Defeat”. Derrick’s imposing figure and incredible voice are a force to be reckoned with, and any expletives to describe Eloy Casagrande’s energy behind the kit would not do him justice. The man really elevated the band’s sound, and brought an extra dose of brutality to their already massive sound. Paulo Jr., the only original band member at this point, provided the much-needed support on the low end, while Andreas’ rich and heavy tapestry brought melody and heaviness at the behest of the songs. Be it on the acoustic intro of “Guardians of the Earth”, on the heavy riff attack of “Kairos” or on several solos through the night, he remains a versatile musician, whose virtuosity might be ignored by the casual listener, but which comes out once examined at close range.
Photo by Joel Barrios
The final portion of Sepultura’s set was a wet dream for old school fans, with four classic songs in a row: “Refuse/Resist”, “Arise”, “Ratamahatta” and the anthemic “Roots Bloody Roots”. As the economics of putting together a tour make it more and more difficult for bands to tour Canada, it’s admirable that four bands of this calibre were able to join forces and perform more than twenty shows across North America, many of which were sold out. Here’s hoping that more acts are able to make it work and make it to these shores. Being creative with their set-lists, giving fans what they want and investing in high quality merch go a long way in today’s competitive and expensive market. Spirit World, Death Angel, Kreator and Sepultura did all that and then some on this tour!
Photo by Joel Barrios
The post CONCERT REVIEW: The KLASH OF THE TITANS Tour Obliterates The Danforth Music Hall in Toronto (June 8th, 2023) appeared first on Sonic Perspectives.
“Thou Shalt Not Judge.”
This directive from the Bible is pointed at the believers. But I wish sometimes it would be taken to heart by the atheist and agnostic metal heads. Because if people would set aside their personal disdain for “Christian rock” and simply go to a show with an open mind, I’m willing to wager they’d “see the light,” or at least give a well-deserved tip of the hat to some great live acts who happen to have found their faith in God.
Such is the case with Stryper, and they reaffirmed my beliefs in them as a solid live metal act during their tour stop at the Oriental Theater in Denver. Led by the age-defying front-man Michael Sweet, the band blazed through a 20-track set that covered nearly every aspect of their nearly 40 years of “righteous rocking.”
There were a few things missing from a typical metal show, such as a haze of pot smoke, a throng of inebriated fans and a noticeable lack of profanity coming from the stage, but these things certainly weren’t missed. And yeah, in the long-standing tradition of the band’s live act, they threw out both guitar picks as well as some Stryper Bibles to eagerly receptive fans.
But if you ignore what wasn’t there and simply look at what was, here’s what you found: Four road-proven veterans playing seriously tight metal with stratospheric lead vocals, amazing guitar tones, hummable chorusing guitar solos and an energetic “turned sideways” drummer who worked hard to earn his reputation as the “visual timekeeper.” Chunky rhythms? Check. Meaty bass? Check. Pounding drums? Check.
All the elements you could want in a good-feeling heavy rock show were there in spades, including the yellow and black wardrobe, guitars and drum kit that sustain their signature look. There was no preaching. No gospel pitch. No call for prayer or other intrusive aspect that should put anyone at ill ease, regardless of what they believe.
This was the church of hard rock, and it was honestly pretty glorious.
The generous set-list touched on 10 records from the band’s entire career, favoring their biggest seller to date, the million-selling “To Hell With the Devil.” And while they included a number of MTV era classics, they also mixed in a considerable number of newer tracks. It’s worth noting that Stryper has only gotten heavier as they’ve gotten older. In fact, they re-worked the glossy “In God We Trust” from 1988 into a much heavier rendition that proved superior to the original.
A new track, “Transgressor,” kept the audience riveted, and drew a loud crowd cheer at the sudden break following the blistering solo. Sweet announced that “Sorry” was his grandkids favorite Stryper song, and it was chunky and chuggy in the best possible way. Michael expressed a tremendous amount of appreciation to the crowd for continuing to support the band and giving them the opportunity to keep doing what they love. It seemed sincere and humble. “All for One” featured a fantastic tandem solo section between Oz Fox and Michael Sweet. The one two punch encore of “Soldiers Under Command” and “To Hell With the Devil” was a spirited sing-along that brought the crowd a little closer to heaven.
Considering all the band has been through over the years, it’s remarkable they’re more potent than ever. The band broke up in 1993, and reunited 10 years later. For a while, Michael Sweet was working as a park ranger. He lost his wife to cancer and has endured multiple detached retinas requiring emergency surgery. That eye patch he’s wearing on the “Trangressor” video wasn’t there to make him look like a pirate. Oz Fox has suffered through seizures and life-threatening surgeries to treat multiple brain tumors. Through all these tribulations, and some others that are not even worth mentioning, somehow the brothers have managed to forgive and move forward. Though the narrow road has not been easy, “The Yellow and Black Attack” continues to roll ahead on it.
So God bless ‘em! While no band is perfect, and the guys in Stryper don’t claim to be, now about 40 years into their career they have come pretty damn close to perfecting a fantastic live rock show. Check them out on their current tour. They may just make a believer out of you.
STRYPER Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The post CONCERT REVIEW: STRYPER Delivers Blazing 20-Songs Performance During Denver Tour Stop (May 24th, 2023) appeared first on Sonic Perspectives.
This past week, at the Mayo Performing Arts Center in Morristown, NJ, Cheap Trick kicked off the first show of their 38-date summer tour that runs from May 17th to September 23rd!
A key benefit of attending a Cheap Trick concert is their set-list. With 19 albums worth of material at the band’s disposal, you can guarantee that no two Cheap Trick shows will be alike. For the diehard fans who attend multiple shows, this is a dream come true. For the casual fan, they will either walk away slightly frustrated or leave with a profound respect and appreciation for the band’s vast musical catalog. Every show offers an infinite number of musical possibilities. It’s a testament to the band’s strength that they can easily pull off deep tracks or obscure songs.
The band consists of the band of Robin Zander [vocals], Rick Nielsen [guitar], Tom Petersson [bass], Daxx Nielsen [drums], and Robin Taylor Zander, aka RTZ [guitar and backup vocal]. The Rockford Rockers have dubbed themselves the best garage band in the world, but in reality, they are the very definition of a great American rock band. Their songs offer a tremendous variety from hard, fast, and edgy, appealing to their rock fan-base, or poppy and melodic, which can be heard on the radio. They are an iconic band that broke the mainstream music mold.
Cheap Trick engaged in a continuous 90-minute sing-along to an exuberant New Jersey audience. Did they deliver on the hard-rocking tunes? You better believe it by performing “He a Whore,” “Light Up the Fire,” and “The House is a Rockin”?. Did they give us ballads with lush vocals? Yes, indeed, as they gave us heartfelt versions of “Heaven Tonight” and “The Flame.” Did we get a cover tune that everyone thinks they wrote? “Ain’t That a Shame” hit the mark with its infectious opening drum beat.
Powerhouse vocalist Robin‘s hypnotizing voice filled the theater while pulling you into the songs. His inescapably cool, whether on guitar or with his strong vocal performance, elevated the show. In an era where you are unsure whether the singer is really singing, the band is using backing vocals tracks, or if the guitarist is really playing, rest assured, Cheap Trick is the real deal.
Rick had his jogging sneakers as he roamed the expansive stage, throwing picks out to the audience and delivering his quirky facial expression to the front row. His signature sound clearly comes from switching from playing with a pick to using his fingers to achieve the song’s rich tone. His solos were a mix of rhythms and tasteful blues runs played over the solid foundation that Tom, Daxx, and RTZ were laying down. Rick also brought an army of guitars which he changed for every song. Guitar favorite is always the five-neck checkerboard guitar that he used on “Goodnight” and his “Uncle Dick” double-neck guitar made in his likeness on “Auf Wiedersehen.” There may have been a new addition to his touring armamentarium: a gold sparkle Gibson Explorer that shined like a diamond to the last seat in the balcony. Other guitars that deserve an honorable mention were the Checkerboard Explorer and Flying V, along with his Beatles and Cherry Sunburst Gibson Les Paul.
Having Tom back in the fold after a brief hiatus due to heart issues was a blessing. Wearing a Stetson and keeping a low profile by the drum riser, he is single-handily responsible for giving the band’s songs their groove and swing. His hands moved in syncopated harmony on his 12-string Gretsch bass as he drove the songs home while playing perfectly in the pocket of Daxx‘s drumming. Daxx embellished the iconic songs with interesting fills and a genuine sense of rhythm while following the guitar’s melody. He has a swing to his playing style that serves the song yet is unique in his execution. RTZ took on the heavy lift of second guitar, backing his father on vocals/harmonies, and even took lead vocals on “Downed” off In Color!
Like death and taxes, you will always know their Cheap Tricks will perform their biggest hits, “Surrender,” “Dream Police,” and “I Want You to Want Me.” When the lights went dark, the crowd demanded more before they returned to reality. The whistles and cheers were relentless, so the band obliged with “Surrender,” “Auf Wiedersehen,” and “Goodnight.” Before departing the stage, Rick hinted at a new Cheap Trick album and quipped, “We’re too dumb to quit!”
To their credit, in 2016, Cheap Trick was inducted into the Rock & Roll Hall of Fame. The band from Rockford, Illinois, finally got their just rewards for a triumphant career. This evening the band continued their tradition of giving everything they had, as it was all about having fun and enjoying some iconic classic rock. After rocking fans for nearly 50 years with 10,000s of shows in their wake, Cheap Trick remains strong as they delivered what people came for, a great rocking time. Tickets for their summer are available HERE.
Cheap Trick Photo Gallery:
Griff Washburn, better known by his stage name Goth Babe, brought The Lola Tour to The Rooftop at Pier 17 in New York City for the tenth show of a 36-date tour that kicked off in Aspen, Colorado on April 22. His fuzzy, alt-rock guitar-driven music, much of which is written on an off-the-grid 36-foot sailboat and namesake of the tour, was a match made in heaven for the dynamic 1.5-acre, open-air rooftop venue which opened in 2018 at the South Street Seaport and boasts panoramic views of the Lower Manhattan skyline.
Living in the Washington state mountains by way of Tennessee, and later Brooklyn, Goth Babe’s songs of personal reflection and the great outdoors are truly captivating. And the story of how the electronic-indie musical nomad came to enjoy his camper-dwelling lifestyle in the great Pacific Northwest is just as inspirational as his music. Living a life that many of us dream about, with his faithful companion Sadie (an adopted Australian Shepard), it has not been an easy journey for Washburn. In 2018, while living in his car, he was held at gunpoint. Although he was left unharmed, Washburn has candidly revealed that he suffers from the PTSD that followed. Then, in 2021, he suffered a traumatic brain injury that resulted from being hit in the head with a surfboard. Bedridden for months, touring was forced to a standstill while Washburn battled migraine headaches and depression. Following a resilient comeback with the support of his fan base, another major life setback struck Washburn. While on tour in early-2022, he was notified that the tiny home he had built for himself outside of Portland, Oregon has completely burned to the ground. Besides losing his beloved home, he lost his studio, recording equipment and an iMac with years’ worth of unreleased music that would never see the light of day.
Any one of these tragic events could have easily broken a person, but not Griff Washburn. He picked himself up, dusted himself off and then did what any one of us would do – he bought a truck with a camper and built it out with solar power, a small studio and even a wood-burning stove. In these new living quarters dubbed “The Lodge,” it would not be long before Washburn would embark on another vagabond, sun-soaked adventure.
Promptly at 7:30 pm, with the iconic Brooklyn Bridge serving as the stage backdrop and the sun setting over New York Harbor, Adrian Galvin (who goes by the moniker of Yoke Lore) and his drummer Garren Orr suddenly appeared from the dark shadows at stage right. As the crowd continued to grow exponentially with each passing minute, the duo was met with thunderous applause usually reserved for that of a headlining act.
Unfamiliar with Yolk Lore before tonight, I soon realized what all the fuss was about. Yoke Lore is a delectable recipe comprised from several key ingredients – namely harmonic anthems, voracious banjo playing, soulful beats and indie-pop synth fusion. In Galvin’s own words, his solo project “is a technique of telling stories about how we are bound to one another and how we are bound to ourselves. The value of anything can be measured in how it connects to its various counterparts. Heavy love deals with the weight that those relationships sometimes come with, but this is only one story among many that will make up the mythology of Yoke Lore.”
Raised in nearby Katonah (Westchester County), Galvin exhibited the stage presence of a seasoned veteran, gifting the audience one rousing indie pop track after another from his burgeoning discography that took formation in 2016. In fact, Yoke Lore is no stranger to the stage, having been born to a director and an actor/sculptor, he was encouraged at an early age to explore visual and performing arts. In addition to being a multi-instrumentalist, Galvin co-founded the Brooklyn-based dance troupe Boomerang, and his rug-cutting moves were put on full display as the 30-minute, 8-song set concluded with “Beige” and the title track from 2017’s EP “Goodpain”.
YOKE LORE Picture Gallery
The indie-electronic singer/songwriter who has continued to build his success via short-form EP releases dating to his 2016 debut next presented his ode to the ocean with “Moments/Tides” (“North Coast”, 2020), followed by “Colours” (“Smith Rock”, 2019). After Washburn addressed the 3,400-capacity sold-out crowd by saying “Thank you guys so much for coming tonight, we really appreciate you. We’re gonna have a lot of fun with you guys,” he chose a lucky member of the audience to join him onstage before she was granted a ride on an inflatable watermelon-themed pool lounger and released back into the ocean of fans.
The next trio of songs – “Alone in the Mountains,” “Casita” and “Encinitas” – continued the relaxed, easygoing theme of the night highlighted by lush, melodic mixes and shimmering electronic pulses. Released in 2018 and catching critical acclaim, the euphoric “Sometimes” was up next. Featuring Washburn’s melancholic vocal tone and layered guitar, Pier 17’s rooftop and everyone on it was cast into a dreamy, nostalgic haze.
After he made the request that each member of the audience should “turn to a neighbor that you do not know and tell them why you live in New York and why you love it so much,” he invited another fan onto the stage to assist him in launching a cardboard cut-out of the English actor/comedian Rowan Atkinson (a.k.a. Mr. Bean) to surf the crowd for the duration of the show. Washburn continued to enrich our collective musical palette with “Taking Over The Sun,” a song about overcoming adversity and “Canary Islands,” a tranquil indie pop gem depicting a wanderlust traveler.
As Goth Babe’s 70-minute long set neared the home stretch, he addressed his adoring fans again. “Do you guys care if I get sappy for a second? You guys, this is insane. This is really, really cool. I don’t know if you guys looked around at all, but this is pretty insane. We are extremely grateful for every single one of guys. We’re not like rockstars up here, we’re just dudes. I’m from Tennessee. But this is just so nuts. None of this would be possible without all of you guys buying tickets. You guys, life is so, so beautiful and I love that I get to share this life with you guys. This is awesome.”
After performing “The Trees,” “End Summer,” “I’m in Luv” and “Driving South,” the delightfully chilly spring evening culminated with “Weekend Friend,” a single released by him in 2019 about the emotional complexity that comes with ending a relationship with someone. Witnessing the show’s finale from a 25-foot perch atop Pier 17’s soundboard configuration, I had a magnificent view of the thousands of happy souls below me as they belted out the song’s chorus in unison.
When he’s not on the road touring, Washburn and his pup Sadie can be found outdoors exploring the west coast in their truck camper, writing music along the entire way. Washburn is also an advocate for environmental non-profit organizations such as Protect our Winters and the Conservations Lands Foundation, helping to raise money and awareness where he can. So, in a small but important way, by listening to his music, attending a Goth Babe show or buying some of his merch, you would also be lending support to our fragile Mother Earth.
If you’re unable to catch Goth Babe’s current tour, or you want to learn more about the personal side of the freedom-filled outdoorsy musician who grew up on old school punk and surf rock, check out his short documentary film “Tides.” Released in 2020 with adventure photographer and filmmaker Ben Moon, Washburn used the opportunity to “talk about mental health and how it deeply affected [his]life in the hopes [he could]open the door for some of [us]to seek help and/or not feel so alone.”
Following a handful of dates in Massachusetts, Kentucky, Illinois and Utah, Goth Babe will be taking a two month hiatus from mid-May to mid-July – during which time I am sure he will be either writing more music, surfing, rock climbing, snowboarding, sailing, hiking, or a combination of all these passionate activities – before resuming the second half of the tour that will conclude at The Ritz in Raleigh, North Carolina on August 12.
Yoke Lore Setlist:
Fake You | Chin Up | Seeds | Shock Flesh | Truly Madly Deeply (Savage Garden Cover) | Winona | Beige | Goodpain
Goth Babe Setlist:
New Born Worlds | Moments/Tides | Colours | Wanna Help Your Mind | Alone in the Mountains | Casita | Encinitas (Goth Babe & Louis the Child cover) | Sometimes | Taking Over The Sun | Canary Islands | The Trees | End Summer | I’m in Luv | Driving South | Weekend Friend
GOTH BABE Picture Gallery
For more than 50 years the modern environmental movement has been a pivotal force in shaping world politics and given hard rock’s equally long and extensive input in said realm, it seems only fitting that the two would converge into a festive occasion on the birthday of the former. Claiming Central Florida as its home and hosted by iHeartRadio’s 101.1 WJRR station, the aptly dubbed Earthday Birthday Festival has proven among the most well attended and longest running festivals in the state’s history. Though this year it would also have the rare honor of occurring on the same day as Earth Day itself, the 2023 edition would be no exception in any other respect as the masses flocked to The Orlando Amphitheater for a full day of hard and heavy rock music, boasting such noteworthy headliners Breaking Benjamin and The Pretty Reckless among its lucky 13 billed attractions.
Between the two stages that would accommodate a dozen acts and the unusually mild, cloudy and breezy weather (in April by Florida standards), it was all but stipulated that smooth sailing would be the order of the day. Barring the lone exception of Las Vegas modern metalcore mainstays Falling in Reverse cancelling their set due to health reasons via video message (which was treated with heavy disappointment by those in attendance, likely due to front man Ronnie Radke not appearing to be significantly ill), this would be the case, as each act, be they large or small, brought their A-game. Kicking things off on the Byrd Stage at noon would be Florida natives and Rage Against the Machine tribute act Products Of Rage. Though enjoying the least level of popular reach of any of the scheduled acts, a combination of competent emulation of such notable bangers from said band like “Freedom” and “Bulls On Parade”, alongside an apt cover of Quarantine classic “Bullet In The Head”, combined with a high energy stage presentation by this 90s nostalgia act saw them warming the cauldron quite effectively.
Photo by Joel Barrios
As the early afternoon progressed, the weather would be the only mild element at play as one ear-splitting band after the next alternated between the two stages. Riding the Turn It Up Stage with enough attitude to sink a cruise ship via the PA system, Phoenix nu-metal newcomers Dropout Kings would drench the open air in deadly decibels with their blend of bottom-heavy grooves, rapid-fire rapping shouts and dense synthesizer ambiences. The co-equal vocal personas of Adam Ramey and Eddie Wellz would command the most attention, throwing fast-paced rhymed verses and elaborate hand gesticulations into the air with seemingly reckless abandon, while the instrumentalists in the crew could well have been backup dancers in how animated they approached things. Maximal audience response would be achieved via hard-hitting numbers like “Virus” and “Glitchgang”, capping off a brief, 20 minute set that was arguably too intense to have lasted for 21.
Photo by Joel Barrios
A few minutes later back on the Byrd Stage, a more melodic yet equally intense chord would be struck via the handiwork of Palm Beach rockers Fame on Fire. Their extensive history as a cover band adapting pop material from the likes of Ed Sheeran, Adela and Juice Wrld into a harder-edged style no doubt fed into their extremely competent and engaging performance, with vocalist Bryan Kuznitz’s ultra-smooth delivery acting as a brilliant foil for the generally heavy and attitude-laced sounds put forth by guitarist Blake Saul, bassist Paul Spirou and particularly the thundering roar of drummer Alex Roman. Brevity and infectious hooks would merge with a sense of melancholy as heartfelt anthems of love and angst like “Rotting Away”, “Her Eyes” and “Plastic Heart” highlighted a short yet very sweet half hour, which would find the band moving about as enthusiastically as the crowd below.
Photo by Joel Barrios
The melodic consonance with a rocking edge would continue with a vengeance over on the Turn It Up Stage with the 1:50 pm entry of Florida post-hardcore aficionado outfit The Red Jumpsuit Apparatus. Marking their 20 years of existence on a highly energetic note, this quintet of emo experts led by sole founding member and helmsman Ronnie Winter’s high-riding tenor wouldn’t waste a single nanosecond of their 35-minute set in raising the invisible roof above. Classics from the metalcore-obsessed mid-2000s such as “False Pretense”, “Your Guardian Angel” and set closer “Face Down” would round out the selections that would elicit the most raucous response from the sea of moving bodies in the crowd, though a comparable avalanche of cheers would chase their rendition of Blink 182 hit “All The Small Things”, which was emulated so effectively that apart from Winter’s more melodramatic vocal persona that it could have been easily mistaken for the original.
Photo by Joel Barrios
Mid-afternoon at the Turn It Up Stage would see a rather sharp and auspicious stylistic left-turn with the entry of L.A. blues rockers with a post-grungy edge Dorothy, though the resulting roar of approval from all in attendance was no less palpable. Led by the soulful and highly charismatic singer for which the band draws its name Dorothy Martin, this vintage rock upstart fold would strike out with a medley of finely tuned, 70s-tinged rock that span their now 9-year career like caution thrown to the proverbial wind, with Martin herself sounding as powerful as in the studio at every turn. The opening banger of their 45 minute set “Down To The Bottom”, alongside heavy mid-paced monster entry “Black Sheep” and the more 90s alternative rock semi-balladry of “Rest In Peace” would stand among the standout moments of a highly consistent performance, though the riff happy rocking punch of closer “Gifts From The Holy Ghost” would steal the show, not to mention showcase the solid chops of newly recruited guitarist Sam “Bam” Koltun.
Photo by Joel Barrios
The late afternoon would see a more metallic tone struck over at the Byrd Stage, featuring the groove-heavy fervor of California’s own Bad Wolves. Though their recent touring has proved a challenge with the exit of original vocalist Tommy Vext, his replacement Daniel Laskiewicz has continued to gel with the rest of the fold, ditto recently acquired rhythm guitarist Max Karon, whom likewise did well in establishing his stage presence during their energetic, yet too-short set. Naturally the crowd would go the maddest for the band’s signature cover of Cranberries classic “Zombie”, which Laskiewicz would shine the brightest, though his husky bellow also found a comfortable home on the emotionally-charged number “Killing Me Slowly”, and one of the entries bearing his own pipes in the studio “If Tomorrow Never Comes” would close things out on a high note.
Photo by Joel Barrios
The arrival of 5 PM would see the heavy hitters taking the reins, and in said department few could have hoped to rival the display put on by Atlanta-born alternative metal icons Sevendust. Though they would only be allotted 45 minutes to sum up a career that is approach the 30-year mark, they wasted no time in bringing the fire with a blast radius comparable to a nuclear missile. The regiment of tattooed arms and mostly short hair on this now middle-aged veteran act would be led once again by the lion-like dueling roars of guitarists John Connolly and Clint Lowery, the relentless pounding of drummer/vocalist Morgan Rose and the unique charisma of helmsman Lajon Witherspoon, whose enthusiasm was at least as impressive as the length of his dreadlocks. The crowd response and heaviness factors would hit a boiling point on riveting renditions of “Face To Face”, “Waffle” and “Rumble Fish”, but with nothing but vintage classics in tow, the zenith points didn’t fly too far above the rest of the set, and this veteran fold didn’t show any signs of age in their performance.
Photo by Joel Barrios
The metal mood would shift in more of a punk direction with Columbus, Ohio’s own melodic hardcore masters Beartooth manning the Byrd Stage. As one of the more multifaceted outfits in the latter-day metalcore scene to emerge in the 2010s (arguably the nadir of popularity for the style), not to mention the brainchild of frontman and multi-instrumentalist Caleb Shomo, this outfit would use their time slot to run the proverbial gamut of punk expressions, often times hitting three or more different styles within an individual song. All the while, the highly animated and neurotic presentation of Shomo would garner the lion’s share of the audience’s attention while donning his signature blend of clean and dirty vocalizations, with classic hardcore entries like “Bad Listener” and “Disease” standing out from the pack, though one would be remiss to avoid mentioning the powerful performance of their newly unveiled song “Sunshine!”, as this festival would be its second time in the band’s live set following its premier the day before at the Amalie Arena in Tampa.
Photo by Joel Barrios
With the hour of 7 close at hand and the early signs of dusk beginning to take the sky, the Turn It Up Stage would see its final act of the day bring down the proverbial house without walls. Suffice it to say, the absence of Falling In Reverse from the eve, presented New York modern hard rock mainstays The Pretty Reckless with the role of de facto co-headliner, and they seized upon it masterfully with arguably the most spellbinding performance of the entire festival. Led by the soulful and haunting vocal display of Taylor Momsen, and bolstered heavily by the Slash-like guitar swagger of longtime compatriot Ben Phillips, the display that would ensue would be one of sonically picturesque brilliance, with Momsen often reflecting this in her artful movement, reminiscent of a vintage Grace Slick circa 1969 clad in midnight black. Be it the shuffling, Zeppelin-like punch of “Since You’re Gone”, the old school 70s banger rocking of “Death By Rock ‘N’ Roll”, or the up tempo metallic fury of “Going To Hell”, there was no shortage in the energy department, though the set being topped off with a raucous cover of Neil Young’s “Rocking In The Free World” would be the moment that arguably underscored both the content and the cause behind the festival as a whole.
Photo by Joel Barrios
Following the The Pretty Reckless electrifying presentation, the role of band of the hour would be filled by Pennsylvanian post-grunge/alternative metal icons Breaking Benjamin on the Byrd Stage as night hung above, and they adopted their disposition wholeheartedly. Though occasionally dogged by the fact that front man Benjamin Burnley essentially restarted the band with a wholly new lineup following the original fold’s 2010 split, whether they were landing classics from their original 2000s run or hitting upon newer material from the latter era’s two studio albums, the transition between songs and the general flow of the entire 90-minute set was seamless. Obligatory entries that spurred heavy audience participation such as “Lights Out” and “Until the End” traded blows equally with newer material like “Angels Fall” and “Red Cold River”, with a familiar pattern of dueling moments of serene softness and raging heaviness dominating every song and Burnley’s blend of baritone crooning and beastly shouts following suit. But the two songs that truly broke away from the pack would find themselves oddly placed, with opening anthem and Halo 2 soundtrack entry “Blow Me Away” and Surrogates soundtrack entry “I Will Not Bow” falling near the end, though somehow the continuity of the whole remained undisturbed.
Photo by Joel Barrios
Often these festival events, be they a single day affair or one that takes up the majority of a week, will cater to the elder statesmen of the American rock scene going back almost as far as the genre itself. However, the 2023 version of the Earthday Birthday Festival presented a greater level of youthful exuberance, even if the premier bands are flirting ever closer with the throes of middle age. One could dub it a passing of the torch coming to full fruition, with two of the artists most heavily rooted in hard rock traditionalism being among the youngest of the flock. In this era of online streaming and the hegemony of electronic dance and rap music, there is definitely something to be said for a more organic group of dissenters making their voices heard, and thus the correspondingly political character of the festival in question becomes all the more fitting. Perhaps it’s just the musings of someone with too much time on their hands, but there was something truly unique about what took place in Orlando on April 22nd, which was not lost on a single soul who was present.
Earthday Birthday 2023 Photo Gallery:
Joe Perry has fired up The Joe Perry Project for six solo shows this April. These solo dates come after three shows last summer and five years since he toured in support of his 2018 album, “Sweetzerland Manifesto”. Throughout his career, whether with Aerosmith or his solo projects, Joe continues to propel contemporary blues onto the hard rock music scene. This night, The Joe Perry Project owned Webster Hall in downtown New York City.
There’s a reason why Joe has survived a 50+ year career in and out of Aerosmith, the pandemic, and the industry’s ups & downs because he knows how to give his fans legendary songs and superb blues bravado guitar playing performed by world-class musicians. Joining Joe on these six shows are Extreme‘s Gary Cherone on lead vocals, Aerosmith‘s Buck Johnson on keyboards and vocals, Jason Sutter on drums, and David Hull on bass.
Photo by Robert Cavuoto
As soon as Joe walked on stage, he went straight into a blues warm-up, a tease of things to come. The band then appeared and launched into a riotous rendition of “I’ve Got the Rock n Rolls Again,” Aerosmith‘s “Somebody,” and “East Coast, West Coast.” Joe trusted himself to pick some of his favorite musical gems to perform on this tour. A total of 20 tried-and-true songs showcased his guitar chops, as well as songs that you might never hear Aerosmith play, like “Lick and a Promise,” which he pointed out, “He wished his other band would play it!” These are the songs fans came to hear!
Joe got down to business and started serving one tasty riff after another, like “SOS (Too Bad),” which gave way to “Aye, Aye, Aye,” an up-tempo rocker from “Sweetzerland Manifesto”. Mid-set, he put on his leopard smoking jacket, grabbed his red Gibson 355, and turned up the blues while taking lead vocals on “Flying Sauce Rock n Roll.” He loved it so much he asked the crowd if he could play it again and the fans obliged with a large cheer. He’s Joe “Fucking” Perry; he can do whatever he wants, and fans would love it! This seamless transition from straight-up rock to more conventional blues came to light with tributes to Jeff Beck on “Beck’s Bolero” and Johnny Thunder‘s “You Can’t Put Your Arms Around a Memory,” two songs that further illustrate his incredible musical range.
Photo by Robert Cavuoto
Joe‘s approach to playing guitar has always been described as “tight yet loose.” To perfect his signature technique, he was tight with grooves while being loose and relaxed. Even his solos have a slippery feel with pull-offs, slides, and string bends, yet they are highly rhythmic. All the riffs on the Aerosmith songs played this evening, including “Chip Away at the Stone,” incorporated swing, funk, and soul elements. This may be why Gary is the perfect vocalist to cover these songs, as Extreme‘s music has a similar vibe to Aerosmith. While Joe was blazing through songs and riffs, Gary was capable of taking these lyrics and making them sound as if they were coming from his soul. His voice filled the venue while his rhythmic aerobics entertained and captivated the audience. He carried a microphone on a pole that he treated as a vaudevillian’s cane, an air guitar, and, of course…. a pool queue. He was a rock star playing a rock star!.
His stage presence has been honed to perfection through decades of shows, and tonight he was on fire. He is one of the best singers and front-man, hands down, and showcased his vocal strength on the surprise Aerosmith song of the night, “Lightning Strikes.” In an atmosphere charged with the electricity of seeing Joe and Gary, they worked on their individual parts perfectly, like a finely tuned Ferrari speeding down the track.
The band debuted two new songs from Joe’s upcoming solo album “Sweetzerland Manifesto MK II”, “Fortunate One” and “Quake,” both hard-rocking blues tracks. This updated album LP will be released on May 26th and includes six songs with alternate vocal appearances and different mixes from Joe‘s 2018 release of the same name.
Photo by Robert Cavuoto
Before the show, I asked Joe if he would like to be better known as a songwriter or a guitar player? He responded, “Probably a little of both at this point in my career. I’ve had ebbs and flows in my guitar playing, but my songwriting always seems consistent. Songwriting goes hand in hand with playing, as it’s where you have to shine and get to show off your stuff. That’s the art of it. There are so many licks and riffs that can be turned into songs. If you can create something with these riffs, that’s when a great tune happens. Being a guitar player/songwriter is how I would like to be thought of.”
Gary‘s soaring voice and Joe‘s titanic guitar buildups were the cornerstones of the songs, but his talented band of David, Jason, and Buck maneuvered, navigated, and kept up with the hard rock blues stylings. They were the unsung heroes of the night, allowing Joe and Gary to soar.
Joe and his bandmates are a raucous, maximum-blues-infused quintet that explodes with rhythm and grittiness. There was a distinct stage chemistry and camaraderie between the band members, as I can see why he assembled such a great group. Together they provided an evening filled with tremendous flashbacks from the 70s and 80s, excellent guitar playing, and created some fantastic memories with his solo songs and yet-to-be-released songs.
The Joe Perry Project Photo Gallery:
The night began with Entheos, a progressive death metal band known for their technical prowess and intricate compositions. Unfortunately, I arrived too late to catch their set, but from what I heard, they delivered an impressive performance that set the tone for the night ahead.
Next up was Signs of the Swarm, a deathcore band known for their unrelenting brutality and visceral lyrics. The group wasted no time in launching into their set, delivering a barrage of bone-crushing riffs and guttural screams that had the crowd headbanging in unison. Highlights of their set included “Amongst the Low & Empty” and “Death Whistle”, both of which showcased the band’s ferocity and intensity.
SIGNS OF THE SWARM Photo Gallery:
The crowd was now fully warmed up and ready for the headliner, Whitechapel. The band wasted no time in launching into a career-spanning set-list that included fan favorites like “This Is Exile” and “The Saw Is the Law”. Vocalist Phil Bozeman‘s guttural screams and growls were on point throughout the entire set, and the band’s musicianship was nothing short of awe-inspiring.
ARCHSPIRE Photo Gallery:
Throughout the night, the crowd was incredibly energetic and engaged, with fans of all ages moshing, headbanging, and shouting along to their favorite tracks. The venue was packed to the brim with metal-heads from all over the city, creating a sense of community and camaraderie that was palpable throughout the entire night. As the show came to a close, the crowd was left sweaty, exhausted, and buzzing with excitement. The night was a celebration of all things heavy and brutal, and each band delivered a unique and unforgettable performance. From the bone-crushing riffs of Signs of the Swarm to the mind-bending musicianship of Archspire and the sheer intensity of Whitechapel, the concert was a showcase of the best that extreme metal has to offer.
I’d sum up the night as a ridiculous showcase of relentless musicianship, energy, and community. Each act brought everything they had on stage, and their powerful presence certainly left the crowd wanting more. The evening was a testament to the enduring power of extreme heavy metal music, and a reminder of why this genre continues to thrive and evolve.
WHITECHAPEL Photo Gallery:
As a female music journalist and an unapologetic groupie, I couldn’t help but feel a surge of excitement and anticipation as I made my way to The Brooklyn Bowl in Nashville, TN on Thursday, April 7th, 2023. The Winery Dogs, the power trio that has stolen my heart with their genre-defying sound and incredible musicianship, were set to take the stage.For those unfamiliar with this virtuosic trio, they are a powerful fusion of rock and blues, composed of the inimitable Richie Kotzen on vocals and guitar, the legendary Billy Sheehan on bass, and the ever-dynamic Mike Portnoy on drums. The Winery Dogs have been a personal favorite of mine since their inception in 2012, and their live performances never cease to amaze me.
Richie Kotzen
From the moment they opened with “Gaslight,” a song from their latest album “III,” I knew I was in for an unforgettable night. Richie Kotzen‘s soulful voice and electrifying guitar riffs sent chills down my spine as Billy Sheehan‘s bass lines and Mike Portnoy‘s thunderous drumming created a powerful rhythmic foundation.
Billy Sheehan
As the night progressed, I found myself getting lost in their music, with new songs like “Mad World” and “Xanadu” touching my soul and stirring my emotions. When they played fan favorites “I’m No Angel” and “Captain Love,” I couldn’t help but sing along at the top of my lungs, feeling a deep connection with the band and the audience around me. One moment that will forever be etched in my memory is Billy Sheehan‘s jaw-dropping bass solo. As a long-time admirer of his incredible talent, witnessing his virtuosity up close left me awestruck. I could see the passion in his eyes as he effortlessly executed complex tapping and slapping techniques, leaving me and the rest of the audience utterly mesmerized.
Mike Portnoy
The evening seemed to pass by all too quickly, and as the band wrapped up their main set with the anthemic “Oblivion,” I found myself yearning for more. Luckily, The Winery Dogs returned to the stage for an encore, performing a heart-wrenching rendition of “Regret” that brought tears to my eyes. The night ended on a high note with “Elevate,” a song that has always inspired me to rise above life’s challenges.
As I left The Brooklyn Bowl, I couldn’t help but feel grateful for the experience. In a world where live music has become more precious than ever, The Winery Dogs reminded me of the power of connection that can only be found at a truly exceptional concert. It’s nights like these that make me proud to be a music journalist and an undying superfan, and I can’t wait for the next opportunity to witness their unrivaled musicianship and genuine passion for their craft in person.
THE WINERY DOGS Photo Gallery:
Queensrÿche made a stop in Denver Friday on its current “Digital Noise Alliance” tour, much to the excitement of a packed out house at the Gothic Theatre. Supporting the bill was Marty Friedman with band members from Japan, as well as a new rendition of the Bay Area thrash band, Trauma, who in the early 80s claimed to have Metallica late bass player Cliff Burton as a member.
I missed the Trauma performance as I got to the venue a few minutes before the start of Friedman‘s set. Marty and his band are enjoying the opportunity to play live in the United States after a lengthy absence due to the pandemic and its touring challenges. Although no mention of Marty’s former association with Megadeth was announced, the crowd clearly remembered Marty, his undeniable six string skills, as well as his massive mane of curly hair. His supporting band, comprised of guitarist Naoki Morioka, bassist Wakazaemon, and drummer Chargeeeeee, seemed to be having a blast letting loose on the club circuit of America. While Wakazaemon and Morioka maintained a balance of love for the music and a respectful Japanese reserve, drummer Chargeeeeee stole the show with his platinum blonde hair, black lipstick and wild attack on the drum-kit. In introducing the band, Friedman referred to him as “from another planet.” The eclectic set was raucously received and Marty seemed genuinely touched by the crowd response, which was even bigger than his Paul Stanley-like platform boots. The instrumental set came and went quickly, leaving the energized crowd in a worked up fury.
MARTY FRIEDMAN Photo Gallery: * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Queensrÿche took the stage about 20 minutes later, entering the darkness on the heels of Pantera’s “Walk” that drew the crowd to rapt attention. They kicked off the set with “Behind the Walls,” the first single off their recent 2022 release, followed by “Don’t Look Back” from the 2013 self-titled album, and then surprisingly, two tracks from 1984’s “The Warning.” Four tracks in, it was clear that this wasn’t going to be a rehash of the well-worn setlist they’ve trotted out for so many years. It’s no surprise to anyone that songs from “Empire” and “Operation Mindcrime” are the biggest crowd pleasers and safest plays. They’re what a lot of fans come out to hear. But the band has produced so much more material, including four solid studio records, with “new” singer Todd LaTorre, and as Todd* admitted to the crowd, they believe in their new music and want to play more than the same old stuff.
Perhaps as one might predict, this is a double-edged sword. It gives the band a chance to work newer material into a live set and have some fun showcasing newer tracks, but it also leaves the more casual fans in attendance scratching their heads somewhat, waiting for a more familiar tune to arrive to rejuvenate the crowd energy.
There was no mistake that “Spreading the Disease,” “Jet City Woman” and “Eyes of a Stranger” pulled the greatest response from the crowd. These are songs the crowd has grown up with and internalized during their youth. As mentioned in my review of “Digital Noise Alliance”, the new release is excellent, but there’s no denying that it has reached far fewer ears. Such is the dilemma of a band like Queensrÿche, who have a deep catalog and continue to make new music. The band has a storied history of drama with personnel changes that have injured its legacy, but the current lineup seems to like working with each other and they are standing tall behind their current work, playing 7 songs of the 16-track set-list from the LaTorre era recordings.
Noticeably absent from the set was “Silent Lucidity,” perhaps the band’s most commercially successful and recognized song. Filling that void from a vibe sense was “Forest,” a newer song that gained the greatest response in particular from the ladies in the audience. Todd introduced the song by explaining that it was about trying to capture the feeling of having a loved one still felt within us, even though they’ve since passed away. Asking for an “open mind,” he received it. The crowd settled down and soaked it in all the way through. Then, the signature bass rumbling of Eddie Jackson on “Jet City Woman” vaulted the energy level back up again.
While the band is down to two original members, it’s easy for some to dismiss this as a “cover” band of Queensrÿche. In reality, it’s another version of the band, who have earned the right to stand on their newer songs to a certain degree simply due to the quality of the more recent material. I, for one, and happy to not have the same set-list year after year, but I would have liked to hear perhaps one or two more golden tracks from the band’s pinnacle years of success. In particular, rather than closing the encore with “Road to Madness” (also from the debut), I would have liked to have seen the crowd sent home with “Revolution Calling” or “I Don’t Believe in Love” still ringing in their ears. But there’s probably no way to make everyone happy and credit must be given to the band for standing behind their new material.
Production was a bit on the simpler side, and some missed mic cues and amp feedback made the performance imperfect but authentic. Todd hit all the high notes well, despite recently having to cancel a few shows due to losing his voice. Playing Denver can be a wildcard as the altitude here can wreak havoc on some singers, but Todd managed to be his usual self in the singing department. Equally as important, the tandem lead chorus solos that are the signature sound of Queensrÿche rang out strong between Mike Stone and Michael Wilton in spots where it mattered most. Drummer Casey Grillo was solid, but bathed in darkness most of the light, reducing the amount of attention drawn to him.
All in all, it was anything but a greatest hits show, but one that served to justify the ongoing development and sustained performance of a stalwart metal titan nearing 40 years of music. If you think they’re a has-been act from the late 80s, I challenge you to give a few spins of “Digital Noise Alliance” with an open mind and judge for yourself. They’re still the “thinking man’s metal” band, and I mean that totally as a compliment.
QUEENSRŸCHE Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: QUEENSRŸCHE and MARTY FRIEDMAN Bring Supercharged and Eclectic Musical Mixture to Denver (March 20th, 2023) appeared first on Sonic Perspectives.
Words by Scott Medina | Photos by Alan Cox
Routing a winter concert tour is fraught with obstacles, not the least of which are mountain passes amidst blizzard conditions. So, when Riverside’s tour bus finally pulled up to Boulder’s Fox Theater at 7pm for a show whose doors were supposed to open at that exact moment, a friend observed, “It takes a lot longer to drive to Boulder from a gig in Salt Lake City the night before than most people realize.” Throw in a closed interstate due to storms and the situation quickly becomes tenuous.
For those in the know, even before the roadies had hurriedly started to unload the equipment, the MVP of the show undoubtedly had to be awarded to Dale, the bus driver. It was a small miracle that the show even happened at all given the hours spent sitting on a closed highway earlier in the day. Still, eager concert goers had to wait outside along the sidewalk for well over an hour in freezing temperatures before the outer doors were opened into a small foyer, and even longer until the soundcheck was complete and they could enter the theater. So there were some understandable mixed feelings in the room at the start but all was eventually forgiven in gratitude and joy as the headliners took to the stage at the still-impressive hour of 10pm.
Opening the show briefly were The Cyberiam “Duo” with a truncated set due to the late start. This fantastic band from Chicago is actually a quartet but the tour bus only has so many bunks on it, so in situations like these they cut the band in half to at least make some new fans and get the name out there. Vocalist/guitarist Keith Semple and bassist/vocalist Brian Kovacs do an admirable job together in bringing the material to life with brilliant vocals and deft instrumentation. But whether or not their duo incarnation grabs you, be sure to pick up their most recent album “Connected” if you like Rush, Tool or Porcupine Tree. The full band experience will undoubtedly impress.
Riverside took to the stage confidently despite the turmoil of the day. The sold-out theater was packed with about 500 fans, a solid turnout given that this may only have been Riverside’s second visit to the area. They had previously played at the larger Boulder Theater but they fit right in at the Fox, as Porcupine Tree and even Opeth have done in the past. Why these bands have chosen Boulder as the site of their Colorado gigs seems a bit of a mystery when lead man Mariusz Duda asks how many people there actually live in Boulder and only a paltry number of hands go up (mine included). Still, he adopts all of us for the evening and the concert is frequently punctuated by “Let’s hear you, Boulder!” and other personalized call-outs.
Indeed, Duda provides the main focal point of the evening as the only real showman in the group, frequently engaging, cajoling or even challenging the crowd with the skill of a seasoned front man. The fact that he’s an excellent bassist is at times almost forgotten, given how easy his fingers glide across the instrument while his vocals and charisma shine in the spotlight. Next to him is keyboardist Michał Łapaj, looking more like Richard Wright (Pink Floyd) every day, whose perpetual smile lends an air of warmth from the otherwise darkened stage. Mainstay drummer Piotr Kozieradzki seems hidden in those shadows towards the back though his playing is on point and lively in the mix. Newest member Maciej Meller on guitar does well in honoring the spirit of his predecessor, the late Piotr Grudziński, while adding his own character but there isn’t a lot of stage presence or dynamics at play. No, it’s mostly Duda’s sheer willpower that pushes the band forward and makes the connection with the audience.
Opening song “#Addicted” doesn’t seem like the most impactful choice with which to open a concert but it’s a good enough song to engage the crowd. Followup “O2 Panic Room” hits harder and is a winner from the “Rapid Eye Movement” album but it’s the new album “ID.Entity” that is of greatest interest to the band and that’s where we hang out for most of the evening. Fortunately, the album is one of the band’s best, so when “Landmine Blast” hits, the crowd is right there with them. I notice a fan behind me is singing every word and when I turn to congratulate him he affirms that he’s already listened to the new release over 100 times. Hmmm…#Addicted indeed.
The album version of “Big Tech Brother” opens with a much-maligned computer-generated voice over but in this live context, Duda mimics the intro with his own voice, an approach which is a bit comical and actually endearing. At the end of the song’s final repetition of its chord progression Duda cops to the fact that the studio version simple fades out because they didn’t have any fancy ending to offer. Nonetheless, the new material sounds great live, including the lengthy “The Place Where I Belong” but unfortunately we only get 5 songs from the new album. Earlier shows in the tour had boasted a couple more songs in the set-list which don’t appear tonight, though part of that might be due to the late start.
Duda’s demand for audience participation includes a singalong during “Left Out” and – quite hysterically – a repeated silent scream during encore “Conceiving You”. Such original humor is most welcome, even as it alternates between diatribes about the challenges of being labelled a prog band. Happily, this audience doesn’t seem to care much what the label is; there are kids here and plenty of men (and some women) in their 50s and 60s, all supporting passionate live music from this Polish band. With a well-balanced mix, no one seems to go away disappointed when the midnight hour strikes.
Riverside have said that they don’t plan on returning to American shores in 2024 (well, aside from the port of Miami when they sail on Cruise to the Edge next March) but whenever the followup album and tour does materialize, let’s hope that their agent remembers to book a travel day before and after any Colorado dates.
RIVERSIDE Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: RIVERSIDE Rocks Boulder Despite Mountain Pass Closures (March 4th, 2023) appeared first on Sonic Perspectives.
On the fifteenth stop of their 2023 North American Tour, co-headliners Fleshgod Apocalypse and Obscura, hailing from Italy and Germany, respectively, landed in the Gramercy neighborhood of Manhattan for a sold-out death metal show for the ages this past Saturday night, March 4.
At 6:30 pm, doors to the 86-year-old Gramercy Theatre opened and the queue of at least 150 fans, wrapped around the corner of E. 23rd Street and Lexington Avenue, suddenly began to move. Approximately one hour before the night’s first of two opening acts would take the stage, and with the intimate venue filling up fast, heavy metal fans overflowed into the warm confines of the lower level bar and band merch areas looking for the perfect souvenir to forever remind them of the night yet to unfold.
The Germanic black death metal spin-off of Obscura, known as Thulcandra and formed twenty years ago by Steffen Kummerer (performing double duty as front-man tonight), took the stage at 7:30 pm for a 30-minute set of extreme metal. The current quartet, rounded out by Alessandro “Erebor” Delastik (drums), Mariano Delastik (guitar) and Carsten Schorn (bass), ripped through their catalog of career-spanning, aggressive tracks. With one selection procured from each of their five studio albums, the night’s apogee was the relentless and catchy “As I Walk Through the Gateway,” the lead single from their forthcoming album “Hail the Abyss”, via Napalm Records, set for release on May 19.
Thulcandra Setlist: Deliverance in Sin and Death / Funeral Pyre / As I Walk Through the Gateway / Aeon of Darkness / Spirit of the NightTHULCANDRA Picture Gallery * * * * * * Initially created as a solo project by Finnish multi-instrumentalist Tuomas Saukkonen in 2012, the second band of the night, Wolfheart, attacked the stage at 8:15 pm. Along with Joonas Kauppinen (drums), Lauri Silvonen (bass) and Vageliss Karzis (lead guitar), the acclaimed melodic death metal band associated with its winter-themed compositions gifted the rapturous audience with six offerings from its six-albums catalog. Although there was a notable absence of material from their third album, “Tyhjyys”, the audience was treated to two numbers from their most recent full-length album (“King of the North”, 2022), including “Skyforger” and “The King.”*
After a quick turnover of the stage following Wolfheart’s blistering set, Kummerer was set to return once again with his co-headlining band Obscura. Formed in 2002, the current lineup of Christian Münzner (lead guitar), Jeroen Paul Thesseling (bass) and David Diepold (drums) suddenly appeared in the dark shadows at 9:10 pm, ready to launch a technical death metal assault on its audience. Over the course of 55 minutes, the band of music theorists blew our collective minds with precisely delivered, compositionally complex music spanning five of their six studio albums – only an offering from their debut album (“Retribution”, 2006) would be absent.
Wolfheart Setlist: Skyforger / Ghost of Karelia / Aeon of Cold / The King / Breakwater / The HammerWOLFHEART Picture Gallery * * * * * * * * The opening number from Obscura’s latest album (“A Valediction”) released via Nuclear Blast in 2021, “Forsaken,” set the tone for the virtuosic black metal to follow. With a circle mosh pit forming almost immediately in the center of the floor crowd, the band next ripped through “Emergent Evolution”, and followed with one brilliantly sculpted track selected from each of the previous three concept albums – “The Anticosmic Overload” (“Cosmogenesis”, 2009), “Ocean Gateways” (“Omnivium”, 2011) and “Akróasis” (“Akróasis”, 2016). If the crowd was still craving unhinged, highly technical melodic death metal, they got their ultimate fix with the set closer, “When Stars Collide,”* another monumental cut taken from “*A Valediction”* with Kummerer** and his band-mates exhibiting unprecedented polyrhythms and solo structures.
Obscura Setlist: Forsaken / Emergent Evolution / Devoured Usurper / The Beyond / A Valediction / Akróasis / Solaris / The Anticosmic Overload / Ocean Gateways / When Stars CollideOBSCURA Picture Gallery * * * * * * * * * * * * * * * * * Following one last stage conversion, the moment finally arrived when the symphonic death metal sextet based in Perguia, Italy hit the stage at 10:30 pm for a 13-song set spanning five studio albums. Like Obscura before them, the only missing representation would be from their debut album, “Oracles”, released in 2009. Formed by their front-man Francesco Paoli in 2007, the membership ingredients of Fleshgod Apocalypse are longtime bassist Paolo Rossi, lead guitarist Fabio Bartoletti, pianist Francesco Ferrini and drummer Eugene Ryabchenko. The recipe is made complete by operatic vocalist Veronica Bordacchini* who joined the family as a dramatic soprano in 2013.
For the next hour and change, and the crowd on the verge of self-combusting from the jump, Fleshgod Apocalypse blew the doors of the concert hall with the sonic wizardry of “Fury” and “Healing Through War”. After a quick address by Paoli to his audience, “New York, it’s a pleasure to be with you tonight,” Fleshgod Apocalypse were off and running again as they ripped through one symphonic masterpiece after another, including the self-titled track from 2020’s “No,” featuring a rather peculiar lyrical tribute to Brittney Spears’ “…Baby One More Time” during the operatic chorus. With the show’s conclusion drawing near, including an epic collision of head-banging souls after Paoli commanded the floor crowd to split up the middle and then crash back like a tidal wave, Fleshgod Apocalypse went back to 2011 and their second studio album (“Agony”) for “The Egoism” and “The Forsaking,” spotlighting praiseworthy guitar and drum work on each of these meteoric, unrelenting songs.
If you like death metal, then you’ll love Fleshgod Apocalypse, and I recommend that you catch these gothic titans of the genre in their lavish, theatrical setting as soon as you can. The culminating show of Fleshgod Apocalypse and Obscura’s 25-date tour of the United States will be on March 16 at the Regent Theater in Los Angeles. While Fleshgod Apocalypse will be appearing at the Infernum Meets Porkcore Festival in Werneck, Germany on August 25, Obscura is scheduled for two dates in Australia (March 18 and 19), followed by festival dates in the Czech Republic (May 12), Germany (July 21) and Mexico (November 10).
Fleshgod Apocalypse Setlist: Fury / Healing Through War / Sugar / Minotaur (The Wrath of Poseidon) / No / The Praying Mantis’ Strategy / Monnalisa / The Violation / Prologue / Epilogue / The Fool / The Egoism / The ForsakingFLESHGOD APOCALYPSE Picture Gallery* * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: Death Metal Maestros FLESHGOD APOCALYPSE and OBSCURA Deliver Theatrical Performances at New York City’s Gramercy Theatre (March 4th, 2023) appeared first on Sonic Perspectives.
On Tuesday, Feb 1, 2023, legendary blues-rock guitarist Eric Gales took the stage at 3rd and Linsley in Nashville TN, and proceeded to blow the roof off the packed venue. The occasion was the recent release of his latest album, “Crown,” and the excitement in the air was electric.
Opening the show was bluesman and Nashville native Kevin McKendree. Their music was a perfect match for Gales‘ style, and it was clear that they had won over many new fans by the end of their set. Their set was a testament to the wealth of talent that exists in Nashville’s vibrant music scene, and set the stage for an unforgettable evening of music.
From the moment Gales launched into “You Don’t Know The Blues,” the audience was hooked. The energy in the room detonated, as Gales‘ virtuosic guitar playing and soulful vocals filled every corner of the space. Backed by a tight band, including a powerhouse rhythm section and a keyboard player who added just the right amount of color to the mix, Gales delivered a masterclass in blues-rock that left the crowd breathless.
Throughout the concert, Eric was gracious and engaged with the audience, taking time between songs to thank everyone for their support and express his gratitude for being able to share his music with them. But perhaps the most moving moment of the evening came when Gales shared with the crowd his struggles with addiction and his journey toward recovery. He spoke openly and honestly about the challenges he had faced, and how music had been a lifeline for him throughout his journey. It was clear that this was a deeply personal moment for him, and the audience responded with warmth and encouragement. Gales‘ willingness to share his story was a testament to his strength and resilience and added an extra layer of meaning to his music. By the end of the evening, it was clear that he had not only won over the audience with his incredible talent but had also touched their hearts with his honesty and vulnerability.
One of the highlights of the night was undoubtedly an impassioned performance of “Too Close To The Fire.” This powerful song is a standout track on Gales‘ latest album, “Crown,” and in the live setting, it took on a whole new level of intensity. Gales‘ soulful vocals and searing guitar work combined to create a truly unforgettable moment, as the audience was swept up in the emotion and energy of the music. It was a performance that left a lasting impression and showcased Gales‘ ability to connect with his audience on a deeply emotional level.
In addition to the packed audience of music fans, some notable names from the music industry were also in attendance. Among them was the legendary guitarist Peter Frampton, whose own career spans decades and has been a major influence on countless musicians over the years. Gales paid homage to Frampton by extemporaneously sneaking in a few bars of “Do You Feel Like We Do” into one of his already face-melting guitar solos
The fact that Frampton was there to witness Gales‘ performance is a prove to the esteem in which Gales is held among his peers, and speaks to his status as one of the great guitarists of his generation. It was a thrill for both the audience and the performers to have such an icon in the crowd, and added an extra level of excitement to an already unforgettable evening of music. Throughout the evening, Eric demonstrated why he is considered by many, one of the greatest guitarists of his generation. His playing was alternately soulful and incendiary, with lightning-fast runs and blistering solos that left jaws on the floor. But beyond his technical prowess, his music was imbued with a sense of joy and passion that was infectious. It was palpable that he was having as much fun on stage as the audience was in the crowd.
As the concert drew to a close, Gales thanked the audience for their support and promised to return to Nashville soon. The crowd roared their approval, and it was clear that this was a concert that would be remembered for years to come. With “Crown,” Eric Gales has once again proved himself to be a master of his craft, and a true force to be reckoned with in the world of blues-rock.
ERIC GALES Photo Gallery:
The multi-platinum rock band, Theory of a Deadman have teamed up with Skillet for a co-headlining Rock Resurrection Tour. This 25-date tour of the U.S. from February 17th through March 26th features Saint Asonia as the opener. Theory of a Deadman is touring to support their upcoming eighth studio album, “Dinosaur,” due March 17th. This album marks a return to form stylistically while growing and evolving to solidify their place at the top of modern hard rock. Theory are Tyler Connolly [lead vocals, guitar], Dave Brenner [guitar, backing vocals], Dean Back [bass], and Joey Dandeneau [drums, backing vocals].
At the legendary Starland Ballroom in New Jersey on February 28th, hard rock hitmaker, Theory headlined the show with Saint Asonia. The energy in the room was palpable by the time the Theory hit the stage as Saint Asonia did a phenomenal job delivering their hard-edged songs to warm up this already steamy venue.
Theory kicked off the show with their first single from the upcoming release, “Ambulance.” Since it was the live debut for this New Jersey crowd, it made the night extra special, knowing the band would play new music. They wasted no time by directly diving into their classics, “Bitch Came Back” and “Blow.”
The band sounded tremendous as they didn’t need to shake off any dust since they tour extensively – almost nonstop. In speaking with Dean about how long the band needs to ramp up for a tour, he told me, “We can get up to speed pretty quickly. It’s more of the technical aspects of lighting and guitar/bass changes. We’ve played these songs for years and years. We just need to rehearse them a couple of times, and we are ready to go. The hard part with eight albums is picking the 70 minutes of material to play. We are going to rotate different songs in and out of the set nighty and hope everyone leaves pleased as we are going to have fun.”
The band dipped their toe into almost all their albums, hitting the fans with rockers and ballads while showcasing their catalog’s diversity. Fifteen songs that have an everlasting emotional impact on fans and bring on instant smiles, memories, and good times. Some of the funnier moments came when Tyler told the crowd that his hair was insured for a million dollars and then teased the song “Friends in Low Places,” made famous by Garth Brooks. He went on to say that Garth was backstage and was going to come out to perform it with them. After the air was sucked out of the room with a loud gasp from the audience, Tyler fessed up and told the crowd, “That joke never gets old!”
Also, in the spirit of fun, the band also performed their newest single, a hysterical play on Grover Washington Jr‘s “Just the Two of Us” called “Two of Us (Stuck).” Anyone who fell for the Garth Brooks trick clearly doesn’t understand the band’s wit and sense of humor. The band slowed things down mid-set, reaching back into the catalog for the honest and emotional “Santa Monica.” A song about running away from love!
“Hate My Life” kept things in the fast-tempo range to pummel the crowd, and the barnstorming riff of “Dinosaur” was played perfectly as they ripped through this new monster single. When they played “Lowlife,” a symphony sing-along moment allowed the guys and girls to live out their inner rock stars to this raucous song that instantly got people grooving.
Dressed in a black trench coat and Elvira t-shirt, Tyler played his chrome-dipped Telecaster while never messing his perfectly quaffed hair. He delivered his powerful and lush vocals reminiscent of what is heard exactly on their albums while drawing the audience into the performance. He dug deep into a gut-wrenching rendition of Chris Isaak‘s “Wicked Game” to give the fans a deeper glimpse into his soul.
Guitarist Dave shined in the spotlight as he gave the songs their forceful riffs and tasteful solos, which resulted in a chorus of cheers. Complex basslines by Dean and the thunderous drumming by Joey provided the hard rock hits well suited for the night. As the end of the set quickly approached, one song was clearly missing, and it was their biggest hit. With one of the loudest demands for an encore, the band returned to the stage finishing the way they started, loud and proud to perform “Bad Girlfriend.” Fans danced and rocked out in the packed general admission and were thrilled with how Theory of a Deadman reminded them that rock n’ roll is not dead and their live show remains one big celebration.
Pre-orders for “Dinosaur” are available now from HERE, and visit the band’s website to purchase concert tickets.
Theory Of A Deadman Photo Gallery:
Long-running German metal band Powerwolf have long maintained that they had no plans to tour the United States. It’s a reasonable position to take for a successful band of their genre; the US has generally been ambivalent to traditional and power metal, to the point that even the most massive Eurometallers – Nightwish, for example – had to slog away in tiny Stateside clubs before graduating to the modestly-sized theaters where they usually perform today.
But this has changed. A little over two weeks ago I photographed the smallest of the Big Four, Anthrax, when they headlined a 3100-capacity concert hall. The granddaddy of power metal, the mighty Helloween, will soon kick off a US tour at the prestigious Dallas hall The Factory (capacity 4300), where the likes of Judas Priest and Erykah Badu perform. Astute readers might note that this is the same venue where Mercyful Fate played their first US show in over two decades last year, before a sold-out crowd. (You can read our thoughts about that show at BraveWords).
Photo by Gonzalo Pozo
Anthrax, Helloween, and Mercyful Fate all have this in common: I’d previously seen them in San Antonio at the old White Rabbit, a dingy little outhouse that was as active as it was underwhelming. The place could barely contain 500 concertgoers, and of these three bands, only Mercyful sold the place out. In my mind, that bands such as these are again finally playing to crowd sizes they deserve demonstrates that the American metal scene is healthier than it’s been in decades.
I can only assume that the Powerwolf camp noticed this and wisely acted on it, booking concerts in New York City and Massachusetts, as well as a date in Montreal. All sold out quickly, and prompted the band to add dates in Dallas, Denver, San Francisco, and Los Angeles, all in prestigious venues.
Powerwolf’s US debut took place on February 23, 2023 at the Palladium Times Square, a 2100 capacity venue on the corner of Broadway and 44th Street, in the heart of New York City’s vibrant Theater District. The line in front of the theater already wrapped around the corner by about 2PM, and the enthusiasm was evidenced by all the black shirts and leather jackets that bounced about Times Square. Fans traveled from as far as Nashville, North Carolina, DC, Atlanta, and Texas to attend the first Heavy Metal Mass to be celebrated on US soil, and all the familiar faces I saw gave a strong “ProgPower North” vibe. I even bumped into a few friends I’d made on my first trek on the 70,000 Tons of Metal cruise a few weeks ago, including my esteemed cabin-mate Mark Gromen, whose words I’d read voraciously in my Metal Maniacs-addled youth.
Photo by Gonzalo Pozo
The Palladium was packed. The floor felt like a Tokyo subway car even before openers Seven Kingdoms greeted the hungry crowd with a blistering ten-song set that easily appeased all the power metal nerds in the crowd. Meanwhile, the Powerwolf diehards tested their patience at the merch booth line. The wait was a good forty minutes and in my experience, the sheer length of that line was bested only by the one at the aforementioned Mercyful show in Dallas last fall. The commemorative New York shirt that was made specifically for this concert sold out by the time Sonic Perspectives honcho Joel Barrios and I even made it to the booth.
Powerwolf hit the stage at 9PM and were welcomed by an absolutely ravenous crowd whose shouts were nearly as loud as the opening band was. The expertly-designed set, built to resemble a sinister Gothic cathedral, proved to be the perfect visual representation of what Powerwolf is about: blasphemy and lycanthropy. Beneath the massive upstage riser were human-sized lancet windows bearing stained-glass depictions of werewolves donned in Catholic vestments, and at each end of the risers were lancets that had to have been a good twelve feet tall bearing the same. The downstage-left window looked particularly villainous: the stained glass depicted a howling werewolf crowned with thorns, an eerie if not exactly faithful interpretation of Christ’s agony in Gethsemane. The middle of the three pointed arches over the riser bore perhaps the most subtly irreverent symbol I’ve seen a metal band employ: an enormous bastardization of the Monogramma Christi, that Catholic “chi-rho/ p-x” monogram intended to symbolize Christ, stylized to look like the “p-w” that are essentially Powerwolf’s initials. The recovering Catholic and former altar server in me deemed it eerie as fuck, so mission brilliantly accomplished.
Photo by Gonzalo Pozo
Drummer Roel van Helden appeared first in front of the monogram, and was received with a roar befitting a touchdown before taking his place at the throne of his kit. Keyboardist Christian Jost, alias Falk Maria Schlegl, followed before guitarists Benjamin “Matthew Greywolf” Buss and David “Charles Greywolf” Vogt made their grand entrances. If the screams that awaited van Helden sounded like a crowd that just witnessed a sick sports-ball move, the ones that erupted when front-man Karsten “Atilla Dorn” Brill entered the stage would not have sounded out of place at a goddamn World Cup Final. This audience was pumped.
The corpse-painted quintet’s neo-gothic revival attire and defiled clergy-wear belied their demeanor: they were all smiles, clearly thrilled to be performing on US soil after twenty solid years. They tore into “Faster Than the Flame,” the raucous opening cut of their most recent album, 2021’s “Call of the Wild.” This song is perhaps most emblematic of their classification as a “power metal” band in that despite its heretical nature and liberal use of church organs and Latin choirs, it is upbeat and nearly cheerful. I personally reserve the “power metal” label to outwardly happy bands like Freedom Call and such, and I prefer to call groups like Pyramaze, Borealis, and Powerwolf simply “metal” in order to make that distinction, but that’s all whatever. What matters in this moment is that Powerwolf makes sick music for sick people who like to smile, and I count myself among them. And man, what sick smiles we wore.
Photo by Gonzalo Pozo
A cloaked thurifer then presented Dorn with a loaded and burning thurible, which Dorn then swung around like a defrocked priest to de-consecreate the stage and continue the first American Heavy Metal Mass with “Incense and Iron” and “Army of the Night.” The eighteen-song set heavily favored the band’s three most recent albums, including such crowd pleasers as “Demons Are a Girl’s Best Friend,” as well as older favorites like “Sainted By the Storm,” “Sanctified With Dynamite,” and the gloriously cheesy “Resurrection By Erection.” Longtime fans were surely disappointed that “Lupus Dei” and “Return in Bloodred” were not represented, but the electrifying performance and “exchange of energy,” as Dorn put it, clearly overrode that upset. I’m not convinced that a single throat that was at the Palladium that night arose not sore the next morning.
Schlegl deserves special mention for being perhaps the most engaging keyboardist in metal. He seizes every opportunity and every key tacet to descend downstage to interact with the crowd, menacing the audience and taunting them with his stole. Easily the band’s most charismatic performer, Schlegl spends nearly as much time tinkling the ivories while standing next to his rig rather than behind it. Think of him as metal’s Lawrence Gowan and you might get the idea. The Greywolf brothers are no slouches either; their facial expressions change damn near as much as their positions on the stage, and their very presence and striking resemblance to one another is nearly as minacious as the music they play.
Photo by Gonzalo Pozo
“Werewolves of Armenia” concluded the nearly two-hour mass, and at last it was possible for folks on the floor to squirm around a bit. I suppose that’s just a part of New York life – everything is so close together that there’s simply no concept of personal space in a GA crowd. Another possibility is that much of the crowd was so hungry for this concert that they simply wanted to be as close to the action as they could. Either way, navigating that crowd was a task so daunting that I wanted no part in it, and I am forever grateful that there is literally no bad seat in the venue, and that Dear Leader Joel and I, short fuckers that we are, saw and heard everything with no difficulty from the very back of the auditorium. I’d have been pretty upset if the foremost purpose for my Unholy Pilgrimage were robbed from me by virtue of everyone else being taller than I am. Suffice it to say, this concert alone would have been worth the journey, and it will forever bolster my already noteworthy metal cred. In nomine lupus, amen.
POWERWOLF Photo Gallery:
Some of the bands I go to see live have been part of my life soundtrack for a very long time. Styx falls into that category. I first heard 1975’s “Equinox” LP in my brother’s room when I was 8 years old. By then, I had probably heard “Lady” on the radio but it was “Suite Madame Blue,” with its progressive rock heavy ending, that really got me hooked. Although “Equinox” was the fifth studio record of the band, it was still prior to the arrival of Tommy Shaw, who in my book is what made Styx something special. The following year, an 8-track of “Crystal Ball” took up residence in our family car stereo, and with it that wonderfully melancholy title track that Tommy Shaw sang and wrote.
Photo by Alan Cox
In the years to come I would purchase records of each of the subsequent blockbuster albums like “The Grand Illusion,” “Pieces of Eight,” “Cornerstone” and then the cassette of “Paradise Theatre.” Years later, I would replace the entire Styx catalog with CD versions. Now they’re on my phone. The point is to reveal just how enduring the music has been in my life; it’s lasted longer than three other musical formats. And while the critics never cared for Styx much, the Chicago band mostly made all the right moves for this listener, especially when they steered toward the heavier songs.
Dennis DeYoung is still not part of the touring band, and in all honesty, I see the band moving forward in a positive direction without him, though credit is rightfully due in recognizing that he wrote or co-wrote many of the band’s classic tunes. Much like there are those who will say Journey isn’t Journey without Steve Perry, there are fans who can’t accept Styx without DeYoung. But the band’s last two records, “The Mission” and “Crash of the Crown,” have earned places that rank quite high in the overall catalog. I believe it. And so does the band, apparently, because they played more songs from the newest record than any other album in the vast catalog during the two-set show in Colorado Springs Saturday night.
Photo by Alan Cox
As one might expect, most of the “rock essentials” were also in the set list, but the fact that the band opened each of the two sets with a track from 2021’s “Crash of the Crown” is a testament to how strongly they feel about their new music. And for a band that’s been around for over 50 years, that’s pretty astounding. Most bands that have been at it this long are mostly playing the golden oldies, but Styx performed 7 songs from their latest record, and they fit in perfectly with that classic Styx sound. Perhaps more remarkably, there was no mass run for beer or the bathroom. Shaw’s vocals on the acoustic-based “Sound the Alarm” were particularly impressive.
So about that 50 years figure…one has to acknowledge that there have been some musical chairs played during that lengthy span. For most of the show, there was only one guy on stage who can claim to be a founding member. That would be James “JY” Young, who generally was more reserved on stage than in decades past. Nevertheless, Young tapped into another gear when he fronted the rousing rocker “Miss America,” and it was strong. At age 73, and having recently lost his dear wife, Suzanne, it was not surprising that he was a bit more demure. What was surprising, however, is the spark plug energy of Tommy Shaw, who at 69 was jumping around on stage and wailing on the guitar leads like an “Angry Young Man.” His stage presence and remarkably strong vocals served to “Light Up” the crowd. Props must go out to the entire band, who vocally still can serve up incredible harmonies that were on full display on “Lady,” and “To Those.” Legend has it they are still doing it without the aid of backing vocal tracks, and that deserves extra praise. Live music, the way it should be!
Photo by Alan Cox
The set-list was full of sing-alongs, of which the mature crowd eagerly joined in, and the band sounded surprisingly energized and tight. With Lawrence Gowan now having taken DeYoung’s role on keyboards and vocals for more than two decades, this band has played many of these songs over and over, which could make them sound both tight and tired. But there were few signs of tired on stage, aside from the brief appearance of founding bass player Chuck Panozzo, who has maintained a very limited role with the band since declaring that he’s living with HIV. His replacement, Ricky Phillips, has been with the band for two decades now, and though he is 71 years old, you’d never believe it from watching him play. It’s a classy move that they give Chuck some stage time still.
The youngsters of the live act, drummer Todd Sucherman (who is absolutely amazing) and producer/writer “new guy” Will Evankovich, who has managed to conjure up the classic Styx sound on their last two releases, are keeping the spirit of the band running like a pair or “Renegades.”
Photo by Alan Cox
There’s always a fear when seeing a band that has been at it as long as Styx that they will put on a show that indicates they’ve stayed too long at the party and tarnished their legacy. But Styx with Tommy Shaw at the helm has maintained a professional standard and proven themselves to be a class act. I mention the ages of JY, Tommy and Ricky because they’ve done such a good job of not coming off as guys way past their prime. Styx is still a great live act playing a strong catalog of classics while proudly featuring new music that stands up and slots in well. Not many long running acts can say that.
The band made four stops in Colorado on this run, which is more than unusual, but ticket sales have been brisk and the fan support is still there. So regardless of whatever the critics might have to say about Styx, a couple thousand fans showed their approval on their feet all night as they were thrilled to be invited to “Come Sail Away” once more. If this is the last time they come through Colorado, I’ll be happy to have witnessed that they finished on a high note. Still worth seeing after all these years.
STYX Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: STYX Defies The Odds and Ages and Keeps Rocking In The Paradise – Pikes Peak Center, Colorado Springs (February 25th, 2023) appeared first on Sonic Perspectives.
Words by Jonathan Smith
Classics have a way of continuing to get better with age, and with more than 50 years now in the rearview and more than a decade since their last studio release, Chicago-born arena rock sensations REO Speedwagon have continued to rock the masses with the onset of their golden years. With a multitude of former studio and live members that could constitute a half dozen other bands, they have nevertheless maintained a core lineup that has consistently delivered one ringer performance after the next, solidifying their status as mainstays in the live circuit and winning them tours alongside such noted hard rock stalwarts as Styx, .38 Special and Journey. Yet with the onset of a new year has come some changes in the arrangement, not the least of them being the recent retirement of co-founder and songwriter Neal Doughty in a live capacity, marking the first time this iconic outfit has donned the stage with a new keyboardist no less, but the show must naturally go on, and for the audience at the Pompano Beach Amphitheater on February 8th, 2023 it would proceed in peak form.
Photo by Joel Barrios
With favorable weather conditions and the onset of dusk, the outdoor venue was almost sold out and the level of anticipation from the waiting crowd was nothing short of palpable. The headliner’s entry would be greeted with a deafening sea of claps and cheers, with newly tapped keyboardist Derek Hilland being the lone newbie to this brand of star treatment. As the feedback of Dave Amato’s guitar and the infectious grooves of Bryan Hitt’s kit ushered in the opening banger “Don’t Let Him Go”, the energy level was cranked into overdrive at the very start, and though at first helmsman Kevin Cronin’s voice came off a tad haggard, by the time the song was in full swing the high notes began to flow like the waves of the Atlantic striking the Florida beach. Indeed, for a man now well into his 71st year, there was still a youthful zeal to Cronin’s performance that would permeate the entire set, further buoyed by superb lighting, on-point acoustics and a highly energized and animated showings from Amato and bassist Bruce Hall. The tempo of things had a somewhat slower character relative to even their most recent performances, yet Hitt’s kit work would prove both precise and strong, driving things along at a respectable roar throughout.
Photo by Joel Barrios
Ever the charismatic showman, Cronin’s between song banter would be a highlight of the evening, bringing the nostalgia factor into full focus for their longstanding fans and providing a bird’s eye view into their extensive past for any prospective newcomers. Of particular note was his good natured introduction of “Building The Bridge”, which would see three members of the opening act Levon share the stage with this iconic fold in a support role, further bolstering an already dense choir of backing voices. Things would take on a more poignant character with Cronin’s reminiscence of dearly departed former lead guitarist Gary Dean Richrath prior to a heartfelt rendition of “Son Of A Poor Man”, leaving few of their older attendees with dry eyes no doubt. Other standout moments would include a gripping performance of their smash hit “Keep On Loving You” with Cronin sitting at the piano, along with their other breakout anthem off “Hi Infidelity” “Take It On The Run” and their 1984 banger “Can’t Fight This Feeling” bringing down the house despite the lack of walls or a roof being present. Yet for those who craved a true hard rock spectacle would receive it when Bruce Hall took on vocal duties for the heavy-hitter “Back On The Road Again”, which also served as the song for member intros despite being near the end of the set.
Photo by Joel Barrios
There were many takeaways from REO Speedwagon’s avid display of old school hard rocking brilliance on this mid-winter Florida evening, but chief among them was the sheer longevity on display by an outfit that has been bringing the thunder to the stage for better than 5 decades and still came away primed for more. Chalk it up to their brand of music being either a de facto time machine or a veritable fountain of youth, but with each member of the core fold (excepting Derek Hilland) being either just shy of or just past the age of 70, it had little bearing on their ability to recreate anthems that were burning up the charts before many of us had been born amid a highly elaborate stage setup and stellar visual display that has always been a hallmark of the REO Speedwagon concert experience.
Photo by Joel Barrios
Having already hit much of the continental United State in the prior weeks of 2023 and with another date in Puerto Rico on deck, the road for this fold appears far from over, and while they haven’t produced any new studio material in quite some time, the legacy that they’ve built throughout the 70s and 80s alone will be more than enough to carry them until father time finally declares their touring days concluded.
REO SPEEDWAGON Photo Gallery:
Words by Samantha Buckman
If you have never heard the name Kenny Wayne Shepherd, either you don’t listen to music, or you live as a hermit in an off the grid location somewhere. He first burst onto the global music scene in 1995 with breakthrough album “Ledbetter Heights,” which was shortly followed by his seminal album “Trouble Is…” in 1997. 25 years later, the five-time Grammy-nominated guitarist decided to celebrate this achievement with a complete reimagination of this unforgettable opus. Not only has Shepherd released “Trouble Is… 25,” but the release is accompanied by a live DVD filmed at The Strand Theatre in Shepherd’s hometown of Shreveport, Louisiana. As noted in our recent interview with him, in this new release Shepherd strives to capture the timelessness of the album and its hallowed place in the genre’s history.
What better place to celebrate this reignition of the blues-rock scene and its evolution than the live stage? Shepherd has committed to bringing “Trouble Is… 25” to life beneath the spotlights and to audiences around the world in a year-long promotional tour. Samantha Fish, an American blues and rock artist, was chosen as the opening act for this multi-month cross-country trek. This tour began in 2022, but as shows have sold out and venues have been packed to the brim, additional dates have been added. With everything from festivals to his own tour awaiting Shepherd in the months ahead, there was nothing but anticipation in the air as Shepherd approached the Broward Center for the Performing Arts in Fort Lauderdale, Florida.
Samantha Fish made for a strong opening act, a near-perfect fit for both genre and atmosphere. Fish and her chosen set-list included both cover songs and material from her recent album “Faster.” There is little question “Faster” was built for the stage, and Fish’s natural charisma made the audience hungry for more – she truly came swinging for the fences. Her tall stature and confident persona matched the vibrancy of her leather pants and pink high heels, as well as the two microphones positioned on either side of the stage. A backing band was there to accompany her, but the spotlights remained on Fish throughout the night, and rightfully so. The audience devoured every note from her guitar, and they kept asking for more, culminating in a standing ovation. She simply demanded nothing less that everyone’s full attention, and she got it.
Her set-list was relatively short, consisting of only eight songs, three of them being covers. This included a cover of Neil Young’s “Don’t Let It Bring You Down,” which she honored in spirit while giving her own creative interpretation. There was passion abound in her performance, and her engagement with the audience appeared genuine as she balanced the technical proficiency required of her chosen songs. “Twisted Ambition,” taken from “Faster,” appeared to have particular attention paid to its flawless execution. What may have appeared a modest opening act on paper, Fish gave Shepherd some serious energy and excellence to meet.
SAMANTHA FISH Photo Gallery: * * * * * * * * * * * * * * * * * * * * * * * For any other artist, it would have been a challenge not to be upstaged by this young and charismatic artist. But Shepherd, rightfully heralded and expertly practiced, more than earned his titular spot on the bill. Everything about his performance, from his opening track “Trouble Is…” to the encore “You Done Lost Your Good Thing Now” was an exemplar of the genre and live musical skills. It was also a display of excellent personality, as Shepherd was no stranger to talking to the audience between songs. This included chatting about “I Found Love (When I Found You)” becoming a common wedding song – with Shepherd even remarking that perhaps it was the wedding song of someone in the audience – and the thrill of his record-smashing “Blue on Black.” Some may recognize the more modern rendition of this song brought to light by Five Finger Death Punch, a cover in which both Shepherd and Queen’s Brian May* also take part.
The first half of the set was the entirety of “Trouble Is…” arranged in a different order than the album’s original running order. The second half of the set was other songs from Shepherd’s fabled discography, and each half was met with equally enthusiastic reception. As though to call back to a more youthful time in his life, Shepherd performed without his now-signature hat, contributing to a more youthful look, resembling his appearance around the time that “Trouble Is…” caused his global rise to fame, when he was merely a teenager. His skills as a guitarist were unparalleled, and although there was an entire band supporting him, there was little doubt this was Shepherd’s show. Vocalist Noah Hunt did as superb as usual to give breath to each song, particularly the more emotional endeavors, and those more vibrant stars like “Chase the Rainbow.” That’s not to obscure the magnificence of the whole band, who gave each melody and rhythm their all. It appeared throughout to be a faithful rendition in both style and in spirit, from Shepherd himself to the other musicians joining him.
Shepherd wasn’t shy to stay at center stage, coming right up to the edge and playing with soulful intent. His eyes sometimes closed; gaze drifted down, entirely caught up in the spirit of his work. It was the spirit that first kindled his fame, and the drive that has carried him through more than a quarter of a century, that made Shepherd so captivating. With more than a fifteen-song set, a revival of blues-rock gone by, and expert musicianship, Shepherd’s performance is one that must not be missed. It entranced and captivated, and it exemplified just what has brought him to the top of the charts again and again for the better part of three decades. As KWS continues his globe-trotting, you would do well to carve out some time to see him in action.
KENNY WAYNE SHEPHERD Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: KENNY WAYNE SHEPHERD and SAMANTHA FISH Bring Blues Rock Excellence to Fort Lauderdale (February 2nd, 2023) appeared first on Sonic Perspectives.
Alter Bridge are currently on a North American headlining tour supporting their latest album, “Pawns & Kings,” and just completed a six-week European tour last month. The North American tour consists of 30 shows (split into two legs) that started January 25th in Tampa, FL, and will wrap up April 1st in Highland, CA. Mammoth WVH are joining them as direct support for this entire tour.
Last week’s show at the Welmont Theater in Montclair, NJ, has been sold-out for weeks as the anticipation of seeing both bands together has reached a fevered pitch. It was evident from fans waiting in line at the venue for hours, discussing their favorite songs, albums, and tours. It’s always wonderful to see fans of all ages, races, and nationalities beaming with pride wearing their Alter Bridge, Van Halen, and Mammoth WVH merch in a unified moment of happiness. These are the moments metal fans live for; it’s their drug and religion all rolled into one. You instinctively knew this concert would be special from a glimpse of this pre-show excitement.
With only 45 minutes in their set, Mammoth WVH were outstanding and made an indelible impression. Wolfgang Van Halen wrote and performed all of the instruments and vocals on his debut album, but for the tour, he enlisted the help of Frank Sidoris [guitar], Jon Jourdan [guitar], Ronnie Ficarro [bass], and Garrett Whitlock [drums].
The band performed eight songs off their hard-driving “riff rock” debut album and cranked it up to 11. Opening with “Mammoth” and then “Mr. Ed,” Mammoth WVH were rock-solid and as tight of a band as you will ever hear. The crowd instinctively sang every word of all his songs, creating a symphony of backing vocals. The outpouring of love from this Jersey Strong crowd visibly humbled Wolfgang. When the magic of writing great riffs have eluded many bands lately, it clearly shines bright with him. The band has a fresh take on balls-out rock n’ roll, with big choruses while delivering a dynamic live show.
Wolf was a one-person wrecking crew handling all the vocals, playing guitar, taking the solos, and occasionally jumping in on keyboards for “Epiphany” and “Think it Over.” Frank of, Slash ft. Myles Kennedy and the Conspirators fame and Jon are dynamic searing guitar players. Garrett, who has performed with Tremonti in the past, and Ronnie are the band’s backbone, allowing the three guitars to drive the songs. These guys know how to play their instruments, and they know how to play together. If Mammoth WVH was on a mission to preserve the sanctity of rock in its purest form, they should consider it a job well done.
Saving their best song for last, “Don’t Back Down,” Mammoth WVH turned up the heat. Just when they had the crowd fired up, their set was over. One can only hope the band comes around again as a headliner so we can hear more songs and some extended guitar solos! Mammoth WVH are destined to make a tremendous impact on the music industry and stage.
Mammoth Van Halen Photo Gallery:
Alter Bridge remains a no-nonsense band carrying the torch for rock n’ roll! Fans sang to every word of their songs as their heroes Mark Tremonti on guitar/vocals, Myles Kennedy on vocals/guitar, Brian Marshall on bass, and Scott Phillips on drums raged on. If rock n’ roll is dead, Alter Bridge missed the memo. The band has everything anyone can ask for; crushing guitars, heavy rhythms, top-notch songwriting, and melodic songs with thought-provoking lyrics that are sung well. The band performed four songs off “Pawns & Kings”, the title track, the opener, “Holiday,” and “This is War.” The album has been met with critical acclaim and is one of their best albums to date. Prior to the show, I asked Mark if there was an expectation that their newest album has to be equally as good if not better than the previous one. He replied, “The only goal you have as a writer is to get better, and if you are not getting better, then you are just getting worse. Sometimes for an artist, better is just different; we don’t want to keep repeating the same thing Blackbird record over and over. We want to add new tastes and sounds. Better for Alter Bridge is to just keep challenging ourselves.”
No Alter Bridge concert would be complete without “Blackbird,” a song about the loss of a loved one and the hardship surrounding it. It also is a rallying cry for resilience as the band lets everyone know it’s okay to mourn, love, and make peace with life.
Mark and Myles handled the guitar parts beautifully, giving the songs the heft and lift they needed. Each guitarist has a unique playing style, which is slightly different yet perfectly complements each other and the songs. Mark was armed with his arsenal of PRS guitars and Bogner Uberschall amps to perfectly connect all the notes ingrained in our brains. Adding some dimension mid-set to their performance, Myles appeared on stage with his acoustic guitars to perform and sing “Watch over Me,” and then Mark joined him with his acoustic to perform “In Loving Memory” while Myles sang. It was a spellbinding moment that raised the hair on your arms. The presentation of the song had fans’ undivided attention, as a hush fell over the theater where you could hear every nuance of the guitar and a pin drop during the vocal pauses.
Myles is a captivating and charismatic front-man not only for his legendary singing and guitar playing but as a lyricist who can paint thematic pictures in our mind’s eye. He tirelessly sang every song with heart and soul for the love of his fans. Brian is the sonic ambassador between the rhythm of Scott‘s drumming and the guitar playing. He is responsible for holding the band together with rhythm and fury.
The chemistry between the band members was combustible. All members were working in perfect harmony, knowing all their parts, nuances, and queues without hesitation – like a well-oiled machine. The band brought their own spectacular lighting that turned the theater into an arena compared to the Wellmont‘s drab poor blue lighting. Alter Bridge remain a global phenomenon stretching beyond cultural, religious, political, and racial boundaries to remain an unmovable core of our musical vision!
Alter Bridge Photo Gallery:
Nearing the midway point of their 25-date tour of North America, card-carrying members of heavy metal’s “The Big Four” continued their 40th Anniversary celebration at The Wellmont Theater, a historic music venue nestled in downtown Montclair, New Jersey this past Tuesday night, January 31. For their tour, Anthrax have teamed up with co-headliner Zakk Wylde’s Black Label Society and special guest Exodus, metal thrashers from the Bay Area whose initial lineup in the late-1970s included Metallica’s Kirk Hammett and the only original member still with the band, drummer Tom Hunting.
Arriving more than an hour before the 5:30 PM doors on a brisk, 35-degree late afternoon, at least a hundred fans, many clad in black Anthrax gear from yesteryear, could already be seen wrapped around the corner of the venue. With tonight’s show completely sold-out, I was asked by at least five fans desperate to get inside if I had an extra ticket. Unfortunately, for them, I did not. As the sun commenced its descent over the Wellmont Arts Plaza, security personnel already at their respective posts, the legion of metal fans who had been patiently waiting were let into the warm confines of the 2,500 capacity theater’s lobby. Operated by Live Nation, The Wellmont Theater was originally constructed in 1922 and after undergoing a $3 million renovation in 2008, still features it’s proscenium arch surrounding the stage.
As the minutes ticked down before Exodus would take the stage, fans continued to hover around their favorite bands’ merch table or grabbed a drink from the array of bars strategically placed on each level. With a 6:30 pm start time, I was taken by surprise when the house lights suddenly went down and Queen’s “We Will Rock You” played over the PA system a few minutes early. Quickly rushing down the aisle to the pit area, I arrived just in time to see the quintet of Steve “Zetro” Souza (vocals), Gary Holt (guitar), Jack Gibson (bass), Lee Altus (guitar) and the aforementioned Hunting, walk onstage.
Their first album in more than eight years, and eleventh overall, Exodus are touring in support of “Persona Non Grata” (Nuclear Blast Records), released in November 2021. Like Anthrax, Exodus are also pioneers of the thrash metal scene that emerged in the 1980s and early-1990s and are also known to be part of the “second big four,” alongside Overkill, Testament and Death Angel.
Exodus’ repertoire of songs, which did not waiver from past shows on the current tour (as well as the set-lists of Black Label Society and Anthrax), comprised nine stellar offerings across five studio albums. With the band and the audience getting acquainted with one another during the first trio of songs, it was the introduction to “Blacklist” (“Tempo of the Damned,” 2004) when Souza reminded the rapidly growing general admission floor crowd of the mosh pit rules of etiquette. “I want to see it violent, but I wanna see everybody making it out. Make sure if someone wants to come over, [that]they get over safely. Because Montclair, better yet, because Jersey, we’re all in this fucking together!”
The second half of Exodus’ blistering set included one classic thrash anthem after another, three of which were taken from their debut studio album “Bonded by Blood” – “Piranha,” (showcasing the eminent metal riff masterfully performed by Holt at breakneck speed), the title track from their 1985 release and “Strike of the Beast.” As the set neared its conclusion, Exodus gave us one of their best-known songs and a personal favorite (“The Toxic Waltz” from 1989’s “Fabulous Disaster”), featuring Gibson’s pounding bass and Souza’s gravelly voice that would have made Bon Scott proud. Before exiting the stage to another Queen song (“We Are the Champions”), two lucky young boys were lifted out of the audience and onto the stage to bid the crowd a good night and also to pose with Ukranian-born Altus and his white ESP guitar, while of course flashing the sign of the horns . . . with a little coaxing.
EXODUS Picture Gallery * * * * * * * * * * * * * * * * * As The Wellmont Theater reached near capacity with Anthrax fans and BLS chapter members continuing to file in from the cold and dark night, the “first to bleed, last to leave” road crew were completing the finishing touches to the stage behind the infamous Black Label Society banner. Reprising their role from last year as co-headliner with the thrash savants from New York, the almighty Black Label Society, like Exodus, is trekking across the U.S. in support of their acclaimed eleventh studio album “Doom Crew Inc.,”( eOne*) released in November 2021.
Promptly at 7:45 PM, the house lights went down for a second time while the sounds of “Whole Lotta Sabbath,” a mashup of Led Zeppelin’s “Whole Lotta Love” and Black Sabbath’s “War Pigs”, filled the theater. Next, the banner which shrouded the stage in secrecy finally dropped and the crowd erupted as front-man Wylde and his band-mates (guitarist Dario Lorina, bassist John “J.D.” DeServio and drummer Jeff Fabb) launched into “Funeral Bell” from their fourth studio album (“The Blessed Hellride”, 2003). Perched atop a riser at center stage, the virtuoso 6-stringer who formed Black Label Society in Los Angeles during the late-1990s resembled a Norse god with his long blonde mane and flowing beard, while adorned in his signature biker-style battle vest “kutte,” Scottish kilt and black biker boots.
The next quintet of songs included “The Beginning… At Last,” the lone offering from Black Label Society’s debut studio album “Sonic Brew” (1998), which was succeeded by 2021’s “Destroy & Conquer”, ”Destruction Overdrive”, “Heart of Darkness” (“Catacombs of the Black Vatican”, 2014) and “A Love Unreal” (“Grimmest Hits”, 2018).
However, it was the second half of the 1 hour, 15 minute set that shined brightest, commencing with “You Made Me Want to Live”, which displayed Wylde’s penchant for the blues scale that often features heavily in his guitar style. With Wylde taking a seat behind the keys at stage left, and after making a toast to the fans in attendance, the beautifully delivered power ballad “In This River” (“Mafia”, 2005) ensued – a song that although was written by Wylde before his close friend “Dimebag” Darrell Abbott was shot and killed by a deranged fan while performing live with Damageplan in 2004, has since been dedicated to him and his brother, Vinnie Paul.
Backed by a gigantic wall of speaker cabinets, one highlight of Black Label Society’s 13-song set was an extended solo during “Fire It Up”, featuring a guitar duel between Wylde and Lorino (with each playing behind their own head, of course). But the song that sent the now capacity crowd into a fervor was another track from “Mafia,” “Suicide Messiah,” with the audience singing along to the chorus in unison, “Bow down, you chose your maker. He never gives, he’s always a taker. The electric burns that fuel the fire. It’s just your suicide messiah.”
BLACK LABEL SOCIETY Picture Gallery * * * * * * * * * * * * * * * * * * * * * At 9:40 PM, the moment we had all been waiting for was finally here! Across the massive white curtain draping the stage a video began to play which presented the testimonials of celebrities and fellow musicians who spoke to the four decade, far-reaching influence that Anthrax has made on the thrash metal genre. During this seven-plus minute long tribute, as I stood just outside of the photographer pit barricade, I was able to catch a glimpse of guitarist Scott Ian and drummer Charlie Benante through a partial opening at the side of the stage. Despite these metal veterans having performed more than 1,500 shows over the course of their illustrious music careers, it was an extremely cool moment to witness. The sheer joy and excitement on Ian’s face was palpable as he fist-bumped Benante, welcoming his drummer back behind the kit after he missed some recent shows having underwent an undisclosed minor procedure. As the video neared its conclusion, prompting the sold-out house to “scream for us,”* only the silhouetted members of the band remained. Then, the curtain fell to the ground, and it was now officially game on!
With plenty of righteous material from which to choose, Anthrax’s set-list was chock-full of killer tracks. The first three songs of their 12-song set were comprised of the title track from 1987’s “Among the Living”, followed by “Caught in a Mosh” from the same third studio album, and then “Madhouse,” taken from their second studio album (“Spreading the Disease”) released in 1985. The next gem performed on what otherwise would have been a quiet weekday evening was introduced by Ian as follows:
Holy shit New Jersey! How the hell are you? It’s been way too long my friends since we’ve seen you. I think it’s been like five years since we played Jersey. Maybe I’m wrong, but goddamn, that’s way too long! Thank you for coming out tonight! I’m going to ask you my friends, New Jersey, do you fucking love thrash metal? I know you do because I walk onstage and I can see all your faces, every single one of you, and I can tell that all of you are “Metal . . . Thrashing . . . Mad!”
Next up was “Keep It in the Family” from Anthax’s fifth studio (Persistence of Time, 1990), followed by a hell-raising cover version of “Antisocial,” a song written in 1980 by the French hard rock band Trust. At the song’s conclusion, Ian addressed his fans a second time:
In case you didn’t know, we’re celebrating our 40th anniversary [lackluster cheer from the audience]. That’s it, for forty years, we get like a ‘woo.’ Goddamn New Jersey, that fucking sucked. And hear I am about to praise you motherfuckers and I got 800 people in the balcony sitting there like they’re watching The Real Housewives. This is a rock show mutherfuckers, you don’t sit down. Unless you can’t stand up, then you got an excuse. But that ain’t all of you! It’s fucking Tuesday and you’re already tired. Anyway, its our 40th fucking anniversary [audience explodes with cheers and applause]! Get me all mad, I gotta yell at you and shit. When we say New Jersey is home for us, even though we are from Queens and the Bronx, but without New Jersey, Anthrax is never happening.
The roof of the theater was torn off during “I Am the Law,” a noted fan favorite, with Joey Belladonna displaying his masterful range of vocal chops on this third of four songs total that would be taken from their 1987’s landmark record. Stellar representations from two more studio albums (2011’s “Worship Music” and 1993’s “Sound of White Noise”) ensued as the New York City natives bestowed upon us “In the End” and “Only” respectively, with thumping bass courtesy of Frank Bello and Jonathan Donais’ superb lead guitar riffing. After belting out their two well-known renditions of, Joe Jackson’s “Got the Time” and Public Enemy’s iconic “Bring the Noise,” the night’s finale was a scorching performance of “Indians,” with Belladona donning a native war bonnets while running around like a madman while his cohorts finished tearing down the place, leaving the audience exhausted after so much adrenaline and headbanging.
By 10:50 PM, the band took their final bow, graciously saluted their fans and exited the stage to Rainbow’s “Long Live Rock ‘n’ Roll,” still under the sound thunderous cheering. The final show of this absolutely killer tour package through North America, will happen in Anaheim, California on February 19. If metal runs through your veins, do your utmost best and then some to get to one of the remaining tour dates, and you’ll witness one of the best nights of unadulterated metal you’d have in a very long time.
ANTHRAX Picture Gallery* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The post CONCERT REVIEW: Thrash Metal Titans ANTHRAX Celebrate 40 Years in the Garden State, Joined By EXODUS and BLACK LABEL SOCIETY for A True Metal Fest (January 31st, 2023) appeared first on Sonic Perspectives.
Words by Jonathan Smith | Photos by Joel Barrios
The middle of winter might seem the most ill opportune time to hold an outdoor music festival for those living north of the Mason-Dixon line, but it’s the order of the day for those whom call Florida their home given its unique and highly inviting climate. Indeed, the fair weather of a holiday destination like Key West during the month of January is all but the perfect eventuality for the sort of celebratory atmosphere that the bands of the Sunset Strip became known for about 4 decades ago, hence why it has now become the home of the recently conceived RokIsland Fest, which recently enjoyed its second installment at The Truman Amphitheater from January 19th through the 21st. Boasting a veritable who is who of the 80s glam scene, alongside some surprising entries that either predated and influenced said musical movement or otherwise co-existed with it, it’s fast becoming the premier event for one to get their needed dose of 80s rock nostalgia.
A combination of scheduling and logistical reason prevented coverage of the entire 3-day extravaganza, but it would prove a forgivable shortcoming given the gravitas of the acts that would grace the stage during the latter 3 day period. Starting things off at roughly 5 PM of January 19th would be Lynch Mob, the brainchild of former Dokken guitarist and renowned shred extraordinaire George Lynch, and though some eyebrows were raised a couple years prior when he’d mused over dropping the band’s original name over potential racial implications, this quartet was in full form for their entire 10 song set. The changeover from Andrew Freeman to newcomer Gabriel Colon at the helm was a seamless one, as the latter’s powerful pipes and leather jacket shtick proved a perfect fit, though later when said singer opted to go shirtless his appearance and mannerisms resembled a young Chris Cornell in his prime. The rhythm section of bassist Jason Gulino and fill-in drummer Jordan Cannata were naturally on point as well, though it was ultimately Lynch’s stage as his wildly expressive and flashy guitar work riveted from start to finish with most of the highlight points being classic Dokken tunes such as the furious instrumental “Mr. Scary”, the infectious hooks of “Into The Fire” and the epic grooves of “Unchain The Night”, all of them ornamented further with fancy improvised elements from Lynch’s bottomless well of brilliant licks.
LYNCH MOB Photo Gallery: * * * * * * * The second fold of titans to commandeer the amphitheater would be American metal pioneers Quiet Riot, whom proved no less explosive but added a more poignant flavor to things. The recent passing of all-time drummer Frankie Banali and the continued absence of charismatic and original front man Kevin Dubrow had left what one might have concluded to be a different band from the one that conquered the 80s, but the return of original bassist and showman Rudy Sarzo and a stellar showing by the rest of the band quickly quelled such a notion. Singer Jizzy Pearl would pour his heart and soul out on stage and prove an adequate stand-in for the iconic Dubrow, while guitarist Alex Grossi rocked the 7-string like a champ, but it all but turned into Sarzo’s show as his 72 year old self energetically worked the stage and slammed away at his bass like he did in his 30s, with his bass solo slot being a high point of their set. Indeed, apart from some technical problems with Grossi’s equipment which would cut into most of the opening speed rocker “Run For Cover” lead guitar high-jinks, it was a near flawless showing, with Grossi’s brief rendition of “Crazy Train” in tribute of original guitarist Randy Rhoads (who became better known as Ozzy’s original solo axe man) also standing tall alongside banger anthems “Metal Health (Bang Your Head)” and signature covers of Slade hits “Cum On Feel The Noize” and “Mama Weer All Crazee Now”.*
QUIET RIOT Photo Gallery: * * * * * * * * * * The disposition of following such a pair of energetic performances might have been an unenviable one, let alone trying to kick things up a notch in the process, but Vegas-born glam rockers Slaughter would rise to the occasion as darkness fell upon Key West. Jordan Cannata would rock the kit for a second time following his fill-in role with Lynch Mob earlier, and would prove a force of nature behind the kit as he laid the foundation for one of the heavier performances to grace the amphitheater. Mark Slaughter would shatter glass at nearly every turn with his piercing and ageless wail that resembled a more intense and exaggerated Brian Johnson to go with the band’s more metallic nod to AC/DC’s style of raucous rock on noted bangers like “Mad About You” and “Burnin’ Bridges”, and would morph into a nastier variant of Robert Plant on a crushing cover of Led Zeppelin’s “Immigrant Song”. Blas Elias’ bass performance would further bolster the heavy tone and character of each hard rocking entry, while guitarist Jeff Bland*’s technically impressive solos and animated stage presence brought the impact factor to a fever pitch.
SLAUGHTER Photo Gallery: * * * * * * * * * * * * * In a rather curious twist, this first day of glam-steeped rock would be headlined by Florida natives and southern rock legends .38 Special, and while their flavor would be a pretty massive stylistic departure, they would elicit an equally strong crowd response. Though original front man Donnie Van Zant has been absent from the fold for almost 10 years, their blend of 70s rock sensibilities with an 80s rock twist be no less potent as they sloughed through a marathon 90-minute set of highly catchy fair and conformed themselves well to the tone and tenor of the evening while still standing as a massive contrast to the fiery character of the three preceding acts. Co-founder and current lead vocalist Don Barnes did an apt job of filling the role vacated by Van Zant and brought his own old school southern swagger to the fore as he led a large ensemble though such noted radio classics as “Hold On Loosely”, “Caught Up On You”, power ballad “Second Chance” and bangers from the Revenge Of The Nerds 2 original film soundtrack “Back To Paradise”.*
.38 SPECIAL Photo Gallery: * * * * * * With the onset of Friday and another quartet of classic 80s outfits gracing the stage, the festival would prove no less engaging or lustrous. Kicking things off would be what one might dub the opening act of opening acts for the decade in question in Black N’ Blue, given both their relatively obscure status among their contemporaries and them being the preferred opening act for the likes of KISS and Aerosmith during the height of their career. They embodied every characteristic of the era to a fault despite featuring several younger members, and for their parts, rhythm guitarist and newly recruited member Doug Rappoport and slightly less recent pickup and lead player Brandon Cook gelled with their older band mates seamlessly and presented as experienced showman. Naturally they garnered the biggest audience response from their lone hit “Hold On To 18” at the tail-end of their set, but front man Jaime St. James and company kept things interesting for the entire time, with vintage anthems like “Nasty Nasty” and “Rockin’ On Heaven’s Door”* shining bright among a consistent 12 song presentation of vintage 80s sleaze.
BLACK N’ BLUE Photo Gallery: * * * * * * * * While California was always a focal point of the glam craze dominating this event, one of its favorite songs and Orange County residents Stryper would bring a more metallic flavor into the equation. As a band that has had one foot in the visually exaggerated character of their 80s glam contemporaries and the other in the more aggressive sound of Iron Maiden and Judas Priest, these heavy metal icons with a Christian message put forth a set saturated in as much high-impact energy as they’d done in their formative days, commanding the sort of respect befitting a band that has weathered changing musical landscapes over multiple decades and continuing to put out high grade music in the studio up until the present day. The smooth yet powerful pipes of Michael Sweet, the master kit work of brother Robert Sweet, Oz Fox’s expressive guitar lines and the steady bass work of more recent member Perry Richardson combined their respective crafts like mighty machines forming a colossal cousin of Voltron as they wowed every onlooker with 13 classic anthems, each coming off heavier and more metallic than their original studio incarnations, with “Soldiers Under Command”, “To Hell With The Devil” and “Free”* garnering the loudest cheers.
STRYPER Photo Gallery: * * * * * * * * * * * * The succession of hard-hitting 80s goodness would continue to reign with a latter-day edge with Extreme, their very name befitting the raucous performance that they would bring as dusk fell from the Florida sky. Lead vocalist Gary Cherone would rival the highly animated stage persona and crowd relations work of vintage David Lee Roth, reminding all in attendance as to why he was chosen to front Van Halen following their aforementioned amateur gymnast turned singer and his grittier successor Sammy Hagar’s exodus from the fold, but the showing by the whole band would be on another level, with guitarist Nuno Bettencourt also functioning as a second front man via a fluid and gusto-driven playing and vocal input, while the foundation provided by drummer Kevin Figueiredo and longtime bassist Pat Bader was rock solid. The set of transitional hard rocking goodness that originally bridged the 80s to the 90s proved as versatile as it was impactful, with heavy anthems like “Decadence Dance”, “Li’l Jack Hory” and “Play With Me” (which featured a nice reference to Queen’s “We Will Rock You”) sharing the hour with the smooth acoustic balladry of radio hits “Hole Hearted” and “More Than Words”.*
EXTREME Photo Gallery: * * * * * * * * * * * * * * * * * * * * As with the previous day, Friday’s festivities would end with a noticeable stylistic turn, albeit less extreme (pun intended), to the 70s arena and progressive rock handiwork of Styx, whom were nevertheless an influential band on the 80s outfits that have generally dominated this event. Age has continued to be a non-issue for these elder statesmen of the realm of hard rock as they proceeded to unleash a grueling 17-song set of mostly classic offerings in a headlining capacity. Distinction in quality between each chapter of their epic presentation was nonexistent as Tommy Shaw would share the vocal helm with Dennis DeYoung replacement and keyboardist Lawrence Gowan, with riveting performances of classics like “Blue Collar Man”, “Crystal Ball”, “Come Sail Away” and “The Grand Illusion” being key notes of a veritable marathon showing. Other key moments would involve guitarist vocalist James Young rising to the occasion with a gritty rendition of “Miss American”, while original bassist Chuck Panozzo would also join the band for a number of standout anthems including that of “Lady” and an explosive encore performance of “Renegade”,* but at the end of the day, what sold this headlining set was the colossal character of the collective sound of the whole arrangement, which also included multiple live support musicians.
STYX Photo Gallery: * * * * * * * * * * * * * * * * The 3rd and final day of this grand affair of 80s nostalgia would generally follow the same format as the previous day, albeit in a more ratcheted up, over the top fashion. Starting things off in the late afternoon was what one might consider another contender for the distinction of ultimate opening act in Autograph, an outfit largely known for being a one-hit wonder/also ran, but a casual listening to the material that would round out their 10 song set tells the story of a band that had all the right elements in place to conquer the decade that birthed them, but ultimately failed to do so due to a combination of genre saturation. Though now considered something of a glorified tribute band given the lack of any original members still in congress, 2013 replacement for original vocalist Steve Plunkett and Brazilian born de facto helmsman Simon Daniels led a quartet of newly recruited members that also included former Metal Church member Steve Unger on bass through a set of infectious anthems steeped in 80s tropes and excess, with their smash hit “Turn Up The Radio” stealing the show at its conclusion, though other entries like the turbo-charged “Loud And Clear” and the tuneful anthem “All I’m Gonna Take” proved quite fetching, with the shred work of Jimi Bell doing an apt job of emulating the Eddie Van Halen on crack approach sported by original guitarist Steve Lynch* back in the day.
A less than subtle hint that heavier material was on the way would drop with the resounding roar of a recording of Judas Priest’s “Painkiller” to introduce iconic vocalist and Ratt helmsman Steven Pearcy. Though his vocal performance would occasionally sound haggard and rough, he and his fold of live musicians led the crowd through a 14 song marathon of classic antries courtesy of the aforementioned band that he original cut his teeth with during the 80s. Audience response would prove a ceaseless roar that somehow fell short of robbing this legend of his hearing as he offered up one banger after another, with fist-pumping anthems like “Lay It Down”, “I Want A Woman” and “Round And Round” bringing the decibel level dangerously close to the boiling point. Then again, one couldn’t help but notice the insane energy level that would be accomplished during the blistering rendition of speed rocker and entry from The Golden Child original movie soundtrack “Body Talk”, all but to the point of the crowd reenacting the classic scene where Eddie Murphy and Charlotte Lewis took down an entire biker gang barehanded.
STEPHEN PEARCY Photo Gallery: * * * * * * * * * * Night having thus fallen, the promise of a full blown metallic assault loomed like a Sword of Damocles with the entry of Seattle progressive metal icons Queensrÿche to the amphitheater, entering to a recording of Pantera’s “Walk” to boot. Their presence would stand as the most telling statement of the 80s being far from a one-dimensional period in history, as the towering array of classic songs showcased would coincide with the height of the Sunset Strip sound, all the while sounding virtually nothing like it. With only two of this iconic outfit’s original membership still in tow, the colossal showing that would commence might as well have been performed by the original band at the height of the 80s, with Geoff Tate’s replacement Todd La Torre’s blaring wail embodying the same otherworldly level of power and pizzazz, and upped the ante in the aggression department. The dual guitar assault of original member Michael Wilton and later on and off again six-string foil Mike Stone, along with the pummeling foundation provided by bassist Eddie Jackson and former Kamelot kit man Casey Grillo were not far behind in terms of intensity, resulting in a collective sound that could have shook the pillars of the earth that night. Pointing to a lone standout moment would be an exercise in futility, though the manner in which La Torre perfectly rivaling Tate’s signature wails on “Queen Of The Reich” and “Take Hold Of The Flame”, and the ringer performances relative to their studio incarnations of “Empire”, “Warning”, and “Screaming In Digital”* were among the summits of a performance that could only be described as one for the ages.
QUEENSRŸCHE Photo Gallery: * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Things would wind down on a subdued and somewhat mixed note with the concluding set of evening headliner and glam icons Tesla. Though they were saddled with the near impossible task of following the gargantuan display of raw energy displayed by Queensrÿche, they made a respectable showing. The tempo and feel of their set had a feeling of reserved slowness relative to appearances prior to the Covid-19 lockdown, while the voice of front man Jeff Keith often came off as hoarse when in the upper part of his register. The surrounding instrumental display provided by guitarist Frank Hannon and his fellow axe-slinger David Rude accomplished a comparable synergy and luster alongside the foundational work provided by bassist Brian Wheat and drummer Steve Brown, resulting in competent renditions of signature classics like “What You Give”, “Modern Day Cowboy” and a duo of rocking covers in Ph.D’s “Little Suzy” and a closing performance of Five Man Electrical Band’s “Signs”*. It was by no means a bad showing, but even when accounting for the riveting display that preceded it, the atmosphere felt a bit more subdued than it should have, but audience response and stage presentation ultimately carried things to the finish line.
TESLA Photo Gallery: * * * * * * * * * * * * * * * * * * * * * The final take away from this near week-long event, even beyond the featured attractions that graced the amphitheater, was one of total professionalism. In comparison to recent logistical difficulties that this journalist had to endure during several 2022’s Blue Ridge Rock Festival, to speak nothing for the nightmare scenario that was the Hell & Heaven Metal Fest* of the same year, the infrastructure that was put in place in Key West proved highly efficient for journalist, fan and band alike. Granted, this particular festival was a comparatively small one that included a single stage rather than 4 or 5 running simultaneously, but even when accounting for scale, the well staffing and control of every access point to the amphitheater, the inclusion of free catering and air-conditional bathroom facilities for media, and a minimum of difficultly in acquiring the needed credentials to efficiently navigate the event, a good time was enjoyed by all, including and especially those that have brought to you the coverage of this event.
Soen has been one of the bright spots in the new generation of progressive metal over the past decade, taking their place alongside contemporary giants such as Leprous and Haken. It’s no surprise that there was much excitement when they finally announced their first tour of the US, allowing Americans a chance to hear and see their catalog live for the first time.
After nearly a decade of waiting, Soen did not disappoint at all. Crowbar is a fairly small club/bar, and the band used that intimacy to absolutely connect with the audience. From the second the band came on stage and hit the opening notes of “Monarch” until the final encore of “Lotus”, the band had the rabid Ybor City crowd eating from the palm of their hands. The set-list provided a terrific exposure to their band. The selection was heavy on songs from their last two albums (“Imperial” and “Lotus”), with only a few appearances from their first two.
Vocalist Joel Ekelof was at the edge of the stage the entire night fist bumping with the crowd, and delivered a flawless vocal performance, especially on “Antagonist”, the lead single from their latest studio album. Bassist Oleksii Kobel held the low end well, and provided a highly animated performance, with his dreadlocks flailing as he grooved, especially when taking center stage for show highly “Savia”. Renowned drummer Martin Lopez showed exactly what made him be considered such a revered drummer during his tenure in Opeth. Lars Ahlund pulled double duty providing not only stellar guitars, but sublime keyboards and synths. Last but not least, Cody Lee Ford served up soaring lead guitar work as well as additional vocals.
When playing at small club venues like Crowbar, I’m fairly used to being disappointed with the acoustics and ambience. However, I must say that Soen have chosen a fantastic sound engineer for their live work, that gave extremely clear and crisp sound to truly capture the performance. Even being near the front of the stage and speakers, my ears heard every note and word of the band, without my ears screaming at me after the show ended. This is a hard task to achieve, especially in smaller venues, so props to him!
As I started this concert review off, Soen has become one of the torchbearers for progressive metal, and this concert was a fantastic display of their state in the world. A high energy performance with excellent sound and musicianship, along with a great rapport with a very grateful audience. Although I do have to sadly report that they didn’t get their requested “5 more songs!” encore that they kept chanting for. Regardless, Soen will very much receive an enthusiastic welcome whenever they return to Central Florida.
SOEN Photo Gallery:* Soen_01 * Soen_02 * Soen_03 * Soen_04 * Soen_05 * Soen_06 * Soen_07 * Soen_08 * Soen_09 * Soen_10 * Soen_11 * Soen_12 * Soen_13 * Soen_14 * Soen_15 * Soen_16 * Soen_17 * Soen_18 * Soen_19 * Soen_20 * Soen_21 * Soen_22 * Soen_23 * Soen_24 * Soen_25 * Soen_26 * Soen_27 * Soen_28 * Soen_29 * Soen_30 * Soen_31 * Soen_32 * Soen_33 * Soen_34 * Soen_35 * Soen_36 * Soen_37
While attending the Soen concert in Tampa this past weekend, I had the pleasure of being introduced to Texas based prog-metal band Oceans of Slumber. Due to the hustle and bustle of the holiday season, I did not get my usual opportunity to delve into the opening acts for the show, so I went into Slumber’s performance completely blind.
When going to a progressive metal show, you don’t expect to see a trio consisting of a vocalist, keyboardist and bassist come on stage to perform. What the audience in Tampa got was an extra special performance of an incredibly talented selection of people. Drummer Dobber Beverly introduced the set as a departure from their latest album (which he admitted was also a departure from their larger catalog), and that it was going to be an intimate set. And what an intimate set it was.
Forsaking the drum set for the night, Dobber manned the keyboard playing beautiful piano sections (including his love for ninth chords) that comprised most of the melody portion of the evening. Their bassist provided a mixture of swelling ambient bass, giving the set a bit of a post-rock vibe, as well as using the bass as a percussion interest. Vocalist Cammie Gilbert Beverly sang her heart out their emotionally charged songs. Her vocal delivery was absolutely impressive to me, and was one of the best vocal performances I’ve heard in years from any prog or metal singer.
Of course, the difficulty with reviewing an act you know nothing about is being exposed to the material in a live setting for the first time, and of course trying to remember/record what was performed. While I didn’t catch the names of every song played, I was incredibly blown away with their performance, especially the song, “The Hanging Tree”.
So strong was the performance that I immediately purchased their latest album after their set, which I have been thoroughly enjoying. With that having been said, as enjoyable as that album (“Starlight and Ash”) has been, this live performance setup is even better than the recording, and actually makes me yearn for either a soundboard recording, or a studio recording done in this manner. I don’t know if Southern Gothic Prog is a thing or not, but if loving what Oceans of Slumber performed that night is wrong, I don’t want to be right. This was a special performance, and I would highly encourage any prog-rock fan to catch them at an upcoming show.
OCEANS OF SLUMBER Photo Gallery:* * * * * * * * * * * * * * *
I saw Katatonia in Denver last Tuesday night. Well, sort of…
It might be more accurate to say I caught brief glimpses of them, even though I was present for their entire set. The reason is because the band have made a very intentional choice in their live presentation to eliminate nearly all front lighting. This is typically a photographer’s nightmare, and it limits how many images one can shoot that really reveal the product or personalities on stage.
It also serves to affect the audience’s experience, because it changes the mood of the musical presentation to something more hidden and ominous. The band’s display becomes a more collective communication, rather than any individualistic expression. I couldn’t tell you much about what the members on stage were wearing, what brand of instruments they were using, or what emotions their faces might have expressed during the show. There was a vast array of red, blue, and green lighting effects on stage, but they always blasted from behind the band members, illuminating the audience but keeping the band’s face veiled, as if intentionally shrouding what was actually there.
This aesthetic plays right into the music of the band, and no doubt was intended to further serve the overall spirit of the Swedish metallers style. A visual survey of Katatonia’s album artwork throughout the catalog projects the same sense of drab abstractness. The music of the band itself puts off a vibe of being cast through a grey lens, being dulled to avoid any sense of vibrancy or feelings of life and hope. They are utterly melancholic, but somehow not boring or overwhelmingly dark. The consistency of their doomy vibe risks too much of their music blending together and merging into a muddle of morbidity. I can certainly only take so much of them at a time before I need a few contrasting rays of light to shine down and lift my listener’s psyche up.
On record, what keeps Katatonia interesting and listenable are two primary elements that stand out—the unique voice of leader Jonas Renkse, and the clean production that allows certain instruments to cut through the mix and retain a jagged edge with punch and chunk. Unfortunately, both were mostly absent in the sound of the show Tuesday night in Denver. Jonas, who mostly kept his features hidden by a curtain of long hair hanging across his face, was low in the mix, making it impossible to hear any actual lyrics being articulated. The drums were brash and tinny, obscuring a lot of clarity that might have been more pronounced from the bass and guitars underneath. It wasn’t unlistenable. But it failed to capture the sound of the band on record, which is something that would make the live show far more enjoyable. I seemed to have cared more about this than most of those in attendance, however, as they cheered and mouthed the words along in what can generally be called a generous and well-chosen set list.
Jonas announced that a new record was coming in January (“Sky Void of Stars”), and they played the new single “Atrium” about two thirds of the way into the set. The song went over well and had an additional level of energy and a slightly brighter tone than most of the rest of the set. Its reception bodes well for the upcoming release. The set-list covered a number of albums from the catalog, the greatest number of songs coming from 2006’s “The Great Cold Distance,” and 2020’s “City Burials,” which was released a few years back, but failed to get a proper promotional tour due to the world health crisis.
It’s a shame Jonas‘s voice was not mixed properly because the unique timbre of his voice is a signature aspect of the band. Tracks like “My Twin,” “Soil’s Song,” and “Heart Set to Divide” were met with warm applause and appreciation. The modestly sized venue was fairly full for a Tuesday night show that Jonas apologized about, commenting that Saturday shows allow for a lot more drinking. He said that they saw some snow coming into Denver, but it paled in comparison to Sweden. “We fucking love winter,” he proclaimed.
And most of those in attendance seemed to love Katatonia, though they offered a more somber sense of appreciation than celebratory excitement. In fairness, that seemed entirely appropriate given the nature of the art on display. It was a dark show, with a dark mood, and I walked out after into the dark night, wishing for a little better sound than what I’d just heard, and anticipating a little more levity of tunes for my car ride home. Like the others, however, I was glad to have gone.
KATATONIA Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * *
Lauren‘s show at City Winery in New York City on November 9th was just one of a handful of dates on the East Coast to promote her critically acclaimed album, “Messages from Aphrodite”. It’s a collection of musical stories told with raw emotion and captivating vocals that reflects her deep empathy for others, particularly those dealing with grief and losing loved ones. Within each song, Lauren provides a message of love and hope.
This evening, Lauren appeared on stage smiling, waving to the audience, and pointing to the ones she recognized. You could instinctively tell by the look on her face that this would be a fun-filled performance, as it was a warm and personable way to greet this NYC crowd. Reflecting on the strength of her voice and the lower volume acoustic guitar, the beauty of her show in making that emotional connection with her audience. It’s been a little over six months since fans have seen her perform, and they were eager for her to delve into her new songs and the stories behind them.
Lauren‘s band includes Dylan Rose [guitarist], Tammi Brown [keyboardist], Steve Uccello [bassist], Javier Torres [drums], and her husband, Rick Allen of Def Leppard, fame on drums as well. Once Lauren had everyone’s attention, the guitarist and singer kicked into her first song, “Blaze,” and quickly started her journey to form a close relationship with the audience. She did it successfully by keeping it simple while strumming her acoustic guitar and singing. The act was rich with meaning as it called to mind the themes of love, hope, and positivity throughout the show.
Photo by Robert Cavuoto
During her set, she navigated songs between her Americana roots with “When the Rain Comes” and “Blue” to the more straight-up rock songs like “Void of Course” to a country-pop song with “If You Want.” The sustained energy and spontaneity between her and the band throughout the evening contributed to this rewarding experience. When she wasn’t joking with the audience or her band, she told life stories with positive mantras. We all need to hear Lauren‘s message, in the figurative and literal sense, and share it with others; perhaps the world would be a nicer place!
Although she was the show’s primary focus, Lauren shared the spotlight with the other musicians for their respective solos while frequently pausing to praise them. Her band covered the typical drums, guitar, bass, and keyboards, but these talented musicians brought variety and depth to her songs. The band was equally good on the faster and slower songs, the simmering “Kiss Me Now,” and the rocker of “Big Love” as Lauren‘s unfaltering voice soared.
Throughout the show, Rick proudly watched Lauren perform from behind his kit. It was a tremendous opportunity for his fans to see him play up close, considering a few months ago, he was rocking out to 50,000 people in stadiums as the Thunder God. Tonight, his playing was smooth, tasteful, and almost jazz-like, designed to complement the songs’ needs while laying down a steady rhythm.
Lauren paid homage to Lucinda Williams by performing “Can’t Let Go” and then closed the show with “Calling All Angels” by Jane Siberry. You could hear a pin drop as she performed this song with her intensity and warm, smooth vocals.
Photo by Robert Cavuoto
Lauren is a powerfully expressive vocalist and gifted songwriter. That came sharply into focus in the night’s final stretch of songs which included “Sparrow,” which is about connecting with the spirit of loved ones who have passed, and “Color of Snow,” which was about a community who rallied together to help a veteran who was considering suicide as a way out! Songs like this made it easy to forget anything existed outside the walls of the City Winery.
Leaving the glow of the venue, it became clear that Lauren’s show was the perfect escape with her lyrical storytelling. She loved performing and connecting with the audience on more than just a performer-audience relationship as she quickly transformed from celebrity to friend. Her voice filled the venue and simultaneously touched the hearts of her fans. It was a reminder of just how much great music she has created and how inspiring a live show can be. She is one of the few acts that come across as both timely and timeless. Make sure to catch Lauren Monroe & Co. for their uniquely entertaining show.
Rick and Lauren, along with the Raven Drum Foundation, continue their mission to provide trauma recovery and healing for veterans. In support of this effort, their 2nd annual charity auction, 12 Drummers Drumming, went live on Veterans Day, November 11th. Please visit 12drummersdrumming.org to view the incredible one-of-a-kind available items and get your bids in. The charity auction runs through December 12th.
Lauren Monroe Photo Gallery:
W.A.S.P.‘s long-awaited return came to the Wellmont Theater in Montclair, New Jersey, on November 17th. It’s been 12 years since Blackie Lawless and his band of madmen graced a US stage.
The stage was designed to resemble a carnival side show displaying hand-painted posters of freak attractions with Blackie as the alluring and menacing ringmaster. You knew he meant business by the look on his face during the opening medley of songs while singing from his pulpit with his microphone stand named “Elvis.” And so began the spectacle dubbed 40 Years Live World Tour 2022. Their tour kicked off October 28th in Las Vegas and will conclude December 11th in Los Angeles; then, the band will tour numerous countries that have previously banned these Winged Assassins from performing. Blackie is joined by Mike Duda [bass]and Doug Blair [guitar], whose respective tenures in the band span 26 and 18 years, along with Aquiles Priester [drums].
The 40 Years Live World Tour is a macabre celebration of all things W.A.S.P. and takes fans back to where it all started with a complete stage show extravaganza. Blackie and the boys opened the show with a medley of four songs; “On Your Knees,” “The Flame,” “The Torture Never Stops,” and “Inside the Electric Circus.” The barrage of songs were delivered fast and furiously to tease the audience of what was to come. Once the nearly sold-out audience caught their breath, W.A.S.P. hit them with “L.O.V.E. Machine” as fans chatted along to the chorus like a symphony choir.
As expected, Blackie showcased his extraordinary music catalog in an energetic performance by delivering a combination of hit songs like “Wild Child” and “Blind in Texas.” To the excitement of fans, they are now performing three songs in a row off “The Crimson Idol”; “The Idol,” “Chainsaw Charlie (Murders in the New Morgue),” and “The Great Misconceptions of Me.” The latter song replaced “Heaven’s Hung in Black” and “Crazy,” which were played at the first few shows.
The surprise song of the evening was wildly powerful, “Animal (F%k Like a Beast).” It was a song that Blackie denounced back in 2009 because of his religious faith, but the tables have turned as it was performed flawlessly in all its gory glory. The song opened with an audio samples of PMRC co-founder Tipper Gore and various members of the Senate hearing trying to violate our 1st Amendment rights of Freedom of Speech by censoring explicit music! As incredulous as their actions were back in the 80s, the clip seems to be a timely reminder of how the government can easily infringe on our rights now. Perhaps that is why Blackie* decided to add this song to his armamentarium of music.
His band was a tight-knit group of musicians who genuinely complimented each other and the songs. Mike, Doug, and Aquiles played the parts beautify, giving the songs the heft and lift they needed. Mike is the sonic ambassador between the rhythm of Aquiles‘s drumming and the guitar playing. Doug’s solos were fluid and memorable, and he even took a searing extended solo on “The Idol,” which captivated the fans as images from their MTV video flashed on the screens. They brought back the unique raw quality and in-your-face style of playing that made W.A.S.P. a legendary act while adding a new dimension of power.
As the show came to a bombastic ending with The Who‘s “The Real Me,” the band closed with “I Wanna Be Somebody,” video screens paid homage to former W.A.S.P. members to help the band get to where they are today. Blackie still dresses the part, commands the stage like a rock star, and packs the vocal ability that fans expect. Any fan in attendance tonight will tell you Blackie still embraces that raw grittiness and glam appeal he did decades ago without using blood, torture rack, fire, and spitting raw meat. Not many bands today genuinely embody the spirit of rock n’ roll. Many try, only a few succeed, and W.A.S.P. hits the mark.
W.A.S.P. Photo Gallery:
I must confess that despite the frequent request from publicist extraordinaire Jon Freeman, I haven’t listen to a single note from Austin Meade‘s music until I found myself climbing the stairs leading to the main seating area at the Pompano Beach Amphitheater on a Sunday night. Turns out that unbeknownst to me, I was in for an unexpected surprise. To those out there who only know this recent rock phenomenon that some outlets call the present day torch bearers of old school rock through their comedic music videos on YouTube and studio albums, let’s just say that you’ve been missing out.
Austin Meade performing live – Photo by Joel Barrios
A singer-songwriter from rural southeast Texas, Meade has been playing and making music professionally for more than seven years, and his material moves seamlessly among the heaviness of classic rock, the gut-punch of emo, and a psychedelic sound that evokes Sabbath at times. His guitar style is descendant from the 70’s classic rock age, and his songs talk about corrupted love, cocaine, prison, church, and the hard living of the common working man. Unconventional, quirky, challenging per-conceived notions, and zig when you expect it to zag, his most recent album “Abstract Art Of An Unstable Mind” have done nothing but speeding up his crazy-fast career momentum.
David Willie performing live – Photo by Joel Barrios
If the aptly placed first name and common surname with a famed Union Army general wouldn’t raise a few eyebrows, this skinny jeans-toting impresario proved himself to be a master of crowd work that would rival any veteran of the craft, and the level of audience enthusiasm that was reciprocated was equally palpable. Yet despite the happy go lucky manner in which he addressed the audience and that epic mustache like something out of a risqué piece of 1970s cinema, Meade and his fold of instrumentalists were a model of professionalism who brought a competent mixture of high grade musicianship and raw, fuzz-driven energy that held a fairly impressive candle to the classic blues rock originals that were the evening’s headliners.
Brad Black performing live – Photo by Joel Barrios
Though it has been noted that the lyrical subjects often accompanying the party-like demeanor of Austin’s visual presentations of his songs are fairly heavy, the bottom-heavy stomp of his material in a live setting proves correspondingly hard-hitting. The generally smooth and retro rocking character of noted bangers like “Dopamine Drop” and “7 Letters” were given an almost sludgy coat of paint via a more massive guitar presence, while lighter fare such as “Red Roof Estates” and the almost pop-like “Happier Alone” are presented in a hard-hitting and more drawn out manner befitting a fully fledged jam band, with additional props given to lead guitarist David Willie, whom often complemented an animated, bluesy approach to making the instrument sing with some truly raucous, Jimi Hendrix-inspired high-jinks.
Color me fucking impressed.
Austin Meade performing live – Photo by Joel Barrios
Words by Jonathan Smith | Photos by Alma Reed
If American rock, be it of the country or the metallic persuasion, is known for anything, it’s definitely not for coming up short in the attitude department. The common thread of the blues and the image of the cowboy drowning his frustrations at the saloon run deep in much of what typifies the genre, and this holds true even in the present day of smart phones and social media drama. In light of this, the seemingly odd coupling of southern country rock aficionado Brantley Gilbert and Las Vegas-based metal icons Five Finger Death Punch, arguably the current embodiment of “I’m a little bit country, I’m a little bit rock ‘n’ roll”, achieves an all too fitting synchronicity under that unifying theme of unabashed, liberty-loving Americana. With four dates already under their belt since kicking off their fall tour across the heartland, these two purveyors of dueling heavy music would hit pay dirt a fifth time on November 16th, 2022 at the Bridgestone Arena in Nashville, Tennessee.
Taking the stage first to lead his six-piece outfit through a medley of bottom-heavy, smoky odes to southern music and culture, Brantley Gilbert pulled zero punches in delivering the goods to the multitudes of onlookers. It proved a hard-hitting extravaganza of guitar-driven rock that stood in stark contrast to a lot of the lighter, pop-infused material coming out of the country genre of late, culminating in a powerful hybridization of Lynyrd Skynyrd-styled rocking, old school bluesy swagger and plenty of nods to the old country greats. Indeed, most of the high points would come via several riveting cover songs, with Colt Ford himself joining the band on stage for their rendition of “Dirt Road Anthem”, while tour mate Ivan Moody of 5FDP provided additional vocals on a gritty performance of Kenny Wayne Shepherd’s “Blue On Black” and fellow present day country hit machine Jelly Roll joined in on standout original number “Son Of The Dirty South”. Other show-stealing moments would include a brilliant display on the band’s own melancholy ode to boozing away “Bottoms Up” and a haunting execution of their military tribute song “One Hell Of An Amen”, accompanied by a heartfelt speech by Brantley on the subject.
BRANTLEY GILBERT Photo Gallery: * * * * * * * * * * * * Though the opening foray was far from a light affair in terms of sound and subject, the Richter Scale would register even higher when headliners Five Finger Death Punch unleashed their craft upon the denizens of Nashville. Taking on a more theatrical approach, their set would kick off with the cinematic prelude from their latest album in “F8”, which segued as seamlessly into a pummeling display of their heavy-hitting first complete song from the same opus “Inside Out” as the original studio versions, with vocalist Ivan Moody shifting effortlessly between a brutal hardcore shout and a smooth, husky baritone. Punchy bangers were the order of the evening, with standout moments including nasty performances of fist-pumping anthems “Wash It All Away”, “Sham Pain”, “Welcome To The Circus” and the obligatory somber power ballad and original breakout hit for the band “The Bleeding” to close things out. Yet even more noteworthy than the flawless execution of the songs and the sheer skill brought to the table by lead guitarist Andy James (who shredded with the best of them) and drummer Charlie Engen (whose solo segment was on another level) was the on stage high-jinks of Moody, who raised the concept of crowd work to an art form during an a capella back and forth of Nickelback’s “How You Remind Me” and his own “Judgment Day”*, and subsequently took it in stride when a rowdy fan threw a boot on stage and was led out by security.
Despite this fall tour still being in its infancy, those who made the date in Nashville would feel uniquely privileged with beholding the best of what both bands had to offer. The contrast between the laid back, barroom demeanor and backyard country boy character of Brantley Gilbert’s performance and the larger-than-life, arena oriented flavor of 5FDP’s on-stage extravaganza could not have been starker, yet the audience response was about equally favorable. It spoke to the sense of cultural camaraderie that all Americans share, regardless of which side of the mainland they happen to reside, and the comparable level of professionalism and humility showcased by both acts was quite becoming of them as veterans whose exploits have been fast approaching historically iconic status. The party is far from over as this tour will proceed for well over a dozen more dates through the middle of December, but for those that caught the show this evening, it’s a safe bet that most arrived home all partied out and eager for a recuperation period tantamount to one required following an epic slough at the gym.
FIVE FINGER DEATH PUNCH Photo Gallery:* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Legendary audio engineer, songwriter, musician and record producer Alan Parsons has mostly been inactive on tour due to urgent spinal surgery required this summer, and if his performance on “Cruise to the Edge” was any indication, it was good he prioritized his health, as he appeared to struggle with mobility on the boat.
Originally billed as a 40th anniversary show for the “Turn of a Friendly Card” album, and rescheduled multiple times thanks to delays and illnesses, his performance at The Paramount Theater in Denver finally happened this week , now as part of the 40th anniversary tour of “Eye of the Sky.” And it was truly a case of the show must go on.
Photo by Alan Cox
I don’t know that the rescheduled date mattered much in terms of the set-list, since it covered a broad range of material from the Alan Parsons Project’s entire discography, all the way from “The Raven” and “(The System of) Dr. Tarr and Professor Fether” (from the 1976 debut) and “Uroboros” and “Don’t Fade Now” (from 2022’s “From the New World”). The reality is that any Alan Parsons live show is likely to include such obligatory tracks as “Games People Play,” “Eye in the Sky,” “Don’t Answer Me” and “I Wouldn’t Want to be Like You.”
A couple of deeper tracks, however, proved to be some of the brighter spots of the evening, including a rare moment of keyboard improvisation (more on that to come). Singer PJ Olson, who has been touring with Parsons since 2002, shone brightest on lead vocals, delivering particularly poignant renditions of “Old and Wise” and “Don’t Let It Show.” With so many of Parsons’ catalog featuring a diverse range of lead singers and remarkably melodious background harmony vocals, it must be stated that he played a key part in keeping the energy and musicality of the show at a high mark. It’s a fair remark that Alan himself probably puts out the least amount of musical output on stage, and while it’s heartwarming to see him take an occasional lead vocal, PJ confidently raised the bar, while the rest of the band’s background harmonies were on point.
Photo by Alan Cox
Drummer Danny Thompson played with the gusto of a musician in a harder rock band, and that also helped elevate the energy level. While guitarists Dan Tracey and bassists Guy Erez effectively recreated many signature guitar solos and sounds on the night, they didn’t bring the same energy as Olsson. It’s possible, however, they were distracted a bit, as were a number of others on stage, who were visibly trying to guide the keyboard player through the set. As it turned out, the night before in Salt Lake, the regular keyboard player Tom Brooks, who provides such an orchestral component to the music of Alan Parsons, fell severely ill and was rushed off to the hospital.
As a result, they had to fly in a replacement player on short notice and there are only so many hours in a day to prepare someone for an 18-song set. Throughout the night, various members were giving visual cues of repeats, when to start or stop, and it made for a very different viewing experience that was pretty fascinating.
Photo by Alan Cox
That said, the player they flew in, who I can find no record of his name, did a competent job and even took an improvised jazzy solo that was outstanding. The show was broken up into two sets, and I can only imagine the scramble going on backstage at half time to prepare him for the second set. Credit must go to all of the band for putting on an entertaining and generous show, despite the many challenges and setbacks they have been dealing with. They sounded pretty good, though I’ve heard them sound better. A musical top hat must be tipped simply for them pushing through and delivering a show that many in attendance seemed quite pleased with.
Alan Parsons’ latest release, “From the New World,” has some ominous vibes that it could be his last recording. Although we are all getting older, as was evidenced by the average age of the grateful crowd, I genuinely hope that Alan continues to work up new music. He’s carved out a wonderful career of catchy pop songs that flirt with progressive elements, and his contribution to the sonic quality of many great records all make him a treasured statesman in my world of music. A speedy and full recovery is wished for both Alan and Tom, as well as a bright and healthier new year.
ALAN PARSONS Photo Gallery:
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On Friday night, the Australian group Airbourne drew a packed house on opening night of their U.S. & Canada Tour at The Gramercy Theatre in NYC. Their tour started September 9th and runs through October 11th in Los Angeles. It’s the band’s first U.S. and Canadian tour since 2016. Their original tour to support their [...]
While rock music is alive and well, witness the countless mid-capacity theaters with sold out shows and festivals that are drawing forty thousand plus people. But it seems as though the art of the arena show has gone by the wayside. If there is one larger than life band that was seemingly built for the [...]
he European metal scene has come a long way in the past two decades, following a seemingly miraculous rebirth of the melodic strain with a fresh coat of auditory paint towards the turn of the millennium. In what some might dub the 2 wave of power metal, much of northern and western Europe experienced a [...]
There are two types of rock music aficionados. Those who would immediately know who Jordan Rudess is, and those who would raise an eyebrow when his name is mentioned, as a clear sign of “I don’t know who you are talking about”. If you are reading this you probably belong to the first, and after [...]
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After a six year hiatus, Maynard James Keenan’s Puscifer are in the midst of a 22-date stateside tour that brought the performance-art troupe to the Flatbush neighborhood of Brooklyn, New York this past Saturday on a hot and steamy night. In support of their fourth full-length studio album “Existential Reckoning” which was finished during the [...]
With each passing year the list of icons of rock’s early days still manning the stage and bringing this now vintage sonic expression to the masses grows thinner. Even when considering the peak of the genre’s foray into experimental territory with the rise of 70s progressive rock and the subsequent arena craze that it unintentionally [...]
Legends never grow old, they simply watch the world change around them and occasionally change with it, or at least that’s the lesson that the audiences that have witnessed the spring tour of Ann Wilson on the heels of her most recent solo album “Fierce Bliss.” It’s a fitting title for an album that embodies [...]
England’s finest black metal exports and masters of darkness and love Cradle Of Filth swarmed Michigan this past weekend, bringing with them a theater of horrific stories bathed in their colossal symphonic black metal assault. Kicking off the night was melodic act Frayle; bringing a compelling presentation full of slow, heavy riffs counterbalanced by the [...]
With the war to reclaim the live music scene from the years of lockdowns still raging, it is only fitting that one of its champions be a quartet of warriors who wield the mighty 6-string in one hand and the message of The Almighty in the other. Granted, 80s heavy metal stalwarts and Orange County [...]
Words by Sumeet Dandekar My introduction to Borknagar came all the way back in 1997, with their sophomore release, “The Olden Domain.” I was intrigued by recommendations from people who told me their music has lots of variety, and that they don’t fit neatly into any particular sub-genre – and it’s safe to say that [...]
The Finnish symphonic metal band Nightwish opened its Denver set with “Noise,” and concluded with “The Greatest Show on Earth.” Which one best describes their performance? I’m happy to say that answer lies much closer to the latter than the former. Nightwish has a real penchant for the dramatic. The music is mammoth in scope, [...]
Though I have never had the pleasure of meeting Steve Hackett, I imagine the man to be a bit of the quintessential English gentleman, because is entire sold-out performance in Boulder, Colorado oozed nothing but class from start to finish. The “Genesis Revisited Seconds Out Plus More” World Tour made a stop in the Rocky [...]
John 5 and The Creatures featuring Ian Ross [bass], Alex Mercado [drums], and of course John 5 [guitar]are currently on their 2022 North American Sinner Tour with special guest, The Haxans. This Wednesday’s show was at The Chance Theater in Poughkeepsie, New York. If there is such a thing as being a good sinner, John [...]
On a night of many firsts, set skipped most of band’s discography but still obliterated its audience “Bad news,” I texted. “I’m gonna be right in front of you tonight.” “Oh shit,” Vik responded. “I’ll try not to suck.” The stakes are kind of high for multi-instrumentalist Vikram Shankar tonight. The guy behind the keys [...]
Mongolian Hunnu Rock heroes The Hu, brought their Black Thunder Tour to the Cannery Ballroom in Nashville TN, on May the 9th. The tour kicked off on April 15th in Indigo, California aka Coachella, and will resume on May 31st in Mexico City. As a Nicaraguan, I am used to consuming all genres of music [...]
Photos by Alma Reed / Words by Natalia Kraft It’s Friday night, the weather has cooled off a bit and hordes of people dressed in black are promptly arriving at The Bridgestone Arena in Nashville, Tennessee. The occasion? The Metal Tour Of The Year. And let me tell you, it did not disappoint! One band [...]
The Pineapple Thief. The British quartet returned to American shores to begin a major US tour, kicking off with a date at The Plaza Live located in Orlando, Florida. Their Central Florida debut marked an opportunity for the band to share selections on US soil from not just one, but two new albums. 2020’s “Versions [...]
If rock & roll is an institution, you can lock me up and throw away the key, provided it’s in the same cell as with Justin Hawkins [vocals/guitar], Dan Hawkins [guitar], Frankie Poullain [bass], and Rufus Taylor‘s [drums]of The Darkness. Their performance at Asbury Lanes in Asbury Park, New Jersey, included more thrills, spins, and [...]
Polish prog rockers of Riverside have reached their twentieth anniversary, and what better way to celebrate than to hit the road and play for fans around the world? The band is currently touring North America, and played a memorable set in Toronto on April 22nd. Coming out of isolation after so much time spent at [...]
On Friday, April 22, 2022, the Sinner Tour featuring The Haxans and John 5 & The Creatures made a stop at the Garden Amphitheater in Garden Grove, CA. Fans began lining up at the open air venue in the early afternoon, and anticipation mounted as it got closer to show time. After meet and greets [...]
It’s been a long two years. My hyper-cautious ass has been all too happy to stay away from crowds, and I only started tiptoeing my way out of plague mode last month, twenty-four months and three days after my last concert. I’d been itching to get back into the photo-pit, where some two decades ago [...]
Words by Samantha Buckman and Jonathan Smith Roughly two years to the day that the world stopped turning in response to Covid, many heroes have risen to beat back the beast that stole the concert-going experience from the masses. The analogy of a small band of heroes standing against a seemingly insurmountable juggernaut is a [...]
Monday night at Denver’s Ball Arena felt like taking a big step back in time…and it felt good to me and nearly 20,000 others in attendance. The double bill of Toto and Journey was a smart pairing—two enduring arena rock bands that are both led by masterful, seasoned guitar players, feature a lineup with some [...]
It’s not every day that I find myself at loss for words when trying to chronicle a live performance. But don’t get me wrong, this is not an occurrence of a writer’s block. It’s merely that I am finding myself at odds when it comes to describe what a Dirty Honey show looks like, as [...]
Since they began deep in the unknown with their novel premise, an uncertain reception awaiting the deep strings that filled out the heavy body of “Plays Metallica by Four Cellos” in 1996, and all the way to their poignant and recent single “I’ll Get Through It” that features Geezer Butler of BLACK SABBATH on bass [...]
It was a frosty Sunday evening in Pontiac Michigan as fans lined up outside The Crofoot Ballroom, anxiously waiting to finally see the Extreme Power Metal Tour. This tour was originally supposed to happen in 2020 but we all know what happened then. This tour lineup is not one to sleep on; if you are [...]
There would be few names more apt for Ministry’s conquest over North America than the Industrial Strength Tour. Few things could be more steadfast than Al Jourgensen, longtime front-man for Ministry and a pioneer of industrial metal with more than four decades of experience under his belt. After being postponed for almost two years, the [...]
The musical power couple of Lauren Monroe and husband Rick Allen of Def Leppard fame are both serious players with big reputations. Lauren Monroe is an accomplished musician, healer, noted author, and speaker, while Rick has toured the world countless times over with Def Leppard and sold 100 million albums worldwide. It is no wonder [...]
Concerts returning in 2022 has started to spread joy to all those who enjoy them immensely, such as myself, a concert photographer. On March 14th, a chilly spring Monday night, I was able to have the opportunity to capture the ‘The Voyeurist Tour”at The House of Blues in Boston, MA. The line up consisted of [...]
After several years chronicling live shows as a photo-journalist, it’s hard to get surprised by a live act performance, even more so if you have had the chance to witness the greatness of bands like Iron Maiden, Slayer, Metallica, Ghost, Judas Priest, Megadeth and many others… Or so I thought. Enter The Dropkicks Murphys. First, [...]
First to kick off this wonderful night was a three-piece band from Rochester, New York; called Lyell. Before they began playing, they announced that their song “I’m Somebody Else” would be featured in an upcoming movie called Bad Habits. This track is an anthem for those who doubt themselves, it is all about breaking free. [...]
What was originally a very frigid night quickly warmed up as fans packed The Majestic for a sold out show. Shadow of Intent began the night off with some captivating deathcore melodies. Those scanning the stage saw the determination on the band members faces. They were all enjoying the tour and lost in the moment. [...]
Progressive rock stalwarts known as NMB just finished touring the USA promoting their latest record, the critically and fan acclaimed “Innocence & Danger” in front of enthusiastic audiences in selected cities. Every NMB tour is a special occasion, so I couldn’t pass up the opportunity to catch them on the road, being fortunate enough to [...]
With the temperature quickly falling back to freezing from the unseasonably warm afternoon, Tool fans arrived at the $1.1 billion UBS Arena in Elmont, Nassau County, New York eager to see the progressive metal titans from Los Angeles amid their first tour in more than two years. In support of their fifth studio album, and [...]
As winter tightens its unforgiving clutch on the northern United States, Florida has begun to welcome the first strains of spring. And with spring comes the first signs of festival season, calling bands out from hibernation after a long winter, if not an even more extensive Covid-induced hiatus. First among these is Florida’s independent festival [...]
The “Death…At Last Tour” stopped in Detroit, Michigan for an unforgettable night of metal music and positive memories. Extinction A.D. started the night off by playing New York style metal thrash music. By far these guys are one of New York’s best thrash bands, who came prepared to captivate the audience’s attention and energy. A [...]
Not even ten inches of snow can stop the Welcome To Elsewhere Tour. Fans braved the snowy conditions and waited outside the venue several hours before doors opened, every fan reminiscing about the last time they saw Set It Off. The Welcome To Elsewhere tour is Set It Off‘s first headlining tour, they have been [...]
Fit For An Autopsy‘s tour package was everything you could want and need for an amazing show! Great American Ghost kicked off the show with a ton of energy that the crowd just soaked up. They played one of their newer songs, released in 2020, called “Altar of Snakes“; The crowd screamed back every single [...]
Nothing jump-starts the evolutionary process quite like pure, unabashed necessity, and it would be the understatement of the century to suggest that the events over the past 2 years have altered the way bands reach their audiences. Case and point, metal upstarts turned icons Trivium, whom managed to field a duo of highly impressive studio [...]
On Wednesday night, Santa’s house band at the North Pole, The Wizards of Winter, brought their Winter Christmas Dream Tour to New Jersey to the Bergen Performing Arts Center in Englewood. It’s that wonderful time of the year when Christmas spirits are high, and the progressive-rock band, The Wizards of Winter, arrive to usher in [...]
Widely regarding as the most successful blues-rock exponent of our generation, there’s very little Joe Bonamassa hasn’t accomplished yet during an illustrious career spanning over three decades. With more No. 1 blues albums than anyone else in history, Bonamassa is not only known for his remarkable musical achievements and pioneering style, or for almost single-handedly redefining the [...]
There are times when a trip down memory lane can be just as relevant to the present as a brand new endeavor, but the occasion where both occur in the same evening is a fairly rare occurrence. This would prove the general tone and tenor of two successive performances on December 11th via livestream from [...]
Yngwie Malmsteen performed at the Newton Theatre in New Jersey on 11/27/21, supporting his most recent release, “Parabellum,” which came out this past July. A world-renowned innovative guitarist whose star wattage could illuminate the town with his presence and playing. Through the smoke and hazy of burnt orange lights, no less than eleven Marshall stacks [...]
Although doors were not to open for another couple of hours, dozens of fans had already begun to line the sidewalk along West 34th Street in Midtown Manhattan. On a chilly night that finally felt like autumn, we were greeted by a small team of security personnel who checked our COVID-19 vaccination records and fastened [...]
Cheap Trick is currently touring post-pandemic in support of their most recent album, “In Another World,” which came out this past April. Tonight’s show at the Wellmont Theater in Montclair, NJ, is towards the tail end of their U.S. tour, then in February 2022, they head off to Europe. If you grew up in the [...]
The hair-flipping, harmonic-pinching, kilt-wearing leader of Black Label Society, Zakk Wylde, touched down at the Wellmont Theater in Montclair, NJ, on November 10th. They are currently halfway through their 48-date trek for their Doom Trooping Over North America Tour and tonight’s show promises to rock the Wellmont Theater off its foundation! As the BLS curtain [...]
It seems like just yesterday that the critics and fans were calling Kenny Wayne Shepherd a “prodigy.” He was just a kid with a big guitar and an even bigger blues sound, following in the footsteps of his idol and mentor Stevie Ray Vaughan – a meeting between the two when Kenny was just seven [...]
Zakk Wylde – also known as “Father Zakk” – is one of those guitarists that needs no introduction whatsoever. Since bursting into the metal scene as Ozzy Osbourne’s main axe-slinger in 1989 with the excellent “No Rest for the Wicked” album, Zakk has forged a tremendously successful career, not only as the six-string cavalier and [...]
If I go crazy, then will you still call me Superman? 3 Doors Down has yet to find their “Kryptonite” as they continue to forge ahead, standing strong with more than twenty years of success behind them. After their earliest singles launched them headfirst into fame, the American rock band began a storied history gilded [...]
Pat Metheny is indisputably a pioneer in the fading world of jazz musicians. What goes along with that accolade is a collection of traits both good and bad. He has approached the instrument in a way that is unique, and plays with an identifiable voice that is signature and somewhat comforting. But he is a [...]
Tonight’s show at The Vogel in Red Bank, New Jersey, is just one of 15 dates on Myles Kennedy‘s U.S. solo tour. He is touring in support of his critically acclaimed album, “The Ides of March,“ released in May 2021. It’s a collection of stories told with raw emotion and captivating vocals, reflecting what is [...]
Originally announced in 2019, the Metal Tour Of The Year planned for that same summer, co-headlined by Megadeth and Lamb of God, was put on hold due to the Covid-19 pandemic. However, much to the delight of the metal community at large, the two year long wait finally ended on Sunday night as the tour [...]
Sevendust and Tremonti touched down in Sayreville, NJ, at the Starland Ballroom on September 9th. Their Twenty Twenty One Tour will take the bands on a 17 show trek across parts of North America before both bands head back out on tour again with Daughty in November/December for additional North America dates. Tremonti did not [...]
In 1990, The Black Crowes released their smashing debut album “Shake Your Money Maker,” cementing their legacy in rock as it climbed to the tops of the charts. Thirty years and more than five million copies sold later, The Black Crowes announced the highly anticipated Shake Your Money Maker Tour after reforming in 2019, which [...]
For the past year and a half, humankind has lived through uncertain and painful times, where everything we used to take for granted has dramatically changed. All of us have lost something to some extent during such times. Whether it was the irreparable loss of someone dear to us, or the terror of suddenly finding [...]
If you are looking for blazing guitar pyrotechnics and star wattage, look no further than John 5 and The Creatures. John and his band are currently out on a 22-date trek across the U.S. with the blues guitar maestro Jared James Nichols as the opener. John 5, along with band-mates Logan Miles Nix on drums [...]
In the days before COVID, there were certain things that just happened on a regular basis, making you feel like things were “normal.” One such event was Joe Bonamassa bringing the blues to Colorado’s infamous Red Rocks Amphitheater. Joe’s popularity has only grown with age, for the past seven consecutive years he has drawn huge [...]
I felt a mix of elation and nostalgia while on Thursday night I drove almost 100 miles to catch the first show of the Staind Summer 2021 tour with Korn, happening at the iTHINK Financial Amphitheatre in West Palm Beach, exactly 514 days since my last concert in March of 2020. To say it was [...]
Over the past weekend, Fractal Universe entertained fans around the globe with streaming event “The Impassable Horizon – Alive,” during which the band performed new album “The Impassable Horizon” in its entirety along with some favorites from prior albums. This one-off event comes just one month after the release of their third studio album, which [...]
After enjoying a successful career spanning more than ten years with modern progressive metal titans Haken, and being part of the up-and-coming band Novena, vocalist Ross Jennings continues to advance steadily in pursuit of growing as an artist. This time, the British singer surprises us by venturing to release his debut solo album “A Shadow Of My Future Self”, which [...]
Within the annals of female-fronted symphonic metal, the name Within Temptation is among the oldest and most immediately recognizable, though also one of the hardest to truly pin down. Having arisen from the mid-1990s when Gothic rock-tinged melancholy with some remnants of the earlier death/doom craze was all the rage, they forged a smoother and [...]
There is definitely something to be said for getting back to basics, or getting to the core for a more fitting idiom wherein subsets of the hardcore sub-genre of punk is concerned. This has been the de facto mission statement of Ohio-born melodic metalcore purveyors Beartooth since their 2012 conception. In many respects, the designation [...]
Buckcherry released one of their best albums, “Hellbound,” on June 25th and have wasted no time hitting the road post-pandemic in support of it. As always, their touring schedule is relentless, performing almost every night of the week. Josh Todd [vocals], Stevie D. [guitar], Kelly LeMieux [bass], Billy Rowe [guitar], and Francis Ruiz [drums]were an [...]
Quebec-born thrash metal trustees turned progressive metal trailblazers Voivod are, if nothing else, a band of historical consequence. Originally cutting their teeth in the studio by playing an assortment of covers by noteworthy NWOBHM icons such as Tank, Venom, Sweet Savage and Raven, their rise from underground thrash metal upstarts to a Metal Blade Records-backed [...]
For every other stereotypical adherent to 80s pop and rock culture that seemed to fade away with the end of the decade, there would occasionally rise a union of musicians that would find prominence during the height of said era yet be adaptable enough to transition into the next subsequent era like a chameleon slightly [...]
The novelty of metal bands performing with orchestras has worn a bit thin. Far from being anything revolutionary at this point (Deep Purple did it in the 60s), something’s gotta be really special if I’m gonna notice, because even if it’s excellent, I feel like I’ve kinda heard it all before. Leave it to freaking [...]
The concert as a grand spectacle and the sub-genre of symphonic metal are companions almost to the point of necessity, and have been since the latter’s inception during the late 1990s. While the specific tale of Epica only began in 2003, a good while after the likes of Kamelot (whom inspired the band’s name), Nightwish [...]
As some parts of the world are finally opened up for concerts, Canadians are still struggling with covid variants and waves, and the country is currently being ignored by tour announcements. Seeing a live show seems like a distant dream if you live in the North. Enter local heroes Voivod, the pioneers of mixing thrash [...]
In a time where ongoing lockdowns have precluded the presence of a live audience, theatricality is a band’s best friend when adapting to the live stream medium, and few artists could hope to have mastered the art of merging metal with the musical theater setting as completely as the U.K.’s own Cradle Of Filth. Having [...]
With the passage of a couple decades, a bestselling album has a way of becoming a time capsule, reflecting the zeitgeist of its particular era and reminding all who were there of how much the world has changed. In the context of the United States music scene circa Y2K, rock had something of an affable [...]
So let’s just get one thing out of the way: I am neither a TV nor a movie guy, and despite being an avid lover of live music, I am not a concert video guy either. How much of a not-visual-media guy am I? Well, I pre-ordered Nightwish’s “Decades: Live in Buenos Aires” Blu-Ray after [...]
Even with nearly 4 decades of history at their backs, there is a persistent enigma surrounding the identity of the trio known as Melvins. A decent chunk of Generation X would cite them as being the forerunners to the grunge explosion of the early 90s, while heavy metal trustees such as yours truly would claim [...]
Becoming nostalgic for better times seems the order of the day of late, as being denied the normalcy of getting together for a live concert event for most of the past year has all but rendered the concept a distant memory. Nevertheless, the advent of internet streaming has provided many a respite from the monotony [...]
Necessity is the driving force behind evolutionary leaps, and only the most obtuse of observers would fail to notice the massive innovations going on in live streamed concert events in response to the now more than a year long Covid lockdown. Increased demand for artists to provide the fans with content to tide them over [...]
Theatricality is the greatest ally of any band that opts for a simplified and streamlined approach to delivering the auditory goods, and if the past 27 years of Korn’s career as a standard-bearer of groovy alternative metal has taught the masses anything, it is that said band is no stranger to dressing up their video [...]
In the world of bands competing for eyes on their streams rather than tickets in hands, in October Puscifer exceeded expectations and set a near insurmountable bar with the breathtaking cinematic journey of “Existential Reckoning: Live At Arcosanti.” As covered in a more extensive review here, the electronic rock band took over the futuristic architecture [...]
With most of the civilized world still living in a proverbial prison yard for more than a year, not to mention all of the additional crap being piled on by the media industrial complex, some may well be wondering just how massive of a powder keg is likely to be ignited as the weather continues [...]
Just as Robin Staps told us last September during our interview, The Ocean intended to perform a live stream to present their massive paleontology concept work known as the Phanerozoic journey, consisting of two critically acclaimed, innovative, and daring installments. On March 25, the German prog and post-metal band got to perform “Phanerozoic I: Paleozoic” in its entirety. The result was a fascinating [...]
Discontent has been the order of the day for the past year; to the point where penned up frustration has led to a number of explosions of unrest throughout the continental U.S. and beyond. The time is ripe for a new soundtrack of thrash-infused disapproval at the state of things to be unleashed upon the [...]
It might seem counter-intuitive, but there is a common heritage between the various forms of folk music that have blossomed forth throughout history and the advent of punk rock. There is a shared simplicity in presentation combined with a sense of in-group camaraderie between these two art forms, not to mention that the settings of [...]
Concepts such as waiting with bated breath and with hands shaking in anticipation don’t quite capture the excitement that fans were likely feeling over the prospect of the final part of Avatar’s epic live stream miniseries dubbed Avatar Ages. Having not only offered up 3 stellar performances culminating in about 5 hours worth of live [...]
Another week into the uncharted waters of 2021 brings another installment of Sweden’s metallic carnival impresarios Avatar bringing their unique auditory craft to the individually isolated masses. In what is fast becoming the most original take on a televised serial, this modern mishmash of groove metal, melodeath, and a plethora of other assorted musical curiosities [...]
Sweden’s prime purveyors of theatrical prowess with a modern metallic edge seem undaunted by the tumultuous time that is the present. Having served up a gourmet feast of sonic eclecticism via the live stream medium about a week prior in Avatar Ages Part 1 – Age Of Dreams, the first of a four part series [...]
Just over a year since the release of their acclaimed album “Pitfalls,” and not quite a full year since the music industry came grinding to a halt, Leprous has taken to the stage once more with two livestream experiences in quick succession. Following in the spirit of the times, the storied progressive artists have elected [...]
Fortune may favor the bold, but in this day and age where live concerts are indefinitely on hold and live streaming is the rule, the fates have since begun to smile upon the theatrically inclined. The Swedish-born melodic death metal turned modern nu-metal act Avatar has recently come to embody both the older truism and [...]
For the better part of 30 years, many of us in the metal community have been wondering if maybe Jon Oliva had missed his calling as a Broadway composer. Ever since the musical theater trappings of Savatage’s 1991 game-changer album “Streets: A Rock Opera” hit the shelves, said multi-instrumentalist and mastermind would go on a [...]
A question came up on my Facebook feed a few weeks ago: “which opening band blew the headliner away when you saw them?” Immediately, the Joyous Wolf came to mind. I saw them open for Buckcherry on August 2019 at The Phoenix Concert Theater in Toronto (check out my review here), and with all due [...]
In this day and age of social distancing, lockdowns and governors with god complexes, it seems like an act of pure rebellion to simply invite over a few buddies for a simple get together without everyone having their own plastic bubble. But sticking it to the system has been the modus operandi of SoCal-based bad [...]
One could say that the best concert experiences are those that draw the audience into another world, but some artists tend to go about accomplishing this in more pronounced ways than others. Case and point, British progressive rockers and djent pioneers TesseracT, who have opted to bring their fan base into a new dimension through [...]
Though perhaps best known as one of the heavy hitters of the American metalcore explosion of the mid-2000s, August Burns Red is a band that is arguably almost as well known as being the premier act in said musical movement to make a regular practice of bringing in the holiday season with a metallic roar, [...]
There is swimming against the tide, there are David vs. Goliath scenarios, and then there is the task of mounting an independent campaign against the behemoth that is the established recording industry. But bucking the trend seems to be encoded into the DNA of former front man of The Dillinger Escape Plan and ever-busy vocalist/instrumentalist [...]
One lesson that can be taken as 2020 draws to a close is that there is impermanence in what we see as normality. To be fair, the impact of the ongoing lockdowns stands as one of the more extreme examples of sudden and drastic change, but life can often be defined by flux as it [...]
Dark Tranquillity, one of Gothenburg’s signature melodeath bands, jumped on the live-stream wagon by offering a video stream of the live world premiere of their latest album “Moment” played in its entirety after only one day from the official album release day. This event was initially broadcast on Saturday, November 21st and it was shot [...]
There are many labels that could be slapped onto the phenomenon that is Chris Jericho, but for this trustee of latter-day Gen X and metal culture circa the turn of the millennium, jack of all trades is the one that accurately sums up the alter-ego of one Christopher Keith Irvine. Though he is often cited [...]
The legendary gothic metal masters Paradise Lost performed their very first live stream this past Thursday, November 5th. The social media advertisement for this event included a proper reference to the historical Gunpowder Plot (remember, remember the Fifth of November), as well as amusing videos in obvious British humor from some of the band members. [...]
Since the pandemic started, Steel Panther has done an amazing job at connecting with their fanbase. Not only they put together their daily public announcement reminding us exactly “what freakin’ day this is”, but they have been doing well organized live stream events from time to time. On June 07th we saw their “Concert to [...]
The world has forgone live concerts for upwards of seven months at a conservative count, but live streams have seen a growing embrace as bands seek to satiate ravenous fans while supporting their latest creative outputs. There has been an array of approaches, ranging from one-man streaming setups such as those from Devin Townsend upwards [...]
Mr. Bungle pulled no punches on their live stream last Saturday, October 31st. Coming out of a twenty-year dormancy with a re-recording of their first demo, the aptly titled “The Raging Wrath of the Easter Bunny Demo”, they presented a thrash metal barrage with their typical experimentation sprinkled throughout the set. The stream started with [...]
In a time when a few artists are booking shows for the second half of 2021, while others are simply scrapping next year altogether and postponing dates to 2022, one can’t help but being confused with the state of the music business today. This was of course the first industry to shut down because of [...]
The advent of COVID has stolen most of 2020 from those whom consider metal a dish best served live. Though not really comparable in terms of real world body counts, one can’t help but liken this ubiquitous plague to the one that claimed much of Europe during the Medieval Period, rendering the concert-going world into [...]
On the eve of a cancellation crisis that would devastate the live music scene for the foreseeable future, a crowd was gathering in the heart of a Floridian music venue, only aware that a storm of high-octane thrills waited just moments away. Overkill was back on tour, riding the indomitable wave of victory for their [...]
Looking back on the history of the progressive metal band Queensrÿche, there are two or three milestones that immediately stand out in their very successful career. The first and most obvious is their 1988 release “Operation: Mindcrime”, which is widely considered to be one of the best rock “concept albums” ever produced. But there were [...]
Landing in Denver for the penultimate show of their North American tour, Mikael Åkerfeldt confesses that he feels happy inside. “Although you may not be able to tell, there is a big smile inside of me.” Perhaps this feeling is partially due to the impending finale of this run, which has seen the band have [...]
First time I heard about Tommy Emmanuel was some years ago, during a Steve Vai tour, when Steve was virtually joined by Tommy from an immense video screen acting as the stage backdrop. In the video recording Emmanuel congratulated Steve for the anniversary of his iconic album “Passion and Warfare” and they both played and traded [...]
When it comes to the live setting, while it’s impressive to see perfectly timed and rehearsed performances, it’s arguable that the moments of spontaneity and not-so-perfect musicianship will leave a much deeper mark in concertgoers. To each his own, and I do admire the precise and note-for-note shows of Dream Theater, Rush, Haken, Animals As [...]
According to Alter Bridge lead singer Myles Kennedy, there’s something special about the band playing in Denver. Now that might be something he says every night while changing the name of the city he’s referring to, but judging by the crowd reaction to their show Monday night in Denver, I kind of doubt it. There [...]
Cheap Trick immediately set the bar high on Wednesday, February 12th, as they came out swinging at the Wind Creek Event Center in Bethlehem, PA. If you are not familiar with the legendary rockers, they are Robin Zander [vocals], Rick Nielsen [guitar], Tom Petersson [bass], Daxx Nielsen [drums]and touring guitarist Robin T. Zander. It is [...]
On February 9th, 2020, The Used played to almost 1000 people at the sold out The Paradise Rock Club in Boston, MA with supporting act Dragged Under. I have to say, this was a bucket list band for me to cross off my photography list, and it was unbelievable good. The energy of the room [...]
Making their way across the United States in a relatively short tour that promised to pack a heavy punch, co-headliners Motionless in White and Beartooth were due to warm venues across the country with a night of non-stop shredding. Under the name of the Diseased and Disguised Tour, Motionless in White aimed to promote their [...]
Exuberance lingered in the pleasant atmosphere of a mild January night outside of Revolution Live in Fort Lauderdale, despite the fan attendance was very sparse. Being Monday night, and also Super Bowl week in Miami (Only 40 miles away) it was somewhat understandable to see a discrete turnout. Nonetheless, the air was buzzing among those [...]
The new year is starting off with a bang as the mighty Sons of Apollo return to the road to support their sophomore album, appropriately titled “MMXX”. Although their North American tour is only 14 dates long – to be followed by a month in Europe and a brief South American visit – the band [...]
The Texas Tone King Eric Johnson is currently touring through North America on his “Classics Present and Past Tour.” Having just seen the stop in Denver last Saturday, I can confidently say this run should be renamed the “Look What’s Possible in Music” tour. That’s not only due to the jaw-dropping acrobatics he performs on [...]
On a snowy winter night, I joined 1,800 fans who braved the inclement weather as we find ourselves at The Capitol Theatre in Westchester County, affectionately known as “The Cap.” This iconic venue is playing host to Billy Strings’ second sold-out performance in as many nights, and the excitement in the air is palpable. In [...]
Located in the heart of Toronto, The Baby G first opened its doors in 2016. Through the years, it has hosted artists of a wide range of styles, including country, dance, alt rock and disco. Tonight, the pace was significantly changed, as the band to play there was the uniquely sounding The Levin Bothers. Formed [...]
My first introduction to Greta Van Fleet (GVF) came during a January 2016 episode from the Showtime drama Shameless. Their new song “Highway Tune” was featured during the show’s opening minutes and after first listen, I was hooked. Fast-forward nearly four years to the day, I find myself fortunate to be covering GVF’s second sold-out [...]
It was Saturday night in Fort Lauderdale, and the holidays were rapidly approaching with all of their cheerful malice. To escape the vibrant lights lining the street and endless onslaught of carols, I was on my way to decompress with old-school death metal and Swedish black metal. With such infamous names filling out the bill, [...]
As a 12-year old boy in 1984, and as a 47-year old man in 2019, I could not, and still cannot, listen to enough music. The first cassette tapes I ever owned, and still own to this day, are The Who’s “It’s Hard”, The J. Geils Band’s “Freeze-Frame”, Def Leppard’s “Pyromania” and Ratt’s “Out Of [...]
Though they may hail from the cold clutches of the north, Swedish heavy metal band In Flames had no trouble setting stages ablaze this fall as they brought their talent to long-waiting American fans. Supporting their latest release, “I, the Mask,” In Flames took an extensive tour of North America that spanned almost two months [...]
The Christmas spirit has been thick in the air: trees have been cut and dressed in dazzling lights, presents have been wrapped with care, and children have begun to clamor with the excitement of the night that Santa Claus will arrive and bestow them with the gift of wonder. Shopping malls and homes alike are [...]
Only a handful of days after receiving the kickass bill of Death Angel, Exmortus and Hell Fire, it was time for Lee’s Palace to host a night for the home boys Danko Jones, who brought the Enchanters in tow. The last time that Danko Jones had played in Toronto was in May this year at [...]
It’s been a long time coming, but The Pineapple Thief finally made their way across the pond from England to embark on their first North American tour. Revitalized as a band by the inclusion of Gavin Harrison on drums and songwriting, The Pineapple Thief have been garnering rave reviews in each stop and their visit [...]
Booking a show on a Monday night is a risky bet, especially during the winter months in Toronto. But at least this last week, when Steel Panther and Stitched Up Heart hit the city, the crowd did not disappoint. Stitched Up Heart hit the stage at the Rebel at 08pm, and distilled their repertoire of [...]
Touring to promote their excellent latest album “Humanicide”, released on May 31st this year, and with the album’s title track being nominated for a Grammy for “Best Metal Performance”, Death Angel hit Toronto on November 26th, bringing Exmortus and Hell Fire in tow. Their triumphant stop on the Great White North was one to be [...]
In an age of laser-precise light shows and pyrotechnics that mimic the might of dragons, seeing popular bands on tour guarantees a performance that is part theater, part music. For big-name bands in rock and metal alike, the performances that sell out stadiums have both elements in equal measure, spurred by the soul of the [...]
In an extremely mixed environment like Toronto, ethnic festivals have a pivotal role to integrate people from all over the globe. Unique foods, music, dance styles and mythologies are thrown in a huge cauldron and spread across the city throughout the year, bringing our collective mind to not only leave our differences behind, but to [...]
As a teenager growing up without internet or MTV I got to learn about Static-X from a Metal Hammer magazine mixed CD that a friend recorded into a cassette type for me. I never got to see them perform live so when I saw the tour announcement I was definitely intrigued. After battle the weather [...]
It was a bitterly cold Tuesday evening for the usually mild month of November, but despite the chill, I made my way dutifully to the House of Blues in downtown Dallas. Upon approaching the venue, I saw fans shuffling down the street, bundled up in a futile fight against the cold as they walked towards [...]
Typically, when looking for a night of entertainment, one doesn’t seek out the theatrical talents of a man entering his seventh decade of life. Yet this is exactly the decision that hundreds of hard rock fans made on the night of November 6th, filling the floor in front of the stage at Hard Rock Live [...]
Closing a gap of live performances that extended over the course of the last 5 years, the absolute master of conceptual horror and frightening musical tales has returned. The reign of light will now give way to a menacing veil of haunting melodies, ominous guitar riffs and earsplitting vocal melodies, as we mortals gather together [...]
Like it or not (and I kinda don’t), there’s been an upswing in 80s nostalgia going for a few years now. I personally suspect that two bands will remain when the dust settles after this resurgence: The Night Flight Orchestra, and a raucous little collective called Iron Kingdom. Hailing from British Columbia, childhood friends Chris [...]
Certain artists simply transpire versatility, and refuse to be pigeonholed in a single style. That’s the case with guitarist Ron “Bumblefoot” Thal, whose career has taken a million twists and turns since he decided to play an instrument, after listening to “Kiss Alive!” at the age of six. Having toured the world with Guns N’ [...]
Heavy metal was alive and well at Sony Music Hall in New York City on Hallows Eve, where veterans rockers, UFO and classic rockers, Last in Line both put on explosive shows. Last in Line are back with an 18 date US tour that started in Phoenix AZ on October 15th and will take them [...]
As unlikely as it may sound, sometimes incredible things happen on a Wednesday night. It takes something extraordinarily wonderful to melt away the soul-crushing monotony of the week’s center, the point where exhaustion sets in and longing for the weekend begins in earnest. The rare Wednesday evening miracle of October 30th took place in Richmond, [...]
Beginning on September 22nd, stages across North America have been blessed by the dynamic performances of co-headlining American rock bands Alter Bridge and Skillet, supported by the up-and-coming Dirty Honey. The aptly named Victorious Sky Tour promised to bring fans an experience embodying the energy that both bands have carried to audiences for more than [...]
Our weekend began with a coast to coast 4 hour drive across South Florida. Metalheads were taking over the Ybor City streets awaiting the opening of the doors for this event. By 6:00 PM let let the hordes of metal to come inside and we got warmed up by a couple of local bands: Somnent [...]
It’s hard to believe that the Swedish melodic death metal band Arch Enemy has been together since 1995, and what’s even more surprising is that they have survived while changing lead singers not once, but twice. For any band, a change in vocalists can be a daunting task. Sometimes, everything works out just fine…then there [...]
Ever since he first took the stage as the guitarist for Ozzy Osbourne, metal has lived on in the heart of larger-than-life star Zakk Wylde. From his iconic bullseye guitars to the founding of heavy metal group Black Label Society, Wylde has been a mainstay in the metal scene for decades, and shows no sign [...]
Those of us living in the southernmost area of the United States don’t have the “luxury” of enjoying a whole lot of heavy metal concerts, therefore when a Swedish double feature of HammerFall and Sabaton comes to town, you certainly make your way to the venue, regardless of traffic and the omnipresent humidity and heat. [...]
Every presentation of South Florida rockers Nonpoint at Fort Lauderdale becomes a broadly anticipated homecoming event, and their show at the legendary Revolution Live club in downtown Ft. Lauderdale on September 26, 2019 was no exception. A frenetic fury of all out rock n’ roll from start to finish, the band treated fans to a [...]
As the decade draws to a close, The Who continue to cement the influence of their epic legacy in the spotlight, spending most of 2019 on a tour of legendary proportions. With their Moving On! Tour, The Who has drawn crowds large enough to prove that fans of rock and roll are all but ready [...]
The Italian gothic metal band Lacuna Coil are back out on the road in the U.S. this Fall supporting their soon to be released new album, titled “Black Anima” (available October 11 via Century Media). Co-headlining tour dates with the American metal band All That Remains sees the band criss-crossing the States through the end [...]
California based rockers, Tesla, performed at the Mayo Performing Arts Center in Morristown, NJ on September 11th, and they were truly in a mission to shock and awe. This headlining tour is in continued support of their latest CD release, “Shock”, and they are just coming off a Summer tour opening for Def Leppard. When [...]
The other day I was discussing music with a friend of mine and I mentioned to her that I had recently attended a show featuring the band Avatar as the opening act. She was not familiar with them and asked me “who are they?” It was then that I paused, thought about it for a [...]
Demons & Wizards, the band featuring Iced Earth front-man Jon Schaffer and Blind Guardian singer Hansi Kürsch, are currently working on their first new record since 2005. In celebration of the coming new material, the band trekked North America for the first time ever with Lizzy Borden and Tyr as support with a set of [...]
The traveling heavy metal circus known as the Knotfest Roadshow, created and hosted by the masked metal juggernaut Slipknot, arrived at Atlanta’s AmerisBank Amphitheatre on September 3rd to a full house of “maggots,” the term used to affectionately describe the band’s rabid fan-base. For the past several years Slipknot has hosted a multi-band concert known [...]
“Hello Morsefest! Wow! It keeps getting better! We never think it can get any better and then it does!” Neal Morse is radiantly beaming as he stands on the stage’s catwalk and greets the audience. It’s a half-hour into the final performance of the double-concept album of The Great Adventure, and the first natural break [...]
Before his show in Boulder, Colorado, Jon Anderson spoke to Sonic Perspectives correspondent Scott Medina about the tour and his new album 1,000 Hands. Below is a recounting of several of the highlights of the interview, interspersed with an overview of the show itself. The complete audio of the interview is also available underneath. The [...]
Fusing elements of punk rock and heavy metal, sporting angst-filled and introspective lyrics (often addressing themes such as social alienation, self-doubt, abuse, neglect, betrayal, social and emotional isolation, psychological trauma and a desire for freedom), and known for straightforward and high-energy performances, Alternative Rock took the music world by storm at the end of the [...]
An irrefutable feeling of satisfaction stems from the fact of witnessing hard-working and uber-talented musicians to conquest audiences and sell out venues despite the chaotic state of the music business nowadays. That’s the way I felt last Thursday night, when a clamoring crowd welcomed the Three Caballeros of instrumental progressive-fusion rock (aka as The Aristocrats) [...]
According to blues guitar player Joe Bonamassa, Red Rocks shows have become a special annual event. In fact, this marked the 5th year in a row he’s come to Denver to play the iconic open-air outdoor venue that is a long, wide string of concrete stairs wedged between two massive red stone walls. Made famous [...]
Currently on a lengthy North American tour to promote their latest album Warpaint, Buckcherry made a stop in Toronto at the Phoenix Concert Theatre last August 06th. Showcasing their unique blend of punkish attitude and sleaze rock, they brought in tow the newcomers Joyous Wolf, which were a pleasant surprise. Just before the show I [...]
Let’s set the record straight since the very beginning: I’ve never been a KISS follower and I had never seen them playing live ever before. For many readers (like my good friend and lifelong fan Keith Johnson) this probably sounds like the ultimate heresy. Why on Earth someone like me is daring to document one [...]
As the summer tours come to a close in August, hard rock/metalcore group I Prevail made a stop on their tour for their new record, Trauma, in Myrtle Beach this past Thursday. I’ve seen these guys multiple times, first opening for Pierce the Veil, then at Carolina Rebellion 2017, and finally in Charlotte on their [...]
Summer nights in Florida very hot by design. And if you find yourself in a huge amphitheater, surrounded by thousands of adrenaline-imbued music fans, the sensation of heat rises several degrees and you can feel the electricity sparking in the air. And that exactly was the atmosphere this past Sunday when KoЯn, Alice In Chains [...]
Drummer Dobber Beverly of Oceans of Slumber minces no words about the issues the band has faced during their brief but rapid climb. Singer extraordinaire Cammie Gilbert, the target of the unwarranted and uncharitable criticism her bandmate and companion Mr Beverly references, takes it in characteristic stride. “There’s a lot of societal variables that affect what people expect to see [...]
The beast is back on the road! IRON MAIDEN kicked off the 33-city North American leg of its “Legacy Of The Beast” tour last night (Thursday, July 18th) at the BB&T Center in Sunrise, Florida. The 16-song set mimicked what they have been playing thus far, including a number of classic IRON MAIDEN cuts, such [...]
After a three-year hiatus, the Nashville, Tennessee rock band Framing Hanley is back and are preparing to release a brand spankin’ new album, titled Sumner Roots, available via Thermal Entertainment later this year. If their recent stop in Atlanta is any indication, they’re picking up right where they left off. The band looks slightly different [...]
Due to the unfortunate passing of guitarist/singer Wayne Static in 2014, his namesake industrial metal band – Static-X – never got the chance at a proper farewell. Now, to celebrate the 20 year anniversary of the band’s crushing, platinum-selling debut album Wisconsin Death Trip (WDT) and to pay homage to their fallen comrade, the remaining [...]
On a humid but beautiful evening, Shinedown finally made their way back to the Red Hat Amphitheater in Raleigh, after three years away from the City of Oaks. This last time here they were they were on their third year of the Carnival of Madness tour that they famously brought across the US every summer, [...]
At 11:30 pm, George Lynch and the mob entered the sweat-soaked stage of the Rockpile in Toronto Canada. I had interviewed Lynch hours before and I was eager to see the band playing, despite I must admit I’m not the biggest connoisseur of George’s output, but with a discography as big as his, I guess [...]
After years of touring, winning Grammy’s, and crafting groovy hit singles, NYC-natives Vampire Weekend, comprised of Ezra Koenig (lead vocalist/guitarist), Chris Tomson (drums), Chris Baio (bass), Brian Robert Jones (guitar), Greta Morgan (keys/backing vocals), Garrett Ray (percussion/drums), and Will Canzoneri (backing vocals) finally made a much wanted stop in Raleigh for the first time in [...]
The co-headlining package of Atlanta’s Mastodon and New York’s Coheed and Cambria, made a memorable stop in Denver Wednesday night. The tour is being called The Unheavenly Skye Tour, but it might as well have been dubbed the darkness and light tour based on the vibe that permeated each band’s set. Playing to what appeared [...]
After the release of their newest record in 2016, a tour supporting Blink 182, and a minimal touring schedule, Florida natives A Day to Remember, comprised of Jeremy McKinnon (vocals), Kevin Skaff (Lead Guitarist), Neil Westfall (rhythm guitarist), Joshua Woodard (bass), and Alex Shelnutt (Drums) have gone back out on a small run of shows [...]
After touring with twenty one pilots and embarking on three different legs of his The Human Condition Tour, Rap/R&B/Alternative artist (in case you cant tell, he is a multi-genre artist) Jon Bellion went on a year long hiatus. Later in the year last year, he re-emerged with his newest record, Glory Sound Prep. Shortly after [...]
Riding on a wave of positive vibes following three excellent releases (2013’s No More Hell To Pay, 2015’s Fallen and 2018’s God Damn Evil), the hard-rocking band o’ Christian brothers known as Stryper are out on the road this summer touring and having a bit of fun. The band are roughly halfway through their very [...]
Like They’ve Never Been Gone: THE WINERY DOGS Rock the USA “Who let the Dogs out?” This aptly titled tour indeed begs the question: Who? When the announcement came that The Winery Dogs were going to do a short tour in May, it came as a welcome surprise. Three years since they were last seen, [...]
With the touring cycle of Architect’s latest record Holy Hell in full swing, the Brighton metalcore heavyweights came through DC with support from While She Sleeps and Thy Art is Murder. The packed out 9:30 Club crowd was in full force well before the show began- a testament to how truly stacked this bill was. [...]
Last year I saw the announcement for the North American dates of Slayer’s Farewell World Tour and thought “… this is the last time I’m going to see this legendary band…” so I decided to drive 4 hours to Orlando, FL and needless to say that night was brutally awesome. Then around December, Slayer announced [...]
After a prolonged absence, guitar-based rock music is slowly creeping its way back into the mainstream. International groups such as Greta Van Fleet, The Struts and Rival Sons are selling out theatres and clubs all over the world, paving the way for more young bands to set themselves up for interest going into the 2020’s. One [...]
Young and rising hard rock upstarts Greta Van Fleet kicked off the March of the Peaceful Army tour at the Bayfront Park Amphitheater in Miami, Florida last May 7, 2019. The Miami’s downtown skyline served as a perfect backdrop on a balmy spring night for the young Michigan rockers. The tour is supporting their debut [...]
On Van Halen’s A Different Kind of Truth, David Lee Roth asks the listener an interesting question at a certain point: “when was the last time you did something for the first time?”. That struck a chord when I heard it, and since then I’ve been adamant in trying something different at any given opportunity [...]
The word “legendary” has been used to a large extent when introducing classic rock artists, but in Uli Jon Roth’s case, there isn’t a more appropriate adjective. He had a pivotal role in the Scorpions’ early years, being the lead guitar player on four amazing studio records and the legendary live album Tokyo Tapes. He [...]
The DC-based trio Animals as Leaders has spent the last decade forging a unique take on the djent sound. Led by perhaps the most absurdly talented guitarist of our generation, the Animals as Leaders approach is a far cry from the “let’s jam it out in the practice room” approach that birthed heavy metal in [...]
Undisputed lords of leather-stud metal, Judas Priest show no signs of slowing down after 4 plus decades of recording, touring and tearing up metal anthems in front of packed audiences. Kicking off their 2019 Firepower North American Tour at the always welcoming and state-of-the-art sounding Hard Rock Live Event Center at the Seminole Hard Rock [...]
Certainly not your typical hair-rock band, Whitesnake have been beckoning colossal emotions since 1978, rocking and rolling for the most part of the last 50 years, spearheaded by the vision of the band’s founder and singer David Coverdale. With a sound that have never veered off course from their heartfelt and stomping hard rock, blues-infused [...]
I’ve always been of the opinion that live performances are the ultimate baptism of fire for any musical act. We know many tricks can be accomplished in the studio with the use of modern technology, yet things are very different when you have a venue packed with roaring fans in front of your eyes, and [...]
Cradle of Filth recently finalized North American leg of their “The Second Coming Of Vice World Tour” made a stop at Fort Lauderdale last week, and once again we were there to behold Dani Filth and company bringing back the noise to their favorite hunting ground. The first band to take the stage was Raven [...]
Californian rockers Buckcherry rolled into Fort Lauderdale’s metal nest The Culture Room last Wednesday, as part of their “Warpaint Tour” promoting the album of the same name, and they brought another export from Southern California with them: Joyous Wolf. Before being asked to cover this show for Sonic Perspectives I was completely unfamiliar with both [...]
Long Beach, California is a city that really isn’t known for producing a large number of universally known musical acts (besides the ska punk band Sublime and the one and only Snoop Dogg), but the band Rival Sons has put an end to that statement. Touring on their sixth release Feral Roots, the bluesy, retro [...]
Queensrÿche is a name that had long been synonymous with innovation and excellence before egos and power struggles derailed them from their once-trailblazing path. Now in their seventh year of the post-Tate era, the Seattle natives are bringing their revitalized sound to fans who, after nearly a quarter-century, at last feel like they can trust [...]
Retro-rockers Lucifer, the brainchild of Johanna Sadonis (of The Oath fame) and Nicke Andersson (The Hellacopters) released their critically acclaimed second album last year, and finally made their way to North America, with just over ten shows booked between Canada and the U.S. Last week, the band hit Toronto, and brought the local boys of [...]
When 80’s pop-synth icons go acoustic, does the material hold up? That depends, of course, on the quality of the underlying song structure. In Howard Jones’ case, his songs have plenty of substance to offer his audience, even if he’s only using his voice and a piano as he’s been doing at smaller venues in [...]
Venues matter. While most concertgoers are probably unaware, the location you see a band perform can have a significant impact on the end product delivered… as well as the experience remembered. Things like parking, seating, food choices and site lines are realities that a band doesn’t have to worry about. Video capabilities, PA quality, roof [...]
Last March 5th Tuesday night in Miami Beach, the temperature was getting unusually cold outside, but inside the iconic Fillmore Miami Beach at The Jackie Gleason Theater, it was a whole different story. The show began with a Miami native, after a cafecito Amigo the Devil, took the stage with his guitar and banjo and [...]
Seattle melodic prog-rockers Queensrÿche can tell a tale or two about line-up changes, revival and resilience. After surviving the infamous legal drama which ended up with the booting of founder vocalist Geoff Tate, Michael Wilton and company brought in Todd LaTorre to handle the daunting task of replacing their iconic voice of three decades, breathing [...]
Led by Paul Rodgers – one of the most talented rock n’ roll singers of all time – and with a catalog comprising some truly anthemic hits, Bad Company is one of those classic rock bands truly deserving to be even more widely acknowledged (and I’m not talking a Rock N’ Roll Hall of fame [...]
The Cadillac Three – Jaren Johnston, Kelby Ray and Neil Mason – came back to NYC’s Irving Plaza on Saturday night nearly two years to the day after their last performance here on the Black Roses tour, and things were very different this time around. Last time – my first time seeing them – I [...]
Swedish heavy metal band In Flames are back in the spotlight having just completed a new album – their 13th studio release – titled I, The Mask, out March 1st on Nuclear Blast. The band are already out on the road, and from the looks of their social media they’re going to be on the [...]
Back before I joined Sonic Perspectives, I made a habit of stressing, sometimes ad nauseam, that not having a true rock station here in NYC makes finding new music nearly impossible because up-and-coming bands simply aren’t getting airtime here. Sure, Alt 92.3 “changed formats” from top 40 to “alternative rock” in 2018, but it’s still [...]
New Zealand rockers Like A Storm came to NYC’s Gramercy Theater on February 12th as part of the SiriusXM Octane concert series that saw the band headline while Royal Tusk and Afterlife acted as support. I’ve gotta say, I was massively disappointed with the turnout for this one. Maybe it was the weather, maybe SiriusXM [...]
Our morning got off to a bit of a late start, and we decided to take part in the various attendee-driven attractions to begin the day. First we walked by the Solarium, where the annual belly flop contest was taking place. There couldn’t have been a more amusing start to an incredibly memorable day, watching [...]
It was Saturday when Independence of the Seas docked at the port in Labadee, Haiti. This was an intermission that we had eagerly been awaiting, and our group wasted no time in getting beach ready. The view from the Windjammer was stunning, peace descending from blue skies and gorgeous mountains in the distance. Though it [...]
Day Two renewed in earnest at 1000, and I made my way to the pool deck stage on nothing more than a few hours of sleep. When I saw what seemed to be a unicorn throwing itself into a mosh pit filled with hammer-wielding warriors, I thought that perhaps I was still dreaming. But the [...]
I’m back, and I’ve finally recovered from the excitement and chaos of what I consider the best weekend of the year. It takes a while to comprehend the magnitude of everything that happens on the infamous “BOAT,” but there’s no question that for me, it is an experience that has proven itself absolutely life-changing. Of [...]
When you think of New York City, the last thing that comes to mind is country music, let alone a full-fledged country music radio station. But NASH FM exists and is the best thing to happen to NYC in a long time. The last time we had country music on the radio here it died [...]
For the past few years, the Atlanta, GA-based hard rock band Sevendust has performed a year-ending “homecoming show,” giving friends, fans and family a chance to see them live and in action. This year was no exception, and the band even expanded the home-stand to three nights at Atlanta’s Masquerade concert venue. The first two [...]
The abuse of the terms “Guitar God and Supergroup” has reduced the integrity of their meaning to mediocrity; nevertheless, a recent tour featuring some of the greatest hard rock guitarists of our time has given the expressions a completely new breadth. According to mastermind Steve Vai, the Generation Axe experience spins around “the idea of [...]
Many words come to mind when you hear the name Cannibal Corpse, but one truly defines the soon-to-be thirty-year veterans: Unstoppable. Death metal is an established form of relentless underground music that is here to stay, and acts like Cannibal Corpse have shown that sticking true to the genre is one of the main ingredients [...]
As a Brazilian, I was always expected to like carnival – rhythm and dancing is supposed to be in our blood. In my case however, I never understood why the whole country stopped for almost a week to celebrate. Add that to the fact that I don’t enjoy samba and any of its ramifications, and [...]
Singer/guitarist/songwriter Myles Kennedy is quite a busy man these days. In between recording and touring cycles as a member of the very successful hard rock band Alter Bridge, Kennedy takes care of vocal duties in Slash’s backing band, Myles Kennedy and the Conspirators. On top of that, he has somehow managed to find the time [...]
Eccentric and controversial, Swedish GHOST has become a rising musical phenomenon over the course of the last decade. Their particular approach to music, which keeps defying categorization – it’s been classified as heavy metal, hard rock, doom metal, progressive rock, psychedelic rock, pop rock, occult rock and arena rock indistinctively –, began with a 3-track [...]
Last weekend South Floridians witnessed – for the third year in a row – the ultimate celebration of the 80’s rock and roll scene, through the Rockfest 80’s festival event. This year the two days event took place at the Miramar Amphitheater, a fairly-new venue inaugurated in the spring of 2017, sporting a canopy covering [...]
This is the chronicle of the second day of an event, the review of the first day can be found at this location. The second day of RockFest 80’s started with Kickin Valentina, hailing from Atlanta, Georgia. After a minor sound issue, they started the set full of their self-described as loud and unapologetic rock and [...]
What do you get when you send a metalhead and a prog-nerd with a camera to a Good Charlotte show? You get a set of photos and a thirteen-minute audio piece. Sonic Perspectives Texas Bureau Chief Gonzalo Pozo and longtime friend Melissa Cagle leave their comfort zones to live among fans of more radio-friendly rock [...]
Arguably Led Zeppelin is one the bands which music has inspired more covers and tribute bands in the history of rock n’ roll. I’ve seen at least two of them myself (Get the Led Out and Led Zepagain, both different yet excellent in their own way). Probably while reading these introductory lines you are shaking [...]
Much like the the situation I found myself in during my last concert review for Sonic Perspectives, Clutch is a band that I’ve always been familiar with, but for one reason or another I just never got into all that much. Well, that sure has changed. I recently watched Clutch’s performance at the 2016 Wacken [...]
American singer, songwriter, musician, composer, actor, painter, author, and former music journalist Marilyn Manson is known worldwide as a very controversial personality. His records released in the 1990s, most notably Antichrist Superstar and Mechanical Animals, along with his public image, earned him a reputation in mainstream media as a notorious figure and negative influence on [...]
Mere weeks following the release of the crushing I Loved You at Your Darkest, Polish metal uber-beasts Behemoth have commenced their current trek across the United States and Canada in the Southwest, kicking things off in Phoenix before raiding San Antonio’s historic Aztec Theater just three days into the trek. Along for the ride were [...]
Live Perspectives is back, once again brought to you by Gonzalo Pozo. This time around he witnessed the Alex Skolnick Trio show @ Fitzgerald’s Bar & Live Music Venue in San Antonio, TX, as part of the “Conundrum Tour”. Listen to Gonzo’s thoughts about the night in the audio below, and enjoy some pictures of the [...]
SiriusXM and Live Nation have been presenting a 21 city U.S. trek dubbed “Hair Nation” tour featuring Jack Russell’s Great White, Enuff Z’Nuff and BulletBoys. The tour offers listeners and music fans across the country the chance to see these bands who have been giving us decades of larger-than-life rock music, and the tour has been be hosted by music industry veteran, author and SiriusXM host Eddie Trunk, [...]
Chris Jericho is the true definition of a Jack-of-all-trades. Famous WWF/WWE wrestler since the 1990s, movie and TV actor, podcaster and ever writer, the New York native can also claim another trait: rock-star. His band Fozzy – moniker that some have said is a playful pun on Black Sabbath front-man Ozzy Osbourne – launched its [...]
San Francisco Bay-area metal legends Vicious Rumors have always been on my “metal radar,” but I unfortunately never had a chance to see them live, until last September 26th, at Atlanta’s Masquerade concert venue. The band are currently touring to celebrate the 30-year anniversary of their classic 1988 album Digital Dictator, and I’m sure glad [...]
The Australian Pink Floyd Show has been called the “world’s greatest tribute band” and the crowd of Pink Floyd-crazed fans in attendance at The Hard Rock Live Event Center last Wednesday behaved as if they agreed with that sentiment all the way through the band’s two lengthy sets. A huge life-long fan of Floyd myself, [...]
Metal fans are known for their dedication, but few are as fanatical as devotees of pagan metal. While tours such as Paganfest and Heathenfest certainly didn’t draw crowds that would threaten Warped Tour, the absolutely rabid response they received at every tour stop made it clear that American audiences hungered for a healthy dose of [...]
On a hot Friday night in Toronto, drum aficionados and Frank Zappa fans gathered at the Royal Cinema, on the ethnically diverse College Street, to watch one of the last drummers in the history of music that can be called a genius – the diverse and prolific Terry Bozzio. As the fans entered the cinema, [...]
It is hard to believe rocker Sammy Hagar is 71 years old. The ever-energetic and still youthful-looking singer/songwriter/guitarist and his band The Circle took the stage at the Hard Rock Event Center in Hollywood, on September 15, 2018. The show had no opening act, and started with an opening video sequence showing Hagar solo stints and [...]
I vividly remember when Scorpions announced the “Get Your Sting and Blackout World Tour”, following the release of their studio album Sting in the Tail. Shortly before the tour began in March of 2010, the band declared that it would be their last ever tour before retirement. For long-time Scorpions followers like me, the news [...]
On Saturday, August 25, 2018 I made my way to Atlanta’s busiest music venue, The Masquerade, to attend the CD release party for Bloody But Unbowed, the latest offering by Atlanta’s own Halcyon Way (you can read our review of Bloody But Unbowed right here). For the uninitiated, Halcyon Way is a 5-piece metal band [...]
The Phoenix Concert Theatre has hosted several concerts reviewed here at Sonic Perspectives: Saga, The Darkness and Suicidal Tendencies played there recently, and many more are scheduled for the upcoming months. Last Friday, August 24th, the house was taken by assault by Hookers & Blow and The Dead Daisies. Before the two main acts reached [...]
A new take on classical music rocked West Palm Beach Last Saturday night at the Coral Sky Amphitheater in West Palm Beach was so full of creativity and positivity that we forgot how crazy the heat and humidity was on this August night. It all began with a performance by Grammy nominated Cellogram, a cello-percussion [...]
Upon arriving at the Starplex Pavilion in Dallas, TX this past Thursday night of August 16th you could see fans pulling in by the carloads from every direction finding a place to park, so they could head inside for a night of heavy metal. Some of the fans were dressed up as members of the [...]
If the name Umphrey’s McGee doesn’t ring a bell for you, well you have done a pretty good job avoiding to come across a reference to the Indiana-formed American rock band formed by students at Notre Dame University in 1997. Yes, you read it well, the band has been active for the last 20 years, [...]
Def Leppard & Journey rocked South Florida one more time Some of my friends and I were very excited as it was going to be the first time for them seeing both bands even though they have been fans for most of their lives. The expectations for this night were very high so we were [...]
It’s terribly frustrating when you’re misunderstood. Just ask the guys in Toto. They’ve managed to make a 40-year long career out of it. And on Sunday night in Denver, they made a valiant effort to prove once again that what people think they are, and what they really are, don’t have all that much in [...]
SLAYER‘s Farewell Tour crushes Atlanta: Over six hours of pure metal sends SLAYER out in the only way it could be done. Ok, I’ll admit it. I was never really much of a SLAYER fan back in the day when thrash metal started. Of the “Big Four” thrash metal bands I was always an ANTHRAX [...]
Whether you like Joe Bonamassa or not, you really owe it to him to say, “Thanks!” That’s because the suit-and-shades-wearing nerd is leading the charge to keep the blues up front and center in a time when pop and hip hop are dominating the airwaves and playlists of mainstream America… The blues, you say? Who [...]
Currently doing a short tour before recording a new album, Suicidal Tendencies had a stopover in Toronto and brought punk veterans Sick Of It All in tow. Coming from New York, Sick Of It All hit the stage after a western soundtrack intro, and instantly the pogo dancing started at the already packed Phoenix Concert [...]
Grunge icons Smashing Pumpkins brought the Shiny and Oh So Bright tour to the American Airlines Arena in Miami, last July 24, 2018. A line-up made of original band members Billy Corgan (lead vocals, guitar) James Iha (guitar, vocals) and Jimmy Chamberlin (drums, percussion) recently reunited and they are taking the stages for the first time in [...]
Rock and roll was alive and well and on display in bucketloads as Foreigner, Whitesnake and Jason Bonham’s Led Zeppelin Evening played to a packed house – a complete 12,500 person sell-out – at Alpharetta, Georgia’s Verizon Wireless Amphitheatre at Encore Park back on July 7th. While time has taken its toll on these bands [...]
Announced last March, the Rock & Roll Express Tour, co-headlined by 3 Doors Down and Collective Soul, with support by Soul Asylum is a 36-city North American run that will roll through mid-September crisscrossing the country, and the event made its third stop at The Mizner Park Amphitheater in Boca Raton, Florida on July 10th [...]
Legendary amongst lovers of tango/romantic music in general, and archetypal tragic hero mourned throughout Latin America after his death in an airplane crash, French-Argentine singer, songwriter, composer and actor, Carlos Gardel sang in one of his most famous tangos the line “…Que veinte años no es nada…” – Spanish for “the pass of twenty years [...]
The Gen-X Summer Tour came to town just ahead of Independence Day and the fireworks began a day early. Hard rockers Buckcherry headlined this year’s lineup with support from 3 other California based bands, Alien Ant Farm, Lit and P.O.D. One could argue that you are attending a show with 4 headliners. The Loudwire and Rockfest Concerts event [...]
If you are old enough to relate to the 80’s music, you most probably remember the rise of the glam-rock movement, and the days when the exaggeratedly flamboyant clothes, makeup and hairstyles dominated the rock n’ roll musical scene. And intrinsically associated to glam rock, names like Bon Jovi, Whitesnake, Def Leppard and Poison will [...]
The day began with the classic Florida weather of rain and sun at the same time but as the show time came closer the sky cleared. The door of Revolution Live opened at 7:00pm to receive the long line of fans that had been patiently waiting. The first ones to take the stage were the [...]
Ever since SLAYER announced their farewell tour back in January of this year, the metalheads community have been salivating with the opportunity of attending one of the shows of the metal titans last presentations on stage. After making some of the most brutal, breathtakingly aggressive, all-hell’s-a-breaking-loose music ever created, being one of the four bands [...]
Central Texas has sadly hosted few editions of Paganfest, Heathenfest, and other folk metal packages over the years, so the announcement that the Faroese vikings of Týr would co-headline in Austin with the eminent kings of Middle Eastern folk metal, Orphaned Land, excited me more than just a little. And somehow, despite my coolant distributor [...]
If I was to make a list of my favorite bands which also happen to be very underrated, and whose contributions to the universal landscape of music are unjustly overlooked, Flotsam and Jetsam would be at the very top. Hailing from the scorching hot state of Arizona, these thrash metallers’ body of work have been [...]
After tours around the globe, Florida’s Kamelot returned to North America during the months of April and May, in support their recently released album The Shadow Theory . Bringing the biggest production and package in the group’s history, the tour ventured north and into Canada before extending through the Midwest, ultimately reaching the West Coast before [...]
Steven Wilson is currently touring on his most accessible and pop-oriented solo release to date. To the Bone seems to be the exposure breakthrough Wilson has been hoping for quite some time, landing interviews on British Morning TV and numerous online interviews and articles. Many of the shows on the tour are selling out, but [...]
The band Stone Temple Pilots has been through their fair share of heartbreak the past several years, mainly involved around the unfortunate passing of both their original lead vocalist Scott Weiland, and his successor Chester Bennington. After Bennington returned to his main duties with Linkin Park in 2015, Stone Temple Pilots began the search for [...]
The Sons of Apollo brought their supergroup musical circus to the Mile High city of Denver on Wednesday night and put on a remarkable display of musicianship and showmanship. Sadly, not enough people were there to see it. It wasn’t the weather. It doesn’t help that it was a mid-week show. But most likely, it’s [...]
After taking the world by storm in 2003 scoring the monstrous hit “I Believe in a Thing Called Love”, The Darkness imploded in a cloud of vanity, drug addiction and conflicts, and their lineup split in two: Dan Hawkins and the remaining members formed Stone Gods, and his brother Justin formed Hot Leg. A few years later [...]
Oh, for the love of music! Every once in a while I take in a show where it’s simply all about the music. It’s not about the money. The fame. The chicks or the scene. Just a collection of gifted musicians using tones, timbres and textures to express themselves with each other, and the audience. [...]
Sometimes a change at the lead singer position ends up taking the band in a radically different direction. Phil Collins with Genesis is exhibit A. Other times, the band can change singers yet still remain pretty true to their previous vibe. Journey with either Steve Augeri or Arnel Pineda is Exhibit B. Then there’s a [...]
England’s black/gothic/extreme metal veterans Cradle Of Filth has been bashing the ears of metal fans since 1991. Through their long career the band’s musical style have evolved from their original corrosive black-metal beginnings to a cleaner and more “produced” amalgam of gothic metal, symphonic metal and other metal genres, allowing them to continuously resist a [...]
The German guitar slinger’s current tour is traveling under the moniker: Michael Schenker Fest. While the merits of that name can certainly be debated, the quality of performance that he and his 4-man vocalist band delivered in Denver on March 29 really can’t really be disputed. From the opening licks of “Into the Arena,” Schenker [...]
The first show, in the august surroundings of the London Palladium, saw the kick off of Yes’ 50th Anniversary Weekend. The venue was the focal point for not just 2 shows, but also a fan convention featuring 2 Yes tribute bands, Roger Dean and various Yes book authors, bus tours of London’s key Yes locations, [...]
Rock icons Foreigner returned to South Florida last week with a packed-house performance at Au-Rene Theater, the largest venue of the Broward Center for the Performing Arts, a large entertainment complex located in the heart of downtown Fort Lauderdale. After 40 years of existence as a band, more than 80 million records sold, and staple [...]
After four years, heavy metallers Iced Earth have finally returned to Atlanta, GA. There are a few things that made the show, and tour, a very special one. For starters, this year marks the 30th anniversary of the band. The band also had a small line up change as well, as unfortunately Troy Steele stepped [...]
Living in Miami, Florida doesn’t really help you to get your metal fix. The lack of metal tours coming to the southeastern side of the sunshine state is palpable, and it’s certainly responsible for our frequent travels throughout North American to catch performances which otherwise we would certainly miss. The last episode of our musical [...]
Act of Defiance frontman Henry Derek and I go way back. I was a literature student back in the Fall of 2001, still getting my feet wet as a music writer. I’d gone to suburban Chicago for the inaugural ProgPower Festival that previous February, and I was eager as all hell to get to the [...]
40 years and 21 studio albums later, Canadian prog legends SAGA decided it was time to enjoy their well-earned retirement. And they surely went out with a bang, playing for a sold out audience in Toronto on February 24th in what was dubbed as their Farewell Concert. SAGA formed in 1977 in Oakville, Ontario, Canada, and released its [...]
Eric Johnson could not be farther away from the stereotypical image of the guitar god. There’s no bombastic, larger-than-life, whirlwind-type of personality in him. And truth is that he doesn’t need any of those additaments. Back in 1986, when he released his album Tones, he established his own, unique voice. His fluidness, his fingering, and [...]
In an effort to catch up with all our pending articles – while wading thru the ludicrous quantity of pictures and videos taken during the amazing Cruise to the Edge celebration (you can read our own review of the event in this location) – the time has come to write a review for the SONS [...]
As we are walking into the port, getting our passports ready there’s tons of metalheads waiting in line ahead to go through customs and ready to begin their journey on board! For some this is their first time and others they are already the ‘veterans’ of this fantastic metal vacation. For us it’s our 3rd [...]
This was the start of pure exhaustion, with only 1-2 hours of sleep we got up early to have some breakfast at the Windjammer and catch up with some of the bands performing. My husband who was one of the photographers was able to capture a lot of the sets and bands in time. I [...]
I woke up at 11:30 am the sunlight was already peeking through the curtains. It must have been quite bright, since none of us woke up in an earlier time. We got up quickly got ready with a ton of sunblock, quick breakfast and we were ready to hit the beach. We had docked at [...]
With a coffee mug in my hand and my sleep slippers, I quickly went to go see Seven Kingdoms who was performing in The Alhambra Theater. A lot of Floridians, including myself are already familiar with the band since they are from Tampa. The band being humble, down to earth and very humorous delivered a [...]
Since Satriani’s G3 tours began around 23 years ago, the legendary guitar player has invited two other highly regarded rock and blues style guitarists to join him on stage for historic celebrations of the six strings art. The premise of G3 was for each artist to play a separate set with his own band and [...]
“In This Moment leads Fort Lauderdale through the dark fantasies of The Witching Hour.” Founded 12 years ago by the charismatic vocalist Maria Brink and guitarist Chris Howorth, a native of Topeka, IN THIS MOMENT is a metalcore band that serves one of the most visually mesmerizing shows I’ve seen, and when they started their [...]
For people reading this there’s probably no need to tell the story… Operation: Mindcrime was the album, perhaps more than any other ,that lit the touch paper for so much of what progressive-rock fans today take for granted. It’s blend of classic prog touches, with heavier rock elements, together with a back story that was [...]
“Kansas celebrates the 40th Anniversary of Leftoverture electrifying the South Florida audience with a memorable performance.” Legendary progressive-rock band Kansas haven been riding a wave of resurgence for the last three years with the release of their first studio album in 17 years “The Prelude Implicit”, followed just a month ago by a live album [...]
Around the second week of November 2017, I had the opportunity to interview Grammy Award winning guitarist and producer Paul Nelson (you can read that article here). Later in the month my wife and myself were invited to one of Paul’s shows, when his extensive tour touched The Arts Garage in Delray Beach. Perhaps Paul’s [...]
Ottmar Liebert is one of the most popular flamenco-style guitarists, yet he doesn’t like to place himself in that genre. Instead, Liebert infuses flamenco techniques with his own style that borrows from non-stringed instruments and genres you’d never imagine he’d listen to. Born in Cologne, Germany to Chinese-German father and Hungarian mother, he began playing [...]
Around a month ago my husband asked if I wanted to go to Tesla concert for a second time, and my immediate answer was a resounding YES!… Our first Tesla show happened around 2 years ago, at the Orlando’s House of Blues, and it was a complete blast. We had a terrific time at the [...]
This is the continuation of a chronicle of which you can read the first part here. While waiting in the photo pit for the Epica show to begin, I thought it would be hard for them to top-off the Lacuna Coil’s ravaging performance. The stage had been modified and now showed two metal-made elevated platforms [...]
EPICA’s latest full album “The Holographic Principle” was released in September 2016, and was naturally followed by a support live tour, dubbed “The Ultimate Principle Tour” for their US leg with the appearance of Elantris, Insomnium and Lacuna Coil as the supporting acts. We had missed Epica a couple of times before when they played [...]
If your musical taste has ever flirted with metal, chances are you have listened to at least one Overkill record. New Jersey’s infamous bad boys have been at the helm of the thrash-metal scene since the early 80s without ever receiving the credit due for keeping the genre as big as it is, making quite [...]
The singular genius of Depeche Mode’s music might be the way their songs inspire a gut-wrenching personal response. As a band, they proved beyond any doubt that music derided as simple synth pop is able to have the same impact as classical music or more sophisticated rock. Still packing arenas after a career spanning 37 [...]
If you know about UK power metal heroes Dragonforce, you are aware what they are known for: blistering fast guitars, catchy choruses, and soaring vocals. Their ludicrous fretboard acrobatics were a particular trademark at the height of their popularity, and even when the guitar instrumentation on their last couple of albums has been a bit [...]
If you landed in this page without reading the first part of this article, you can do so by going here, and also the second part can be found here. SUNDAY: The last day was here and many were worn-out after prolonged hangouts at the hotel lobby for two consecutive nights (myself included). THE FIERCE [...]
If you landed in this page without reading the first part of this article, you can do so by going here. SATURDAY: The second day (and first one to feature four bands), started out with THE AARON CLIFT EXPERIMENT. I must confess this band had flown completely under my radar, so I wanted to see [...]
As we passed the summer solstice and the year dives headfirst into its warmest season after the longest day of 2017 is gone, I look behind at the musical experiences of these initial 6 months and reflect about some of them. Today, I’d like to write about the second longest running progressive rock festival in [...]
Jethro Tull is one of my favorite bands from the seventies, and Martin Barre’s sound is very much responsible for that. Playing alongside Ian Anderson for 43 years, Barre’s guitar work helped to outright shape the Tull sound, and earned him a 1988 Grammy Award for his work on “Crest of a Knave” and his [...]
The Hendrix of Jazz. This is what I have heard people call Al Di Meola. He is one of those musicians that have built a career that is expressive and expansive, and has become an international musician that transcend time and space with his playing. He’s been blessed with ageless genes, both in appearance and [...]
Ever since I listened to “Doomsday for the Deceiver” for the first time, I fell in love with Flotsam and Jetsam. That debut album was pure in-your-face thrash metal statement and can be cited as a classic of the genre along with “Reign in Blood”, “Master of Puppets” and some others; showcasing great musicianship and [...]
Considered one of the most sublime exponents of modern rock guitar, Steve Vai has played with many of rock’s heavyweights, whom we don’t even have to mention here. What is there that could possibly be said about him that hasn’t already been said? He’s an innovator and a showman, and arguably unlike any other guitarist [...]
Modern Prog Icon Steven Wilson concluded the latest US leg of his “Hand.Cannot.Erase” tour in Fort Lauderdale, FL. While he had played in South Florida with Porcupine Tree, this was his first solo gig in the area. For those that know South Florida, the Culture Room is a small club secretly placed in a strip [...]
When Amy Lee of Evanescence hits the stage, she’s a one woman wrecking ball of energy, in unison with the raw emotion, and unequaled performance of the rest of the group. And that’s exactly what happened in front of the eyes of a completely sold out Jackie Gleason Theater last Sunday’s night. Around 9:00 PM [...]
You can read the first part of this article by clicking here… SATURDAY Sonus Umbra: Prior to my trip to Chicago, crossover prog-band Sonus Umbra is one that had caught my attention. They delivered a powerful live performance that far surpassed my expectations. Originally from Mexico, the band is now based out of Chicago. Their [...]
In October 2016 music lovers from all around the country converged at Reggie’s Rock Club in Chicago for Progtoberfest II, the second installment of an up-and-coming progressive music festival that hopes to become an annual tradition. The first Progtoberfest was held in October 2014. After the death of legendary keyboardist Keith Emerson last March 2016, [...]
Former Yes veterans Jon Anderson, Trevor Rabin and Rick Wakeman finally took the stage at The Seminole Hard Rock Live, in Hollywood Florida, exactly a week later than the initially planned show which would have served as the beginning of their worldwide tour dubbed “ARW: An evening of Yes music and more”. The arrival of [...]
The American progressive power metal legends FATES WARNING, considered by many as the true forefathers of the genre, celebrated the 30th anniversary of their “Awaken The Guardian” album with an exclusive headlining live appearance at the 2016 edition of the prestigious sold-out ProgPower USA festival last Saturday September 9th. The band — in its original [...]
Around the middle of their North American tour dubbed “Affinitour v2.0” Haken appeared at Atlanta’s prominent and marathonic progressive and power metal Festival ProgPower USA VXII. Haken are the latest truly prog-metal band to take the world by storm, and arguably the best exponent of the current generation of bands in a genre which has [...]
For whoever following heavy metal in the last decade; Gus G is a familiar name. Born in Thessaloniki, Greece as Konstantinos Karamitroudis; Gus is a guitar phenomenon. He is considered to be one of the reigning guitar virtuosos in the metal scene today, and for a good reason. He has recorded more than a dozen [...]
The name Glenn Hughes needs no introduction. Nicknamed by his fans “The Voice of Rock”, Glenn is a living and breathing embodiment of British rock and its compelling story. Lord of the four strings and king of the high notes, he is a true original whose music blends hard rock, soul, and funk. Arguably one [...]
I can’t think of a more epic trip down memory lane to LA’s fabled Sunset Strip of the 80’s than attending a Great White concert. They are one of the classic bands that brings us some of the songs that defined the 80s and 90s, with their special kind of flavor and unmistakable sound. These [...]
My wife and I were about to celebrate our anniversary and I secretly planned a getaway to Boston, some months in advance. After booking hotel, car and flight (being probably the first time in years we would be traveling without the intention of a concert or festival), I stumbled upon the news of an upcoming [...]