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Leon Bridges will appear on all stadium dates. Meghan Trainor will appear on all show dates.
Three-time GRAMMY® Award winning multiplatinum band Maroon 5 have announced dates for their upcoming 2020 U.S. tour produced by Live Nation. These upcoming tour dates mark the biggest U.S. shows of the band’s career, with the group playing iconic venues such as at Wrigley Field, Fenway Park, Citi Field and Banc of California Stadium. The band’s multi-country tour will kick off on May 30that North Island Credit Union Amphitheatre in Chula Vista, CA.
Most recently Maroon 5 released their latest single “Memories” to critical acclaim. Leon Bridges’ new collaborative EP with Khruangbin, Texas Sun will be released February 7th and the title track is out now. Meghan Trainor will release her anticipated third studio album entitled Treat Myself, coming January 31st on Epic Records.
Tickets for the tour are set to go on sale starting on Monday, December 9thand will be available to the public on Friday, December 13th. A limited number of LaneOne Premium Packages will also be available, including amazing seats, transportation, preferred entrance and more. Click HERE for LaneOne details. For more information, please see tour dates below and click HERE.
American Express® Card Members can purchase tickets in select markets before the general public beginning Monday, December 9that 12pm local time through Thursday, December 12th at 10pm local time.
Citi cardmembers will have access to purchase U.S. presale tickets in select markets beginning Monday, December 9th at 12pm local time until Thursday, December 12th at 10pm local time through Citi EntertainmentSM. For complete presale details visit www.citientertainment.com.
Maroon 5’s New Hit Single “Memories” Out Now – #1 on Hot AC
The band’s tour announcement follows the debut of their most recent single, “Memories” (222 Records/ Interscope Records). The release of “Memories”marks the first new music from the Los Angeles band since the release of their global anthem “Girls Like You.” Produced by Adam Levine and The Monsters & Strangerz and Executive Produced by Jacob “J Kash” Hindlin, “Memories” marks a moment of creative and personal progression for the musicians. The minimalist ballad starkly pairs a lilting clean guitar with chantable and evocative lyrics from Levine. In addition to representing another sonic side, it tackles uncharted subject matter for the group— namely loss—but from a different angle.
Following its release, “Memories” quickly claimed Maroon 5’s 22nd appearance on Billboard Hot 100’s Top 40. The track is currently holding at peak position #4 on Billboard Hot 100 chart, their 10th Top 5, and their 12th Top 10 this decade; that includes at least one new song sent into the Top 10 each year since 2011. The track just reached #1 on Billboard Hot AC chart, their 14th #1 which is the most by any act. The David Dobkin directed music video has garnered over 185 million views on Youtube; pushing their video catalog to 12 BILLION views across all official channels on YouTube.
Previously Announced Tour Dates
2/23 Mexico City, MEX – Foro Sol
2/28 Santiago, CHL – Estadio Bicentenario de la Florida
3/1 Sao Paulo, BRA – Allinaz Parque
3/5 Recife, BRA – Classic Hall
3/7 Rio de Janeiro, BRA – Estacionamento da Jeunesse
3/10 Montevideo, URY – Estadio Centenario
3/12 Buenos Aires, ARG – Campo Argentino de Polo
3/14 Bogota, COL – Parque Salitre Magico
Newly Announced 2020 Tour Dates
5/30 Chula Vista, CA – North Island Credit Union Amphitheatre
5/31 Phoenix, AZ – Ak-Chin Pavilion
6/3 Alburquerque, NM – Isleta Amphitheater
6/5 Denver, CO – Pepsi Center
6/7 Austin, TX – Austin360 Amphitheater
6/8 The Woodlands, TX – The Cynthia Woods Mitchell Pavilion
6/10 Dallas, TX – Dos Equis Pavilion
6/13 Chicago, IL – Wrigley Field
6/14 Noblesville, IN – Ruoff Home Mortgage Music Center
6/16 Clarkston, MI – DTE Energy Music Theatre
6/18 Cuyahoga Falls, OH – Blossom Music Center
6/19 Burgettstown, PA – KeyBank Pavilion
6/24 Boston, MA – Fenway Park
6/25 Flushing, NY – Citi Field
6/27 Darien Center, NY – Darien Lake Amphitheater
6/28 Toronto, ON – Budweiser Stage
8/2 North Little Rock, AR – Simmons Bank Arena
8/4 Oklahoma City, OK – Chesapeake Energy Arena
8/6 Lincoln, NE – Pinnacle Bank Arena
8/8 Fargo, ND – Fargodome
8/9 St. Paul, MN – Xcel Energy Center
8/12 Edmonton, AB – Rogers Place
8/14 Vancouver, BC – Rogers Arena
8/15 Auburn, WA – White River Amphitheatre
8/17 Portland, OR – Moda Center
8/19 Mountain View, CA – Shoreline Amphitheatre
8/21 Los Angeles, CA – Banc of California Stadium
8/24 Salt Lake City, UT – USANA Amphitheatre
8/27 Kansas City, MO – Sprint Center
8/29 Maryland Heights, MO – Hollywood Casino Amphitheatre
8/30 Milwaukee, WI – American Family Insurance Amphitheater
9/1 Cincinnati, OH – Riverbend Music Center
9/3 Camden, NJ – BB&T Pavilion
9/5 Hershey, PA – Hersheypark Stadium
9/6 Saratoga Springs, NY – Saratoga Performing Arts Center
9/9 Hartford, CT – XFINITY Theatre
9/11 Bristow, VA – Jiffy Lube Live
9/12 Raleigh, NC – Coastal Credit Union Music Park at Walnut Creek
9/14 Charlotte, NC – PNC Music Pavilion
9/16 West Palm Beach, FL – Coral Sky Amphitheatre
9/17 Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Los Angeles, CA — Transcendent, two-time GRAMMY® Award-winning rock band, Evanescence, has returned with their first new rock recording in eight years, “The Chain (From Gears 5).” Listen HERE.
The band recorded their signature-rock version of the Fleetwood Mac classic following lead singer Amy Lee having lent her vocals to the launch trailer for Xbox Game Studios’ Gears 5 for Xbox One, Windows 10, and Steam, from the massively popular Gears of War series. The spot aired as part of a multi-million-dollar ad campaign this fall in conjunction with the launch of the game. Watch it HERE.
Gears 5 was Microsoft’s most successful video game launch since Halo 4 in 2012.
Amy Lee firmly re-establishes herself as one of rock’s pre-eminent vocalists, exhibiting an impressive range that still packs a wallop” –Variety
“The Chain” is the first release in what is expected to be a very active period for Evanescence. Following their critically acclaimed foray into symphonic music with 2017’s Synthesisalbum and world tour, the five-piece has reemerged by embracing a heavier sound, albeit with their trademark style that has made Evanescence integral in establishing a global, critical mass in rock, and among the most unique artists of the millennium. The band is currently working on new original music, which will start rolling out in 2020 in advance of their next studio album. Stay tuned for more details to come.
“This cover was so fun to make. We love Fleetwood Mac and wanted to paint a dark and epic picture with our take on ‘The Chain,’” says Amy Lee. “The lyrics make me feel the power of standing together against great forces trying to pull us apart, perhaps even from the inside. I really wanted to drive that home in our version, and even made everyone in the band sing by the end of it! We’re beyond excited to share this with our fans and I’m really looking forward to playing it live.”
At the end of the month, Evanescence will be heading to Mexico City to play Knotfest, followed by an appearance at Download Festival in Tokyo on March 29, 2020. After a short break, the group will be heading out on a massive co-headline tour of Europe and the U.K. with Within Temptation.The new batch of dates kicks off on April 4 in Brussels, Belgium and concludes in Birmingham, U.K. on May 1. Evanescence will also return to the U.S. shortly thereafter for a headline show at The Fillmore in Minneapolis, MN on May 14. All tickets are on sale now and can be purchased on the band’s official website HERE.
“Haunting, powerful, and packed with poetic truth, Lee’s voice is one of the strongest in the game—recognizable and unparalleled.” –Nylon
Former bandmates Fred Mascherino and Eddie Reyes have reconnected and teamed up for their very own rendition of Emo Night. They’ll be taking their show on the road in January 2020 for a few dates that will include stops in Amityville (NY), Asbury Park (NJ), and Easton (PA). The festivities will include DJ sets, emo karaoke, and performances by The Color Fred and Fates Got A Driver.
“The Color Fred played an Emo Night that our friend Jon runs in Pennsylvania and we had a blast,” explains Mascherino. “He was spinning all of the bands that Eddie and I use to play with, so we thought it would be fun to do it in other places and have Eddie’s band help make it even more fun.”
The Color Fred is an indie rock band headed by former Taking Back Sunday guitarist/vocalist Fred Mascherino. Bend to Break, The Color Fred’s first full-length album, was released on October 30, 2007. The album hit #8 on the Billboard Heatseekers Chart. The band toured throughout North America and Europe, playing with bands such as Dashboard Confessional, Angels and Airwaves, and Four Year Strong. They released an acoustic EP titled The Intervention for Record Store Day in 2009 and did a virtual solo acoustic tour in support of its release.
Mascherino then entered the studio to record LP2 and wound up collaborating with his friends Josh Eppard (Coheed and Cambria) and Andy Jackson (Hot Rod Circuit) in what eventually became Terrible Things. The trio signed to Universal Motown Records, released their popular self-titled full-length, then spent most of their time on the road supporting bands including The Offspring, Minus the Bear, Bayside, Circa Survive, and Streetlight Manifesto. Mascherino then went on tour playing bass in The Lemonheads and guitar for Say Anything. During that time, he was producing and co-writing with bands eventually building his own studio, Diver Down. In late 2018, Fred decided to close the studio to the public and start recording his own music again. Coming full-circle, the new material is being released as The Color Fred. The first song “Don’t Give Up on Me” was released this past May. More new material is underway in the studio and will be released in the near future.
Los Angeles, CA — Rise Records is excited to announce that Jetty Bones, the musical project led by Ohio-based musician, Kelc Galluzzo, has joined their roster of artists. In celebration of the news, the band has shared a new music video for their single, “the part:”, a standout song from their third EP, – (pronounced “hyphen”), which debuted earlier this year via Take This To Heart Records. Stream/download the effort HERE, and watch the new visual HERE. Jetty Bones is also currently working on new music, expected next year on Rise.
Kelc has a message for Jetty Bones fans about this announcement and next chapter in the band’s career: “Growing up in Ohio, we used to have this local scene saying about how the dream was to ‘live in Ohio, start a band, then sign to Rise Records.’ Well, 12 years later, I finally get to say that those teenage dreams are a reality: Jetty Bones has officially signed to Rise and will be putting out a full-length record next year. As the final piece of the – era, here’s a music video and a promise to keep building this community around support and vulnerability as a part of the Rise family. Thank you for reminding me that fighting for passion, recovery, and the strength to help others has not been in vain. I don’t know if I can ever find the words to accurately explain how much I needed all of you (and still do), but I’m going to try my best for as long as you let me.”
Channeling the band’s namesake, Betty Jones, who broke out of her all girls’ Catholic school to remove herself from a situation where she wasn’t happy, Jetty Bones exists to encourage people to rise above everyday situations and push for a life with better meaning.
“The sound of an artist totally in control over her craft and her story.”–Chorus.fm
The group’s 2017 EP, Old Women, was a story of progress, growth, and the development of human connection – something often overlooked today. In a world so focused on outward appearances, Old Women takes you on a journey through one girl’s mental and emotional attempts to attach to something in a more genuine way, that something being other people. Its brisk, contemplative follow up, – (pronounced “hyphen”), is a bridge between Kelc’s journey to healthier interpersonal bonds and a future colored by close friends, As Jetty Bones still functions with Kelc’s crystal clear delivery and racing thoughts at its center and a network of trusted musicians bouncing in the margins, – is a testament to the artist’s growth, depth, and warmth.
Currently on Tour in the U.S. With New Found Glory
Jetty Bones is also currently on tour in the U.S. supporting New Found Glory, along with Hawthorne Heights and Free Throw. The remaining run of dates continues tonight in Lancaster, PA at Chameleon Club and wraps next week at Saturn in Birmingham, AL on November 26. A list of shows is included below, with tickets available to purchase HERE.
Jetty Bones Tour Dates Supporting New Found Glory:
11/20 – Lancaster, PA @ Chameleon Club 11/21 – Asbury Park, NJ @ Stone Pony 11/22 – Huntington, NY @ The Paramount 11/23 – Richmond, VA @ The National 11/25 – Carrboro, NC @ Cat’s Cradle 11/26 – Birmingham, AL @ Saturn
LOS ANGELES — TOOL, who are in the midst of their first North American tour in support of their #1 charting, record-breaking album Fear Inoculum (RCA Records), today announces an additional round of tour dates, kicking off on Jan. 10 in San Diego.
Tickets are on-sale this Friday, Nov.15 at 10 am local time, with a limited number of VIP packages available exclusively to Tool Army members via Toolband.com this Wednesday, Nov.13 at 10 am local time.
TOOL begins a two-night stint in Toronto this evening, during their extensive, sold out North American tour. The tour, which sees the band performing in some cities for the first time in over a decade, has received widespread accolades with the Los Angeles Times calling it “impeccable,” the Chicago Tribune describing the outing as a “twisting multimedia rollercoaster of a concert” and The Arizona Republic saying it’s “a visually breathtaking night of dystopian art-rock spectacle.”
Fear Inoculum arrived on Aug. 30 following years of anticipation. The album debuted at #1 on Billboard’s Top 200 and earned heaps of critical praise with NPR saying, “Fear Inoculumwas worth the 13 year wait,” Revolver proclaiming the 10-track album “a masterpiece to be dissected for years to come” and Consequence of Sound saying the release finds “TOOL in peak performance.”
Full List of Sold Out North American Tour Dates:
November 11 Toronto, ON Scotiabank Arena November 12 Toronto, ON Scotiabank Arena November 14 Boston, MA TD Garden November 16 Newark, NJ Prudential Center November 18 Philadelphia, PA Wells Fargo Center November 19 Brooklyn, NY Barclay’s Center November 21 Uncasville, CT Mohegan Sun Casino Arena November 22 Atlantic City, NJ Boardwalk Hall November 24 Raleigh, NC PNC Arena November 25 Washington, DC Capital One Arena
SEATTLE — For nearly two decades, producer Daniel Graves’ attention-grabbing and infectious industrial pop project, Aesthetic Perfection, has defied the world’s demands for definitions by blending genres and reinventing what it means to be a dark electro artist.
Last year, Aesthetic Perfection announced the “Into The Black World Tour 2019” to support their fifth studio album, Into The Black. The European leg of the tour commenced in the month of April in the UK, and the North American leg began in the beginning of September in San Diego. For the second date of this leg, they performed in Mesa, AZ — home of Burning Hot Events. Aesthetic Perfection’s North American tour made one of its last stops at Highline Bar with supporting acts Empathy Test and LAZERPUNK.
LAZERPUNK, from Budapest, set an apropos dark and gritty tone, with electronic music so heavy that it feels like it resonates with your flesh and courses through your veins. The intensity of the music, especially as it was coming from just one man wearing an Adidas baseball cap, was nearly beyond comprehension.
Stepping into the environment of the club that night and being smacked with the power of these beats was like being dragged into an alternate universe. It was easily a reminder of why so many of us go out to industrial shows for the cathartic experience — communally flipping a switch that turns on a stifled side of our souls that is screaming and clawing to get out and rage during the mundane day-to-day, as we dismally watch our world socially and environmentally corrode around us. It is here we are uplifted, escape, and achieve balance in a combination of commiseration, unadulterated passion for music, and unjudged embracement of our dark, but not necessarily evil, sides.
With Isaac Howlett’s British vocals that feel longing and aching, and an ethereal touch, synthwave act Empathy Test has no doubt drawn some associations to Depeche Mode innumerable times. As a blend of 80s sci-fi soundtracks, 90s guitar bands, and modern underground dance as influences, they are a duo in the studio (Howlett and producer Adam Relf), and currently a trio performing live. The beautiful thing about electronic music, as demonstrated by LAZERPUNK and Empathy Test, is that something so big can come from so few people. With the aid of Angel Metro on keys and Christina “Chrisy” Lopez on drums, the trio pulled the entranced audience at Highline into a galaxy of emotion. In between songs, Howlett brought some levity back to the room with charming, good-humored banter. Teeming with talent, Empathy Test are also responsible for their breathtaking artwork.
When Aesthetic Perfection hit the stage, it wasn’t long before the integrity of the building structure was tested as the crowd unapologetically jumped with such force the floor could be felt bouncing under your feet — admittedly not the most comforting feeling when you’re on the second story of a building.
Consisting of the aforementioned vocalist and programmer Graves, Elliott Berlin on keys/guitar/bass, infamous drummer Joe Letz (formerly of Combichrist and a slew of other industrial bands), this trio contrasted Empathy Test with deliciously harsh aggrotech.
The band added a delightfully creative “speed dating” VIP upgrade experience for this tour in which fans got a guarantee to interact with every band number. Additionally, the package included a signed setlist, signed polaroid, signed poster, and VIP laminate — basically all of the essentials that any diehard fan is going to want to collect from a show, and a really smart offer on the band’s part to turn a profit on their tour.
The diversity of Graves’ vocal techniques shine in sexy transitions between a vicious growl and a timbre that might be described as an approximate blend of Jay Godon (Orgy) and the late Chester Bennington (Linkin Park) — this vocal flux is exemplified in the track “Ebb and Flow”; there is a broody and agonizing cover of ‘NSync’s “Bye Bye Bye” (featuring guitarist Nikki Misery of New Years Day) in which he hits an impressively powerful high note with chest voice at the bridge, a beautiful falsetto in the new Into the Black opening track “Gods & Gold”, and even an OTEP-like quality in the theatrical track “Dark Ages”.
Berlin jumped back and forth between instruments, with hair flying wildly to no end, and making himself an entertaining spectacle each time he climbed upon his keyboard and thrashed around amongst the rising smoke.
Meanwhile, Letz made apparent why his percussive skills are so acclaimed, as the vigorous force of the backing beats that he was responsible for nearly brought down the house.
“Holy shit,” was the sentiment that coursed through my head all night, and near the finale of their set, Graves showed that those in the crowd were not alone in sheer awe of the magnitude of the immense energy pervading the venue, as he let out a clearly sincere, “Holy shit Seattle!”
Aesthetic Perfection will go on to tour in Germany from October 25th through November 2nd, with alternating and combined support by Empathy Test and Iris on select dates. If you’ve lost touch, this lineup is a mind-blowing reminder of what there is to love about industrial shows, that they are alive and well, and it is still a scene worth supporting.
Just when you thought it was safe to go back to the barrio, METALACHI has announced another run of dates through the southwest this fall!
In addition to METALACHI, the world’s first – and only – heavy metal mariachi band, Shark in the Water will deliver a blistering tidal wave of non-stop, raw, gritty surf music.
“METALACHI is pumped to wrap up our tour schedule for 2019 at all our favorite venues across the southwest,” says METALACHI manager Warren Moscow. “This run is something we always look forward to, as the whole southwest corridor has been like a second home for us for years…and this time we are bringing even more insanity to the run with the addition of Shark in the Water to the tour.”
METALACHI‘s most recent full-length album, Tres, was released late last year and features covers of songs originally performed by artists such as Judas Priest, Dio, Journey, Guns N’ Roses, including METALACHI‘s popular cover of the Queen classic, “Bohemian Rhapsody.” Watch the video for “Bohemian Rhapsody,” featuring a cameo by comedian Felipe Esparza, here:
METALACHI with Shark in the Water dates:
11/8 – Denton, TX @ Backyard on Bell 11/9 – New Braunfels, TX @ Billy’s Ice 11/10 – Dallas, TX @ Trees 11/13 – Austin, TX @ Antone’s 11/14 – Austin, TX @ Antone’s 11/15 – Stafford, TX @ Republic Country Club 11/16 – Fort Worth, TX @ Lola’s Trailer Park 11/17 – San Antonio, TX @ Paper Tiger 11/20 – Tucson, AZ @ 191 Toole 11/21 – Phoenix, AZ @ Rhythm Room 11/22 – Cottonwood, AZ @ Main Stage*
*No Shark in the Water
Hailing from Hollywood, CA via Juarez, Mexico, METALACHI is a musical/comedy stage show that somehow seamlessly blends the world of Spinal Tap and Cheech & Chong into an over-the-top stage spectacle. The band is comprised of a five-piece ensemble of classically trained mariachi musician siblings, that have been fused together with the power of heavy metal. Fans can expect an unlikely meshing of metal classics from artist such as Metallica, Slayer, Ozzy Osbourne and more with traditional mariachi standards from the likes of Vicente Fernandez and Mariachi Vargas de Tecalitlan… all played with traditional mariachi instrumentation but with a stage show that strays far from traditional!
METALACHI takes their cues from outrageous stage shows like KISS, GWAR and Rob Zombie with outrageous costumes, stage production, personas and onstage antics. The band features Vega De La Rockha on vocals, Queen Kyla Vera on violin, Kiko Cane on guitarron, Paco Halen on guitar, El Cucuy on trumpet and is managed by mysterious impresario Warren Moscow.
METALACHI has garnered worldwide acclaim for their unique brand of raucous humor and innovative musical mastery, quickly amassing a loyal and diverse fan base of music lovers in addition to gaining praise from music royalty such as Dave Lombardo (Slayer), Vinnie Paul (Pantera, Hellyeah), Eric Wilson (Sublime), M. Shadows (Avenged Sevenfold), Billy Idol, and Howard Stern along the way (fun fact – for the past five years, Sublime has used METALACHI‘s debut album Uno to time their set changes, blasting the entire album over the PA at their live shows). On a previous leg of the current tour, METALACHI was personally invited by comedian George Lopez to perform at the grand opening of his Chingon Kitchen at the Vee Quiva Hotel in Arizona.
METALACHI has been featured on America’s Got Talent, CNN’s Great Big Story, Rolling Stone en Español, BBC’s Outlook via NPR, Huffington Post, and National Geographic, and their music has been heard on FX’s The Bridge and in a TV commercial for DirecTV.
METALACHI has been named one of the 10 best Mexican Metal Bands worldwide by OC Weekly, was named #4 on a list of the top 20 tribute bands based in Los Angeles by LA Weekly, and was voted as one of the best live shows in Southern California by Examiner.com.
SEATTLE — Japanese metal band BABYMETAL , with special guests The Hu, will be wrapping up their 20-date US tour 2019 at The Paramount Theatre on October 16 (Doors at 7:00 pm, Show at 8:00 pm). Tickets may be purchased through the STG Presents website.
General Admission Flat Floor | Reserved Seating in Balcony All Ages / Bar with I.D.
$55.50 advance | $61.00 day of show (not including fees)
New Album METAL GALAXY to Release Oct. 11
Their third album METAL GALAXY was announced in June this year, along with with a new track “PA PA YA!!” featuring Thai rapper F.HERO, and dropped a video for it on July 1 (watch the video below).
BABYMETAL’s first release of the year was “Elevator Girl” via Cooking Vinyl. The single was the first piece of music since METAL RESISTANCE EPISODE VII, the episode that sparked a new era of BABYMETAL where the FOX GOD sent the band on a darker path, which manifests in the darker tone of the new material as heard on “Elevator Girl.”
METAL GALAXY is to be released October 11 via BABYMETAL RECORDS / Cooking Vinyl. The album, aptly titled after a fictional place within the BABYMETAL universe, is about an odyssey the band must take to the METAL GALAXY, a trajectory thrust upon them by the FOX GOD. Each song brings them closer to their desired destination starting with their previously released “Elevator Girl”, “Distortion” and “PA PA YA!!”
Recorded over the weekend at their Yokohama Arena in front of 17,000 people, the video for “PA PA YA!!” features the same incredible production set up the band brought to the US dates this summer.
In the 3 years since the release of their last album, 2016’s METAL RESISTANCE, the band has achieved an insurmountable amount of success around the world with hundreds of millions of audio streams, and almost a billion YouTube views. They played to 110,000 people over the course of two nights at the massive TOKYO DOME, supported Red Hot Chili Peppers on their UK/US arena tour along with additional support slots with Metallica in South Korean and Guns N’ Roses in Japan. They continued their success in the US as they embarked on a full national US headline tour that started September 4, culminating in the band’s first headline arena show in North America at The Forum in Los Angeles on October 11. Tickets and VIP packages for remaining dates on-sale here.
BABYMETAL Tour Dates:
w/ support from Avatar
09/04/19 – Orlando, FL – Hard Rock Live 09/06/19 – Atlanta, GA – Coca Cola Roxy 09/08/19 – Washington, DC – The Anthem 09/11/19 – Boston, MA – House of Blues 09/13/19 – Philadelphia, PA – The Fillmore 09/15/19 – New York, NY – Terminal 5 09/18/19 – Detroit, MI – The Fillmore Detroit 09/20/19 – Chicago, IL – Aragon Ballroom 09/21/19 – Saint Paul, MN – Myth Live Event Center 09/23/19 – Kansas City, MO – Uptown Theater 09/24/19 – Dallas, TX – South Side Ballroom 09/27/19 – Denver, CO – Ogden Theatre 09/28/19 – Salt Lake City, UT – The Union Event Center 09/30/19 – Las Vegas, NV – House of Blues 10/01/19 – Tempe, AZ – Marquee Theater 10/04/19 – San Francisco, CA – The Warfield 10/11/19 – Los Angeles, CA – The Forum * 10/13/19 – Sacramento, CA – Aftershock ** 10/15/19 – Portland, OR – Roseland Theater *** 10/16/19 – Seattle, WA – The Paramount Theatre ***
*No Support **Festival ***No Avatar, Support from The HU
SEATTLE — Like a gentle breeze, The Paper Kites brought in a soothing and refreshing performance to Neptune Theatre, accompanied by special guest Harrison Storm. Purely cathartic, The Paper Kites’ dreamy indie/folk rock music serves as a lullaby, the stitches that mend broken lovers, escapism for the weary and hopeless.
Held in a historic theatre with ornate Renaissance-influenced architecture and folding chairs, there seemed to be some ambiguity as to whether the crowd should handle themselves formally or casually, whether they should keep silent in reverence or cheer, sit or stand. Singer-songwriter Harrison Storm helped assure the audience that they had permission to applaud, although the presence of chairs still persuaded all to stay planted in their seats for most of the night.
Storm was a good lead-in for The Paper Kites, with a personal and minimalist style. He will be parting ways with the band following their September 20th show in San Luis Obispo, and embarking on a headlining tour in the UK and Europe beginning on October 11.
Being a performing arts venue, Neptune Theatre didn’t have overhead lighting directed toward the band, and the lights on the edge of the stage were low, leaving The Paper Kites mostly backlit. This lent itself to the midnight mood of their music, and also often illuminated drummer Josh Bentley and bassist and synthist Sam Rasmussen more than the others.
Sometimes the combination of blue and magenta lights resembled the neon sign on the cover of twelvefour, creating an even deeper sense of immersion.
The lone woman of the group, keyboardist and guitarist Christina Lacy, has a humble stage presence despite the prominence of her vocals within the harmonies in their songs. On this night, her entrancing vocals, along with those of Dave Powys, were nearly as soft as a whisper.
Powys entranced onlookers when he played the lap steel, an instrument that many had undoubtedly never seen.
Frontman Sam Bentley brings authenticity to the stage, sharing endearing stories that brought some levity, and visibly drawing on his emotions as he sang verses and held notes like a long, slow yoga exhale. Seeming to channel a trance-like state, each musician in the five-piece band performed with otherworldly control and subtlety.
We often like to impose our own lives onto the music we listen to, giving it particular relevance to ourselves, but it was interesting to hear some of the tales behind the songwriting that Bentley shared that night. The meaning behind the lyrics is often so much more interesting and creative than what you would assume. Some of the best parts of the show were a couple of times when every member of the band came together to sing into a single microphone. One of the most shining moments for Bentley’s vocals was the climax of “Give Me Your Fire, Give Me Your Rain” off of On the Corner Where You Live — the second of a two-part album release in 2018. They closed out the night with all five on a guitar (incl. bass) for “Standing in the Rain” from the first 2018 release On the Train Ride Home. Including the encore, The Paper Kites performed a 16-song setlist.
Beginning in British Columbia, this was the second stop on The Paper Kites’ 2019 fall tour that will be traveling down the United States and passing over Phoenix, Arizona — home of Burning Hot Events. They will be making stops in the south, working their way north up the eastern seaboard, visiting the Midwest, and heading back up to play their last date in Alberta. In 2018, they toured in support of their two releases that year. The 2018 fall tour was concentrated primarily in California, Canada, and the northeastern US, so Phoenix wasn’t privy to this tour either, whereas Seattle had the privilege of being slated for both tours. However, Seattle holds a special place in their hearts, being that it was a location they ventured to in 2015 to record the one and only twelvefour. On this night at Neptune Theatre, Bentley called Seattle a “second home”.
It seems that Arizona was last graced with their presence in 2017 when they performed at Club Congress in Tucson. Since they have performed in landmark venues such as Club Congress, Seattle’s Neptune Theatre, and San Francisco’s The Fillmore, perhaps one day they will be hosted by The Van Buren in Phoenix — converted from a historic vintage auto dealership. Good luck Phoenix… You could use a chill night like this.
Redmond, WA — CAKE, Ben Folds, and special guests Tall Heights seemed to be right where they belong as they performed amidst the tranquil atmosphere of Marymoor Park. The Seattle Eastside amphitheatre is surrounded by trees, and the crowd was content to sit and chill on the lawn from the get-go. This is the second time CAKE and Ben Folds have commenced on a summer co-headlining tour accompanied by Tall Heights. Summer of 2018 saw the joint tour spanning the east side of the country, and this year it was along the west coast. This 2019 tour wraps in Grand Prairie, TX, which makes it slightly surprising that they’re not stopping in Phoenix between Los Angeles and Austin. Following the final date, CAKE is headed to France, and Folds to Milwaukee, WI.
This isn’t the first time electro-folk duo Tall Heights has toured alongside Ben Folds — Burning Hot Events reviewed their concert at Marquee Theatre in September of 2017. “Spirit Cold” is one of their most recognizable songs, and it was that very song that I could hear in the distance as I approached the amphitheatre after getting stuck in the concert traffic, reminding me of CAKE’s “Long Line of Cars.”
Their soothing folk vibe and harmonies could not have been more perfect for an outdoor show closing out the work week. With their discography currently comprised of three albums, their most recent release was Pretty Colors for Your Actions on October 5, 2018. It is moving to know that they have come this far from their beginnings of busking in Boston.
When Ben Folds hit the stage, Tall Heights continued to perform in his live band alongside him. Folds casually yet energetically strolled onto stage with a demeanor that read like we are all old friends. He began his set with upbeat “Annie Waits” — an uplifting contrast to the gentleness of Tall Heights’ music. Despite this, Tall Heights paired with Folds seamlessly, and it was apparent how much fun they have up there with him. The accompaniment is demonstrative that despite going solo, Folds loves to perform as a group.
It was probably about 7:00pm when Folds started. He told the crowd that he thought he was going on at 8:00pm, so he was performing in the clothes he slept in. He said that he had let himself go, and asked the audience who else had let themselves go. Oddly enough, a majority of the crowd honestly raised their hands and there was laughter all around. He even improvised a “Let Yourself Go” song later on in his set. With the use of his quirky sense of humor, Folds has a gift for generating a feeling of camaraderie at his concerts.
During the following song, “You Don’t Know Me,” Folds encouraged the audience to fill in for Regina Spektor. It would have been amazing to hear Spektor singing the parts herself, but it was quite enjoyable to participate in the sing-a-long.
The sun went down as his set progressed, and strings of lights surrounding the stage lit up. It was a beautiful environment. Even this, however, was not without some typical aggro displays amongst the crowd in which some of the concertgoers that obviously don’t attend shows often yelled at others that wanted to stand during the concert because it was preventing from seeing while they sat on the ground. It’s expected to see this type of aggression in the Arizona heat, but less so in the more passive and down-to-earth Seattle area. It just goes to show there’s one in every crowd.
But there were also bemusing moments where some women danced along to Ben Folds in a completely mismatched style — as if they were dancing in a nightclub. It was heartwarming to see a female security guard subtly bobbing along to the music, and a male fan passionately singing along. Folds also made a touching statement about having to pinch himself for being able to tour with CAKE.
In April 2018, Rolling Stone recorded high praise from each of the co-headliners directed at the other. CAKE’s frontman John McCrea was quoted, including the sentiment, “In a culture often conflicted about its relationship to melody, and songwriting generally, Ben continues unapologetically to provide melodic clarity and musicality.” Folds stated, “Cake – my rough contemporaries, comrades and heroes – to me, they make universal, poetic, identifiable music with a groove.” Both artists were sure to make mention of Tall Heights, and the last sentence in McCrea’s quote summed things up rather well, when he said, “This co-headline line up seems like a good combination of musical styles-disparate but not antithetical to each other-and it should be a solid evening of music.” The fact that they decided to tour together again the next year shows that their feelings remained unchanged after they joined up the first time.
Two songs from Ben Folds Five were included in the setlist: “Battle of Who Could Care Less” and “Do It Anyway,” both of which were everything they should be with the backup vocals lent by Tall Heights. It would have been nice to have a video camera on Folds’ hands when he was playing, with the footage displayed on a screen, especially on a song with the impressively high-speed tempo of “Do It Anyway.” One of the best parts about his stage presence, though, is that his dynamic movements at the piano help compensate for the lack of visibility of his bandaged fingers.
The contribution of the cello and harmonica to the new song “Moscow Mitch,” unambiguously inspired Mitch McConnell’s new nickname, added great layers to an otherwise simple song.
WATCH: Musician Ben Folds unveils new song ‘Moscow Mitch,’ inspired by @JoeNBC‘s coining of the phrase.
A personal favorite moment was during “Rockin’ the Suburbs” when Folds emulated the vocals of Zack de la Rocha of Rage Against the Machine, and he did it surprisingly well — even better than on the album. Despite his debut solo album Rockin’ the Suburbs being released in 2001, the song’s topic of “white boy pain” is apropos in current times. There seemed to be a consensus amongst the crowd as they laughed knowingly during his dialogue leading up to the song about unnecessarily angry suburban white guys. Good Charlotte’s “Lifestyles of the Rich & Famous” (released in 2002) has a very similar theme, and even a similar chord progression.
Although he has released multiple LPs, the album the most songs were taken from was Rockin’ the Suburbs. Folds closed out his 15-song set with “Not the Same”. He stood on his piano gesturing grandly toward the crowd like a conductor, bringing his set to an engaging and dramatic finale.
CAKE had an epic lead up to their entrance with the entirety of the song “War” by Vince DiCola from the Rocky IV soundtrack. The venue was buzzing with excitement for a one-of-a-kind band that many had been waiting seemingly an eternity to see live. Thankfully they were able to perform, despite the fact that 5 of their instruments were recently stolen by some heartless heathens in Portland.
“Originally formed as a somewhat antagonistic answer to grunge, CAKE’s democratic processes, defiant self-reliance, and lucid yet ever-inventive music has made them a nation-state unto themselves, with no obvious peers, belonging to no school.”
The band opened with “Sheep Go to Heaven” from their third album, Prolonging the Magic. A disco ball added eye candy behind them, on and off throughout the night. The signature sound of the trumpet and the vibraslap bring about a certain sort of familiar comfort that’s rooted in the simpler times of the 90s.
CAKE has released 6 studio albums, with the most recent one, Showroom of Compassion, having been released in 2011. The singles “Sinking Ship” and “Age of Aquarius” were released within the past year. While McCrea has discussed an eventual album release, no date or title have been provided as of yet.
CAKE and their pithy music still remains very much of its time even in 2019. Their politically-charged social media presence has divided fans, driven some away, and drawn others closer. McCrea donned a white t-shirt with the Kool-aid Man busting through a brick wall with barbed wire at the top, and it read, “FUCK YOUR BULLSHIT WALL!” Amusingly, after having the crowd at the concert battle in a loudness war, he made the punchy comment, “There’s good people on both sides,” which was responded to by many with, “BOOOO!”
It was nice to experience something fresh from CAKE as they performed “Sinking Ship,” their first new original song in 7 years, which laments a self-inflicted apocalypse. Interestingly, Showroom of Compassion was recorded in a solar-powered studio. In between songs, their environmental consciousness was displayed after McCrea said he could not concentrate until they gave away the tree sitting next to him onstage. CAKE has a tree map on their website under a “Forest” tab. The website offers no explanation regarding the map, but a great many know what it’s about since they’ve been giving away trees at their concerts for over a decade.
During the tree contest, fans shouted to McCrea, and he responded to one man saying, “That’s not your tree yet. That’s called white male entitlement.” The crowd roared with laughter, and he followed with, “No he’s just having a good time.”
It turned out to be a honeycrisp apple tree, which was won by a woman named Josie, who guessed the type of tree correctly. McCrea continued to elicit laughter as he called to her, “Get up here and get your damn tree… Don’t jump up and down and hug your friend. Come and get your tree.”
The duality of the monotonous vocals with sarcastic lyrics versus Vince DiFiore’s vibrant trumpet and upbeat music is an interesting experience, and CAKE gives a show that feels enthusiastic overall despite McCrea’s somewhat deadpan nature. He breaks out of that mold as he raises his guitar in the air, gestures and raises his arms toward the crowd, and it seems that he greatly enjoys playing the vibraslap and pointing it at individuals in the crowd.
With a somewhat laid-back stage presence, CAKE’s performance seemed effortless during their 12-song set and they sounded perfect. Their last 5 songs were arguably some of their most popular: “Love You Madly,” “Never There,” “I Will Survive,” “Short Skirt/Long Jacket,” and “The Distance.” I would have loved to experience one of my personal favorites: “Rock ‘n’ Roll Lifestyle,” which was actually their very first single, released in 1995.
At one point, McCrea mentioned that he once spoke with a physicist that said, “hope is something you have to do,” it doesn’t just happen to you. This message resonated strongly as a reminder that we must make cognitive effort and take action if we want to improve our lives. There is always a different kind of impact from a show that is more than only rock ‘n’ roll. This wasn’t a concert for those that are totally intolerant of leftist leanings, and it was otherwise a show that was impressive, communal, light-hearted, nostalgic, and cathartic. CAKE, Ben Folds, and Tall Heights at Marymoor Park was an experience that brought excellent entertainment value and generated lingering positive energy. We’re looking forward to the announcement of CAKE’s album release date, and a first listen to their newest compelling lyrics.