All posts by Ryan Novak

High School Teacher at San Tan Foothills and Adjunct English Instructor at CGC. Record collector, comic book nerd, one-time textbook author, and retired record store clerk. Loves hiking. Lindsey’s husband.

REVIEW: Snoop Dogg Makes Show a Personal Block Party at The Van Buren (12-11-19)

  •  
  •  
  •  
  •  
  •  
  • 1
  •  
  •  
  •  
  •  
    1
    Share

PHOENIX — This past August, Snoop Dogg released his 15th studio album: I Wanna Thank Me. In the now 27 years since he first burst onto the scene alongside Dr. Dre, Snoop has never slowed down. He’s never stopped hustling, he’s never stopped releasing bomb-ass albums, and he’s never left the conversation for the greatest rapper alive. Simply put, Snoop is timeless and is a true hip-hop living legend. Now out on the “I Wanna Thank Me” tour with support from Trae The Truth, RJMrLA, and Warren G, Snoop brings his own personal party to every city he plays. To see him at The Van Buren, though, offered a rare chance to see him up close and personal: a megastar in a more intimate setting. 

Trae The Truth

Trae The Truth

Touring in support of his just-released album Exhale, Houston hip-hop veteran Trae the Truth opened the show. His rapid-fire chopper-style vocals, which date back in hip-hop to Kool Moe Dee’s days with the Treacherous Three, got the crowd moving. Throughout his 20-minute set, the bass in his tracks was like a hip-hop defibrillator. “Long Live The Pimp,” his 2012 collaboration with Future, was one of the high points in the set. With the rest of the night putting a spotlight on the West Coast, Trae’s Texas flavor was the perfect counterbalance.    

RJMrLA

RJMrLA

Brought out by DJ Goofy, the Los Angeles-born RJ (sometimes RJMrLA) rode the wave of momentum with the crowd, as he put his new spin on West Coast hip-hop. His opening track “On One” from his recently released Oh God, featured the line “I was taught to fear no one,” which feels like it should be RJ’s mantra. If “On One” was the ignition, “Flex” from his 2013 debut O.M.M.I.0 3 was the blast-off. Hip-hop is about the boast, and “Flex” was the ultimate boast in his short but explosive set.   

Warren G

Warren G

It is incredible enough to see one legend in Snoop Dogg live in concert, but to have Warren G as one of the openers is an undeniable bonus and a rap fan’s dream come true. His debut album, 94’s Regulate… G Funk Era was an instant classic of West Coast hip-hop. Even 25 years after its release, Warren G still has the same smooth vocals that made him an immediate star, and they were on display throughout his 30-minute set. Opening with “This D.J.” from his debut, the crowd jumped on the hook, “It’s kind of easy when you’re listening to the G-Dub sound/Pioneer speakers bumpin’ as I smoke on a pound.” 

With the crowd feeling it, he immediately launched into “Do You See,” with the crowd again singing along, as they waved their hands from side to side. Missing from the song was the departed Nate Dogg, Warren G’s long-time collaborator and friend. His presence hung over many of the songs, and he was honored by both Warren G and Snoop Dogg (the three started out together in the hip-hop group 213 in 1990). 

Warren G
| Photographer:
Andrea Stoica © All Rights Reserved

A late-set request from the audience brought one of the night’s more spontaneous highlights. Following “Summertime in the LBC,” he asked the crowd if anyone had a lighter, and as soon as the words left his mouth, the stage was instantly showered with lighters thrown from every spot in the crowd. Jumping out of the way of a seemingly steady stream, he laughed and reminded the crowd he just needed one. He retrieved one of the lighters, and after lighting up, he tossed it back to its owner, a man named Luke. “Luke? Like Luke Skywalker,” he asked the man, before leading the crowd in an impromptu acapella sing-along of 2 Live Crew’s “We Want Some Pussy,” before launching into 213’s “Mary Jane.” 

Following “Nobody Does It Better,” Warren G closed out his set with the timeless “Regulate.” If hip-hop has a list of greatest sing-along songs, “Regulate” would be high on that list. When it came time for Nate Dogg’s vocals, instead of just playing it from the track, the crowd sang his parts, with prompting by Warren G. It may be celebrating its 25th birthday, but the song sounded as good as ever and was the best way he could close out his set. 

Snoop Dogg

View Setlist

Snoop Dogg
| Photographer:
Andrea Stoica
© All Rights Reserved

You may have seen some artists you truly love live in concert and felt that surge of excitement when they walked out to start their set, but Snoop Dogg is a certified living legend. When we talk about a person who is exceptional in any field, oftentimes they are described as a “rock star,” which instantly denotes that they have that certain extra something that defies simple categorization or explanation. Have no doubt about it, Snoop is a rock star, and when he came to the stage at The Van Buren, he did it with a swagger many of us wish we could have in our day-to-day lives. When Snoop came out, with his blinged microphone in hand, the atmosphere in the room instantly changed. While some people can make a party, Snoop is the party. 

Opening with “What U Talkin’ Bout” from his recently released 15th studio album I Wanna Thank Me, from which the tour got its name, the energy in the room instantly changed. The new songs stood proudly alongside the classics from across his career, and what commenced for the remainder of the evening was a party, Snoop style.

Snoop Dogg
| Photographer:
Andrea Stoica © All Rights Reserved

His stage set up, with DJ Premium flanked on both sides by picnic tables and a large fire hydrant in front of his table, was immediately reminiscent of a block party, and that was the vibe Snoop brought upon his entrance. However, this wasn’t just any block party – this was Snoop Doggy Dogg’s block party. So in addition to those picnic tables and fire hydrant were two poles, each positioned at the far edges of the stage, with dancers on them on and off throughout the night. 

In his set, Snoop mixed his own songs with verses from his many guest appearances on other rappers’ tracks. His set was a mix of nearly every hit in his long career. His work with Dre was hit early, with “Next Episode” and  “Nothin’ But A ‘G’ Thang’” played back to back. His groundbreaking debut Doggystyle was best represented with “The Shiznit,” “Ain’t No Fun” (with Warren G coming back out to drop his verse), “Gin and Juice,” and “Who Am I (What’s My Name)?” all making appearances in the set. “Countdown,” “P.I.M.P.” (his 2003 collaboration with 50 Cent), and “Sexual Eruption” were all set highlights. 

As he closed out his main set with “Snoop’s Upside Ya Head,” D.J. Premium told Snoop that since he didn’t have time to cover all of his hits in one night, he would play a mix of them, while Snoop took a break. With Snoop off the stage for a moment, Premium cut a mix of The Doggfather’s hits and guest appearances on other rappers’ tracks, while video snippets played on the screen behind him. 

After ten minutes, Snoop re-emerged and started his encore with “Drop It Like It’s Hot,” his 2004 hit. Following it up with “Snoop Dogg (What’s My Name Part 2)”  and “Take Me Away,” he then blew the roof off with his verse from D.J. Khalid’s “All I Do Is Win,” which for a crowd already hype, it was little an extra shot of adrenaline straight to the heart. 

Snoop Dogg
| Photographer:
Andrea Stoica © All Rights Reserved

While “All I Do Is Win” is the perfect track to summarize Snoop’s career of hit after hit record, he wasn’t there just to remind the crowd of his greatness. On a tour named to celebrate his long career and with a multi-generational; multicultural crowd of fans there to help him do so, Snoop turned the attention away from himself and shined a spotlight on the many friends and contemporaries lost over the years, sharing his love for those lost with the crowd who loved them too. His mini-tribute set, included love for Eazy-E (“Boyz In The Hood”), Notorious B.I.G. (“Hypnotize”), and Tupac (“Gangsta Party”). 

The most poignant moment on a night that took time to honor so many gone-but-not-forgotten hip-hop legends came when Snoop honored his dear friend Nipsey Hussle with a moment of silence, while a video tribute to him played. Following this moment of silence, Snoop hit his verse from K2 Tun’s “One Love” for everyone lost. 

Snoop returned to the party atmosphere of the night, as he moved to close out the show with “Who Am I (What’s My Name)?,” his debut single from Doggystyle. “I love you Phoenix, and Snoop Dogg will keep coming back here any motherfucking time you want me to!” Though he didn’t play “I Wanna Thank Me,” the song is about honoring yourself for the positives and appreciating hard work and accomplishments. Over the 27 years since he first gained national attention with his verse on Dr Dre’s “Deep Cover (187)” in 1992 and across 15 albums, Snoop has earned every accolade and every bit of love the crowd gave to him and that he gave back. 

Snoop Dogg
| Photographer:
Andrea Stoica © All Rights Reserved

Phoenix, we about to get out of here, but before we go, sing along with me,” he implored, as he closed out his set with his 2011 collaboration with Wiz Khalifa and Bruno Mars “Young, Wild, and Free.” If any song should be hip-hop’s answer to any number of show-closing ballads from across the history of pop music, it’s “Young, Wild, and Free.” After 27 years, Snoop Dogg is an institution, still the gold-standard for what it means to be eternally cool, and his music will always serve as a fountain of youth for his audience. To see Snoop live is to be transported to a place where the party never stops and the vibes are always good because Snoop is the party from the moment he steps on stage to when he steps off of it.

Photo Gallery

Photographer: Andrea Stoica

Snoop Dogg – The Van Buren 12-11-19

Flickr Album Gallery Powered By: WP Frank

Setlist

  • “What You Talkin’ ‘Bout?”
  • “Next Episode” (Dr. Dre cover)
  • “Nuthin’ But A ‘G’ Thang” (Dr. Dre cover)
  • “Countdown”
  • “P.I.M.P.” 
  • “The Shiznit”
  • “Wrong Idea” 
  • “Focused” 
  • “Sexual Eruption” 
  • “I Wanna Love You” (AKON cover)
  • “D.O.G.’s Get Lonely 2”
  • “Smile Bitch” (Lil Duval cover)
  • “Ain’t No Fun” (with Warren G)
  • “I’m Fly” (with Warren G)
  • “Snoop’s Upside Ya Head” 

ENCORE

  • “Drop It Like It’s Hot” 
  • “Snoop Dogg (What’s My Name Part 2)” 
  • “Take Me Away” 
  • “All I Do Is Win” (DJ Khalid cover)
  • “Boyz In The Hood” (NWA cover)
  • “Hypnotize” (Notorious BIG cover)
  • “Gangsta Party” (Tupac cover)
  • “Gin and Juice” 
  • Nipsey Hussle Tribute
  • “One Love” (K2 Tun cover)
  • “Who Am I (What’s My Name)?” 
  • “Young, Wild, and Free” (Snoop Dogg and Wiz Khalifa cover)



Back to Top

REVIEW: ‘Juliana Hatfield Sings The Police’ — A Worthwhile Covers Album

  •  
  •  
  •  
  •  
  •  
  • 1
  •  
  •  
  •  
  •  
    1
    Share

At one point or another, we’ve all lovingly paid tribute to our favorite artists by covering an entire album of their work, but it was usually done alone in the car or at home and far away from a judging audience. Actual cover albums, however, are left up to the audiences and critics, and are weighed against the original. In short, they are a tightrope walk. At its worst, the covers are so faithful to the originals that it leaves the listener wondering, “So what’s the point?” At its best, a covers album sees an artist putting their own fresh spin on the music in a way that honors the source material while also creating something unique. With the recent release of Juliana Hatfield Sings The Police, Hatfield has managed to do just that: taking songs we’ve all heard countless times over the years and melds each with her style to make it much more than just a covers album.

Juliana Hatfield
| Photographer:
David-Doobinin

With a career that dates back more than 30 years, Hatfield has been one of indie-rock’s most prolific singer-songwriters. She debuted with Nicely, Nicely, from her first band, college-rock legends Blake Babies. The band dissolved following four albums, and she has subsequently released sixteen solo albums, two albums with The Juliana Hatfield Three, two albums with Some Girls, and a reunion album with Blake Babies. (View Discography)

Even for someone already as productive as Hatfield, her signing with American Laundromat Records in 2017 marked the beginning of her most prolific period, releasing five albums (four solo and one with a reunited Juliana Hatfield Three) in just two years. While she’d previously released an album of cover songs — 2012’s self-titled Juliana Hatfield (featuring songs by Foo Fighters, Creedence Clearwater Revival, and Led Zeppelin, amongst others) — it was with the 2018 release of Juliana Hatfield Sings Olivia Newton-John that she made one of her most interesting career choices: taking on an entire album of music by another artist, whose selection might have initially surprised even her long-time fans. Last month’s release of Juliana Hatfield Sings The Police marks the second in a hopefully ongoing series of albums honoring her musical influences. 

Just as Hatfield has made a career out of defying expectations with her many side projects and cover albums, she does the same with The Police songs she chose to cover for this album. While many beloved hits are present on the album (“Roxanne,” “Every Breath You Take,” and “De Do Do Do, De Da Da Da”, for example), she pulled the rest from points across the band’s catalog, with tracks from each of their five albums. 

Track List

  1. Can’t Stand Losing You
  2. Canary in a Coalmine
  3. Next To You
  4. Hungry For You (J’aurais Toujours Faim De Toi)
  5. Roxanee
  6. Every Breath You Take
  7. Hole In My Life
  8. De Do Do Do, De Da Da Da
  9. Murder By Numbers
  10. Landlord
  11. Rehumanize Yourself

Most noticeable from the opening track, “Can’t Stand Losing You,” is that Hatfield eschews The Police’s groundbreaking hybrid of new wave and reggae, reimagining each song in her own style. While the original track from The Police’s first album Outlandos D’Amour had a sadness at the heart of it, Hatfield’s vocals seem to recast the narrative as more defiant, with a tone more of “good riddance” than “please don’t go.” 

Throughout the album, Hatfield plays with the tempos of the original tracks, slowing them down where the band hit the accelerator. On the second track, “Canary in a Coalmine,” and the third track, “Next To You,”  she slows down the original tracks’ frantic pace. In doing so, both tracks have a more playful tone to them versus the intensity they possessed before. Juliana Hatfield’s vocals have always had a sweetness to them, even when the lyrics are sorrowful. 

Two of the standout tracks on the album are the one-two punch of two of The Police’s biggest hits: “Roxanne” and “Every Breath You Take,” with each revisited through a different lens. “Roxanne,” Sting’s romantic ode, now feels like a dirge, with its crashing guitar riffs. Hatfield’s almost desperate pleading is balanced by her own harmonized backing vocals, almost angelic in stark contrast. 

On her career-spanning greatest-hits album, Gold Stars 1992-2002: The Juliana Hatfield Collection, Hatfield previously covered “Every Breath You Take,” which had a brokenhearted yearning to it, like the song’s narrator is making a last-ditch effort to will back an ex. While much has been made of the implied meaning of the original song, Hatfield recasts it as a genuinely sweet romantic ode.

For all the beauty she infuses into “Every Breath You Take,” she takes the opposite approach to “Hole in My Life.” Her focus here is squarely on the pain in the lyrics, and she tones down the song’s tempo to match its mournfulness. Where The Police balanced the heartbroken lyrics with an almost bouncy rhythm, Hatfield lets it wallow in its own dejected misery.

In her take of Synchronicity’s “Murder By Numbers,” she does away with the sing-songy rhythm and soulful vocals of the original in favor of a fuzz-guitar sped-up punk. You can feel the Boston punk scene Hatfield grew up around in the 80’s in its style: now a foot-stomping, fist-pumping moshing classic that is one of the album’s standout tracks. Just as she did with her tribute to Olivia Newton-John, she manages to straddle the line of honoring the original material expertly, while also breathing new life into each song by layering herself into them. Though …Sings The Police is the second in her series of cover/tribute albums, it stands on its own as an album uniquely belonging to Juliana Hatfield.

Juliana Hatfield Tour Dates:

1/16 Evanston, IL @ S.P.A.C.E.
1/17 Indianapolis, IN @ Hi-Fi
1/18 Nashville, TN @ The Basement East
1/19 Birmingham, AL @ Workplay Theater
1/21 Dallas, TX @ Granada Theatre
1/22 Austin, TX @3Ten at ACL Live
1/24 Phoenix, AZ @ Crescent Ballroom
1/25 Pioneertown, CA @ Pappy + Harriet’s
1/27 Los Angeles, CA @ The Echoplex
1/28 San Francisco, CA @ Slim’s
1/30 Portland, OR @ Doug Fir Lounge
2/01 Seattle, WA @ Tractor Tavern


Connect with Juliana Hatfield

Website | Twitter | Instagram



Back to Top

REVIEW: Temperatures Rise — Arizonan Summer’s Stylistically Eclectic Debut Album

  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  

In the seemingly-bygone-but-dearly-missed era of the cross street of life and music, summertime meant a great many things, but cherished most of all were the words, “I’ll make you a tape.” As mixtapes gave way to mix CDs, which in turn gave way to mp3 playlists and eventually music streaming, the idea of a mixtape seems to have faded from the public consciousness for a while. Perhaps though with the resurgence of cassette tapes (Mutemath and Jenny Lewis, among many, many others have released cassette copies of their latest albums), there is still a place for lost nights of driving around listening to the perfect soundtrack of youth. Therein lies the charm of Alt-rockers Arizonan Summer’s debut album Temperatures Rise, as it instantly brings to mind such memories of late-night drives with friends in a time when you had nowhere important to be and life still lay somewhere far on the horizon as a worry for another day. 

Art of any kind begins with the artist trying his or her best to approximate their heroes before discovering their own voice. The band is fronted by Chris Reiswig, the 22-year-old singer/songwriter behind the Arizona-based band, clearly knows where he comes from, not just in place but in style, as he definitely wears his influences on his sleeve. Arizonan Summer’s bio describes their sound as “Progressive Indie,” but the deeper story of their music can be found in their admission that their sound gravitates towards “Art-Rock, Folk, Post-Punk, Funk and Psychedelia.” All of those influences can be heard on Temperatures Rise, and yet it proves to be so much more than that. Arizonan Summer’s bio describes their sound as “Progressive Indie,” but the deeper story of their music can be found in their admission that their sound gravitates towards “Art-Rock, Folk, Post-Punk, Funk and Psychedelia.” All of those influences can be heard on Temperatures Rise, and yet it proves to be so much more than that. 

In the album’s opening track, the simple acoustic “Aardvarks (Intro),” which recalls early Radiohead albums, you can feel Reiswig’s youth, as the lyrics recall that moment in everyone’s early twenties where they’re not a kid anymore, but also definitely not an adult. He sings of those directionless nights, in the song’s opening lyric “Keep your eyes to the stars/And your ear to the radio/You’ve got to get your kicks however you can/When fighting against this life on loan,” but it’s the song’s next line, from which the album gets its title (“Temperatures rise/it’s just a fact of life”), that comes the reckoning that the inevitabilities of life are coming for all of us, no matter how lost we feel. 

Where “Aardvarks” feels quiet and introspective, “Perpetual Slip” is a shot of early 90’s punk adrenaline. With vocals that recall The Offspring, a soaring guitar solo that feels like moving upwards in a tornado of music, and supported throughout by a rhythm that begins with foot tapping but ends with the urge to pump your fist in the air along with the song. If the opening track is like lighting a fuse, this is the moment when the album soars into the stratosphere and explodes for the listener. 

Chris Reiswig (Lead Vocals, Guitar), Arizonan Summer

While “Perpetual Slip” is the point where the album’s energy skyrockets, it is the third track, the righteous post-punk anti-love ballad “Anhedonia (I‘m Not In Love),” that emerges as Temperatures’ standout. At his age, Reiswig would be forgiven for filling the album with sappy declarations of love, but instead he uses a shredding guitar to share his nearly-exuberant acceptance of the end of a relationship. There’s no moping in the song, and not a hint of regret to be found, as he closes out the song with his pronouncement to the lover he’s leaving behind that he’ll rip them off like Nicorette patch. To whomever inspired this song, sorry, but he didn’t want to be with you, and he clearly couldn’t care less because he’s moving on. 

Displaying the album’s diverse range, “The Fever Age” features grungy guitars, and vocals that bring Alice in Chains’ Layne Staley to mind. The darkly-ambiguous spoken vocals of the song’s bridge creates images of a half-remembered ominous dream. 

Where Reiswig turns up the volume for a love he no longer wants, he turns it down for the heartbreaking “Shimmer” to sing about the love he does want but can’t seem to have. It serves as a bookend to “Anhedonia,” and has the feel of later regret when you realize at an awake-too-late hour that the love you had but didn’t want was what you wanted all along. Moving on in these moments is easier said than done, and Reiswig clearly knows this as he closes the song promising, “I promise you I’m still right here;” this is the last hope a lonely heart has before accepting and getting on with life. 

The coffee-house folk of “Idle Mind” continues the album’s theme of feeling stuck in the middle of indecision. Its simple guitar-strum melody and toe-tapping rhythm makes for a perfect sing-along moment of appreciating being directionless, as long as you’ve got someone with you, since the greatest memories are born not of intricate plans but what can happen when you don’t have anything in mind and let the moments happen. 

While Arizonan Summers may be a showcase for Reiswig’s songwriting, the nearly seven-minute “The Joy of Ulterior Motives,” serves as a showcase for the entire band – guitarist Dylan Ewing, bassist Erin Sperduti, and drummer Kash Filburn. The haunting track, reminiscent of “Mexican Moon”-era Concrete Blonde, sees Reiswig serving a warning to someone who has betrayed him, ending with the parting, “I know that you know pride comes before the fall,” amidst a wall of screeching instruments. 

Arizonan Summer

The album’s closer, the aptly named “This Must Be the End” begins with the image of an aimless drive on a full tank of gas. For an album that feels like the perfect mixtape for such a drive, this song has a shrug of acceptance that there are no sure things in life, and sometimes we aren’t guaranteed the happy ending we’re hoping for, but that’s okay. 

Chris Reiswig (Lead Vocals, Guitar), Arizonan Summer

With Temperatures Rise, Chris Reiswig and his talented band have positioned themselves as more than homegrown talents, and the album isn’t just some local kids giving it a go for the first time. No, this is an album that defies expectations by never settling into anything easy or overly sentimental. It is an album that lives on that cusp of life between being young and being old. It’s in the moments where we crash and burn, tell an unwanted love to get out, feel lonely when we realize it was a mistake, bond over the meaninglessness of it all, and finally accept our fate, turn up the radio, and drive off into the unknown horizon of our futures.

Buy & Stream Temperatures Rise

Amazon | Spotify | Google Play
Apple Music | CD Baby

Temperatures Rise Tracklist

  • Aardvarks – Intro
  • Perpetual Slip
  • Anhedonia (I’m Not In Love)
  • The Fever Age 
  • Shimmer
  • Paper Trails
  • Travel Sequence
  • Idle Mind
  • The Joy of Ulterior Motives
  • This Must Be The End

Arizonan Summer Online:

Website | Facebook | Instagram | YouTube



REVIEW: Bad Religion Brings Their Age of Unreason Tour to The Van Buren (10-5-19)

  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  

PHOENIX — Bad Religion’s concert at The Van Buren, with support from Emily Davis and The Murder Police and Dave Hause & The Mermaid, was more than just a legendary punk band giving a show at an intimate venue in support of a new album. It was a night where their legacy was felt not only in the crowd but on the stage, too.

Their recent tour is in support of the band’s 17th album, Age of Unreason, released earlier this year. The reason for the band’s longevity is that from their initial formation in 1980 and first release, 1982’s How Could Hell Be Any Worse?, they have stayed true to their ethos and written righteous punk anthems exploring many of the same themes recurring in our society across those 39 years. Any doubt of their staying power could be quickly dismissed with a quick sweep of the audience, where longtime fans of the band loudly sang along and pumped their fists in the air, alongside kids ranging from teenagers and younger. At one point, a father hoisted his daughter up on his shoulders, so she could rock out hard to “Generator” late in the set. 

Emily Davis and The Murder Police

The show’s opener was Emily Davis with her backing band The Murder Police, consisting of Jose Macias, Jorge Torres, and Tomas Tinajero. Davis has three previous solo releases, and is touring in support of her debut album with the band, 2018’s Same Old World. Hailing from El Paso Texas, Davis managed to flip the initial impressions given off by the country-ish twang of her vocals, as the songs would quickly explode into all out rockers. Davis describes her songs as “aggressive, introspective folk music,” which could be heard as she and her band tore through seven tracks from the new album with an intensity reminiscent of Neko Case fronting The Attractions, in place of Elvis Costello.

Emily Davis (Vocals) and The Murder Police
| Photographer:
Rodrigo Izquierdo © All Rights Reserved
View Photo Album

Late in her set, she told the concertgoers what an honor it was to be touring with Bad Religion, adding that her introduction to them came via Tony Hawk’s Pro Skater 2, which means “You” from their 1989 album No Control was her introduction to the band. She closed out her set with “Circles” and the album’s title track “Same Old World.” 

Dave Hause and The Mermaid

Up next was Dave Hause and The Mermaid, and if anyone didn’t already know his music (and you should), they might have been fooled by their sound from his quick soundcheck with his band, consisting of short bursts of riffs from songs by Lynyrd Skynyrd and Metallica, which drew some surprising whoops of approval from the punk crowd. When Hause (pronounced like pause or cause, for the record) and the band came back out to start their set proper, he took a moment to joke with the audience that despite their appreciation for the soundcheck, they wouldn’t be hearing covers from either band. “For the rest of the night, you’ll only be hearing songs by me and Bad Religion because this is a punk show!” The crowd roared in approval (although that didn’t stop someone from yelling out for Metallica mid-set). 

Dave Hause (Vocals) & The Mermaid
| Photographer:
Rodrigo Izquierdo © All Rights Reserved
View Photo Album

Hause and his band are touring to support of Kick, his fourth solo album since leaving his previous band The Loved Ones in 2009. His set drew heavily from the new album, save for one track from 2017’s Bury Me In Philly. Prior to forming his backing band The Mermaid, Hause performed most of his shows solo with a guitar, bantering with the audience between songs. Since forming The Mermaid, the sound is louder, but the impromptu moments of interactions with the fans have remained.

The band features Hause´s brother Tim on lead guitar, Miles Bentley (the son of Bad Religion bassist Jay Bentley) on bass, and Kevin Conroy on drums. His stellar song-writing aside, Hause shines when it comes to instantly generating a rapport with his audience. Even when he encouraged everyone to put up a middle finger and direct it towards a particular politician in Washington, and an audience member booed the moment, Hause turned the moment around to something light: “Oh, do you not agree with me? That’s okay. We’re not always going to agree, so go start your own band and write songs about why you think he’s so awesome.” The crowd (including the person who booed) laughed, and Hause tore into “Dirty Fucker.” Hause closed out his set with Kick highlight “The Ditch.” He’ll be back to Phoenix to headline in February. 

Bad Religion

Any band that’s approaching their 40th anniversary would be excused if their live shows were a serving of pure nostalgia and built a set list around the songs the audience loved from years ago. While Bad Religion managed to cover points all along their discography, what stands out the most about one of their live shows is how prescient the songs feel, with thirty-year-old songs feeling like they were a three-minute prophecy of events yet to happen. All of this is because as a band, Bad Religion has railed against the same ills of society since the band’s inception. 

Led to the stage first by drummer Jamie Miller and guitarists Brian Baker and Mike Dimkich, original members bassist Jay Bentley and singer Greg Graffin came out last. Without a word, the band launched into “Them and Us” from 96’s The Grey Race. The song hit the room like an atomic bomb and sent everyone into a frenzy of moshing and crowd surfing. Security guards at The Van Buren earned their checks over the next ninety minutes, as they caught, set down, and guided out multiple people. 

Greg Graffin (Vocals), Bad Religion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved
View Photo Album

We put out a new record this year, Age of Unreason,” Graffin exclaimed after “Them and Us” faded out,  “which is #17 for those of you who are counting, and we just wanted to get back to play for you before the end of history,” setting up a track from the new album. 

“End of History” was followed up by the to-the-point “Fuck You,” from 2013’s True North. Graffin complimented The Van Buren for being the perfect rock club. “How many of you have been to a lot of shows here before?” he asked. With everyone yelling out the number of shows they’ve seen, he joked, “Well, this will be the best one you’ve ever seen here!” This was followed by “Stranger Than Fiction,” the title track from their 1994 album, which in itself laughs at the absurdity of the real world. 

They next performed “Dichotomy,” “Recipe for Hate,” and “Chaos From Within,” before Graffin paused again to survey the sea of people, noticing the range of ages staring back at him. Spotting one kid in the audience, he asked how old they were, but after being told the kid was 12 and starting to say that has to be the youngest one, another kid called out she was only nine. Laughing for a moment, Graffin said, “Well, I’ve always said it’s the kids who are our future,” which might have been a double entendre, referring to either society or the band. The show’s next fifteen minutes was a sprint through the band’s catalogue, covering songs from 1989’s No Control through the recently-released Age of Unreason.

Mike Dimkich (Guitar) & Jay Bentley (Bass), Bad Religion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved
View Photo Album

To watch a Bad Religion show, you wouldn’t instantly know how long they’ve been playing together, as they bring the same energy to every song now as punk-rock elder statesman, as they did as kids starting out. Pausing after “Automatic Man,” Graffin looked around and asked the crowd where he was. “Oh yeah, that’s right: Phoenix! No matter where we all are, this is still the new dark ages,” as they played “New Dark Ages” from 2007’s New Maps of Hell, an album whose cover art and title served as a knowing nod to their first album How Could Hell Be Any Worse?, on its then-25th anniversary. 

Taking a jab at himself, Graffin mused that he was born in the 1980’s and was only two when he wrote the next song. Guitarist Brian Baker chimed in that he was born in 1981. The song was the timeless “We’re Only Gonna Die,” from that first album, a song that shows no signs of being a now 37-year old song. It was quickly followed by “No Control,” which reignited the crowd. “Generator” and “Conquer the World” were played with the same fervor as when they were new releases.

While playing “21st Century (Digital Boy)” from their 1990 album Against the Grain, there was a moment that showed just how much their music has connected to everyone in the grade, both young and old: As the crowd sang along, a kid no more than 15 crowd surfed while screaming the lyrics “I don’t know how to read, but I got a lot of toys!” like the song was written only for him and his generation, even as he passed over the heads of men and women easily three times his age who sang it with the same energy. Bad Religion is still here because their music doesn’t age. There’s no nostalgia in their set. Songs from their debut all the way through the new album live in the moment, just as each member of the audience experienced them the first time. 

Brian Baker (Guitar, Backup Vox), Bad Religion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved
View Photo Album

We’ve reached the climax of the show, and after you’ve reached the climax, you move into a refractory period. In this moment, we want to dedicate this next song to our favorite people: You!” After the No Control classic and “Paranoid Style,” Graffin told a story about their first album: “Back in the 80’s there wasn’t a whole lot of color choices, so we chose red with the shadowy figure of Los Angeles in the background, and we asked a simple question: How could hell be any worse?” The band’s original anthem led into “Sorrow” from 2002’s The Process of Belief, which was another sing-along across the generations in the crowd. As the song closed out, each member walked off the stage one-by-one, led by Graffin. 

For the next two minutes, the fans cheered, clapped, and called out for one more song, before the band emerged for an encore. “I could get all sentimental about Phoenix,” said Graffin, “It was the second city we ever went to play a show. This song is about you and me.” The band closed out the show with “Infected” from Stranger Than Fiction, and “American Jesus” from Recipe for Hate. Before leaving the stage, they took one final moment to acknowledge the audience, pulling up their set lists and giving them to the kids in the crowd, and solidifying the next wave of fans who will continue to carry them on as a band who defies time and continues to produce powerful, relevant music that unites fans of all ages. 

Photo Gallery

Photographer: Rodrigo Izquierdo

View Separately: Bad Religion | | Dave Hause & The Mermaid | Emily Davis and The Murder Police

Bad Religion, Dave Hause & The Mermaid, Emily Davis And The Murder Police – The Van Buren 10-5-19

Flickr Album Gallery Powered By: WP Frank

Bad Religion Setlist

  • “Them And Us”
  • “End of History” 
  • “Fuck You” 
  • “Stranger Than Fiction” 
  • “Dichotomy” 
  • “Recipe” 
  • “Chaos From Within” 
  • “Los Angeles Is Burning” 
  • “Anesthesia” 
  • “My Sanity”
  • “Automatic Man” 
  • “New Dark Ages” 
  • “Lose Your Head” 
  • “Suffer” 
  • “Only Gonna Die” 
  • “No Control”
  • “Modern Man”
  • “Do What You Want” 
  • “Generator”
  • “Conquer the World”
  • “21st Century (Digital Boy)”
  • “You” 
  • “Paranoid Style”
  • “Fuck Armaggedon”
  • “Sorrow”  

ENCORE

  • “Infected”
  • “American Jesus”



Back to Top

Photography © Reagle Photography
All Rights Reserved



REVIEW: Toto’s “40 Trips Around the Sun” Takes Them to Circle Inside Celebrity Theatre (9-21-19)

  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  
  •  

PHOENIX — Toto’s “40 Trips Around the Sun” world tour in support of last year’s eponymous greatest hits collection, and in celebration of their milestone 40th anniversary, came to the Celebrity Theatre. The theatre’s circular structure with its round center stage means there’s not a bad seat in the house, with every spot offering a close vantage point. This was perfect for the night’s show because it removed the feeling of barriers from the fans who so love a band that so clearly loves their fans in return. 

Joseph Williams (Lead Vocals), Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

Before the show started, the audience was promised that it was going to be two hours long, “with no opening act and no intermission,” and that we wouldn’t want to miss a minute — practically an understatement for the night to come. This tour has been a well-earned victory lap for Toto. The audience was not only filled with long-time fans, but also with younger fans who were new to the band; finding them through an occurrence of events starting just as they were making plans for the then-upcoming release and tour. 

Toto’s signature song, and most enduring hit, “Africa” features one of pop music’s greatest hooks: “I bless the rains down in Africa.” A perfect storm occurred on the cusp of Toto’s 40th anniversary that reignited them, restored their proper place in popular culture, and reminded everyone exactly how incredible of a band they have always been. In December of 2017, nearly two months to the day before Toto would release their career-spanning greatest hits collection, a young Weezer fan began tweeting the band asking them to cover Toto’s “Africa.” When Weezer finally relented and performed the song on Jimmy Kimmel Live, with a guest appearance from Toto keyboardist Steve Porcaro, a new generation of fans flocked to Toto to discover what so many of us already knew: Toto is one of pop music’s most consistent bands, churning out catchy, crowd-pleasing songs for 40 years. 

As soon as Toto emerged on the ramp and took their spots at their instruments at 8 o’clock, the energy they brought to the round stage in the center of the theatre was palpable. The show’s opening number was “Devil’s Tower,” a previously unreleased gem originally recorded during the sessions for Toto IV but left off. It felt fresh and immediately energized the crowd that was ready to pop in anticipation of Toto’s arrival.

Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

The second song of the set, “Hold the Line,” from their self-titled debut, brought the crowd to their feet for the first of many times in the night. It was during this moment that the stage began to rotate, as they played through a rolling wave of audience members singing the chorus of “Hold the line, love isn’t always on time.” What made this moment truly special was to see the fans in attendance who had been with the band for all 40 of those trips around the sun, singing the song alongside their own children, who are new converts. 

Band Lineup:

  • Joseph Williams:
    Lead Vocals
  • Steve Lukather:
    Guitar and Vocals
  • Steve Porcaro:
    Keyboards
  • Lenny Castro:
    Percussion
  • Warren Ham:
    Saxophone, Harmonica, and Flute
  • Shannon Forrest:
    Drums
  • Shem von Schroeck:
    Bass
  • Dominique “Xavier” Taplin:
    Keyboards

Keeping with the tour’s mission statement, Toto’s setlist was a journey through their history with stops at every album along the way. “Lovers in the Night,” from their 1982 landmark album Toto IV, was followed by the brand new track “Alone” from last year’s greatest hits collection; a song whose foot-tapping rhythm seated it firmly alongside so many of their classic songs. 

After runs through “I Will Remember” from 95’s Tambu and “English Eyes” from 81’s Turn Back, they cut loose on the extended bluesy jam of “Jack to the Bone” from 92’s Kingdom Of Desire. With the crowd energized, and the musicians clearly having a good time on stage, they next went into “Rosanna,” also from Toto IV, and arguably Toto’s second biggest hit. With the stage turning, and the crowd rocking, singer Joseph Williams made stops with each part of the crowd to let them have their moment to sing the infectious chorus “Meet you all the way, meet you all the way, Rosanna, yeah.” They kept the song going well past its album length, so that everyone had a chance to have their moment with the band. 

Joseph Williams (Lead Vocals), Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

As “Rosanna” closed out, chairs were brought out on stage, and the show took an intimate turn, as members told stories of the origins of a couple of the songs, in a style reminiscent of VH1’s classic series Storytellers. Founding member Steve Lukather told the story of keyboard player David Paich writing “Georgy Porgy,” and though Lukather at first thought the song was a little silly, it ended up being the first vocal he recorded for Toto and one of the staples of their live shows ever since. 

Next, keyboardist Porcaro told the story of picking his daughter up from school, on the same day Toto was recording “Africa,” and she was crying because a boy had pushed her off the slide. As he drove her home, she asked him repeatedly through her tears, “Why?,” and though he tried his best to explain to her that the boy probably liked her, she kept asking “Why?” By the time he dropped her off and got back to the studio, her question of “Why?” had given way to a chorus of, “Why? Why? It’s only human nature,” and would turn into the song “Human Nature” written by Porcaro and performed by Michael Jackson on his album Thriller. On this night, they played a lush rendition of the song, with Porcaro singing the words inspired by his heartbroken daughter. 

Dominique “Xavier” Taplin (Keys), Warren Ham (Vox), Shem von Schroeck (Bass), Steve Lukather (Guitar), Steve Porcaro (Keys); Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

At this point, the chairs went away, and the musicians ran through the thematically-linked 1-2-3 punch of “I’ll Be Over You,” “No Love,” and “Stop Loving You,” before all members briefly left the stage. Meanwhile, touring keyboard player Dominique “Xavier” Taplin, filling in for original member David Paich, played what initially felt like a piano interlude but gave way to a longer, beautiful arrangement that left the crowd in awe. Taplin had previously played in Prince’s last touring band and this solo piano performance made it evident why Prince had enlisted his talents. 

“Lion” from 1981’s Isolation was followed by a brief story of writing music for the David Lynch film Dune and trying to make the music sound “as David Lynchian” as they could. The ensuing performance of “Dune (Desert Theme”), so fitting for Arizona’s own dry landscape, showed the song was vintage Toto, even if they were trying to make it sound Lynchian. Lukather talked briefly of their 2002 album Through the Looking Glass, a collection of cover songs by artists that had either influenced the band early on or of whom they were fans. Identifying George Harrison as both his first guitar hero and later his friend, Lukather led them in a cover of The White Album classic “While My Guitar Gently Weeps” that both paid loving tribute and also featured some Toto flourishes, including Lukather adding an extended guitar solo to the end of the song. 

Steve Lukather (Guitar, Vocals), Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

After playing “Make Believe,” them gave the crowd the moment they wanted: “Africa.” It should be noted here that song’s reputation is well-earned, as it is indeed truly a pop masterpiece. On a night where it was obvious how much fun Toto was having on the tour, this was the moment you could tell they relished the most. The performance was note-perfect, and set up the final moment of goodwill and love between a band and their audience, as they turned the singing over, giving the crowd one more chance to come together and show their love for Toto. With everyone on their feet, singing and dancing, Toto played on but stepped back from their mics, and the audience took the final chorus. One by one, the founding members left the stage, leaving the touring members to keep the groove going, while the crowd sang on. Percussionist Lenny Castro, who has played with Toto from their early days, took the lead on congas to accompany the crowd. 

Lenny Castro (Drums), Toto
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

When Toto returned to the stage for the encore, a rollicking performance of “Home of the Brave” from a 1988’s The Seventh One, the end of the show and the band’s choice for a closer felt like a parting piece of advice to the crowd. Just as Toto has made their 40 trips around the sun, staying true to the ethos they established for themselves on trip number one in 1978, this moment was a reminder to all to keep themselves moving forward with each of their trips, and that we are in charge of our future and our fate with the show’s final lyrics: “You gotta remember, you don’t have to be afraid. You still have the freedom to learn and say what you wanna say. You gotta remember, don’t let ’em take away the land we call the home of the brave.

Photo Gallery

Photographer: Rodrigo Izquierdo

Toto – Celebrity Theatre 9-21-19

Flickr Album Gallery Powered By: WP Frank

Setlist:

  • “Devil’s Tower”
  • “Hold the Line”
  • “Lovers in the Night”
  • “Alone”
  • “I Will Remember”
  • “English Eyes”
  • “Jack to the Bone”
  • “Roseanna”
  • “Georgie Porgy”
  • “Human Nature” (Michael Jackson cover)
  • “I’ll Be Over You”
  • “No Love”
  • “Stop Loving You”
  • “Goodbye Girl”
  • “Lion”
  • “Dune (Desert Theme)”
  • “While My Guitar Gently Weeps” (Beatles cover)
  • “Make Believe”
  • “Africa”
  • ENCORE
  • “Home of the Brave”

Band Lineup:

  • Joseph Williams: Lead Vocals
  • Steve Lukather: Guitar and Vocals
  • Steve Porcaro: Keyboards
  • Lenny Castro: Percussion
  • Warren Ham: Saxophone, Harmonica, and Flute
  • Shannon Forrest: Drums
  • Shem von Schroeck: Bass
  • Dominique “Xavier” Taplin: Keyboards

Photography © Reagle Photography
All Rights Reserved