PHOENIX — Imagine you’re in your teens during the early 2000’s, public school is the definition of a living hell, and one of the only things keeping you going day after day are the sweet sounds of whining pop punk vocalists leaking in through your earbuds. Sound familiar? This was a very real scenario for many people back in the days when Motion City Soundtrack were first gracing the music scene with their lyrically intelligent and synth-laden brand of pop punk. Many of those same people, among legions of others, were in attendance at their show in downtown Phoenix, supported by Doll Skin and Mom Jeans, and they were still as young at heart for their love of pop punk as they were back in the good old days.
Kicking off the night were the incomparably talented band, Doll Skin who got their start right here in Phoenix. What they lack in size they most certainly make up for in aggressively inviting energy and excitement that most bands could only dream of achieving on their own. The charisma pouring from each member on stage, especially lead vocalist Sydney Dolezal, is something that cannot be easily described without witnessing it for yourself first. Doll Skin is a band that knows how to kick off a party and with songs like “Love is Dead and We Killed Her” and the excellent Florence + The Machine cover of “Shake It Out”, it’s very easy to see why.
Given the unenviable task of having to follow Doll Skin, Berkeley, California band, Mom Jeans took the stage with an undeniable sense of pure joy erupting from their faces. This is a band that truly loves what they do and that love is very contagious to members of any audience lucky enough to catch them. It’s incredible watching a band with only two studio albums to their name pump up a crowd so much with instant classics like “Now This Is Podracing”, “Death Cup”, and obvious crowd favorite, “Shred Cruz”. The mood was set for an exciting night ahead but no one could’ve prepared themselves for what came next.
Motion City Soundtrack
By the time Motion City Soundtrack took the stage, one might assume that most people would’ve been easily exhausted from dancing to all the other great music preceding them. This was definitely not the case though considering the audience full of that many diehard fans crammed to capacity inside The Van Buren’s acoustically pristine walls. Motion City Soundtrack sounded more energetic and polished than ever by the time their turn to play came along. This is a band that has truly come into their own over the years and there’s no sign of them losing that momentum for the remainder of their reunion tour.
Lead vocalist Justin Pierre’s quirky and painfully honest lyrics still continue to ring true for the armies of screaming fans who have had them committed to memory for over a decade at this point. The loyalty of their fan base is certainly not to be underestimated; as with the help of Justin’s beautifully gifted voice, it’s highly likely that many of the audience members were able to train themselves to sing in key along to the band’s music over the years — a truly incredible feat that made the concert experience all the more enjoyable and fun.
The rest of the band had no shortage of energy either, and anybody who struggles with maintaining optimum energy levels during their 9-5 desk jobs would benefit greatly from learning their secrets. This was especially true for keyboard player, Jesse Johnson, who would regularly thrash around on stage at his own wild pace. At one point that daredevil even held a handstand on top of his instrument for no less than 5 seconds. The movements were as fluid, crazy, and natural as they’ve been since the inception of the band and it was a beautifully refreshing thing to behold.
Justin graciously thanked the audience for attending and supporting live music more than once throughout their set. This was another highlight of the show because he came off like an approachable, friendly person, which only confirms everything most people have already heard about him. Throughout the show he’d go back and forth with audience members shouting random things at him like “I named my dog after you!” which prompted him to ask, “Is your dog HERE? I’d like to meet him!” It was incredibly endearing and is something that other bands should definitely take notes on. After ripping into timeless classics like “Everything Is Alright”, and “L.G. FUAD”, the band continued tapping into people’s nostalgia with perfect renditions of “Hold Me Down”, “Make Out Kids”, and “This Is For Real”.
Capping off the night with an encore of “The Future Freaks Me Out”, this only solidified their legacy as an endlessly fun, receptive, and crowd-pleasing band.
Photographer: Andrea Stoica
Motion City Soundtrack, Mom Jeans., Doll Skin – The Van Buren 1-22-20
Tempe, AZ — The midpoint date of the “Diseased & Disguised” January tour brought co-headliners Motionless in White (MIW) and Beartooth, with support from Stick to Your Guns (STYG) and Nothing Left, to Marquee Theatre. The name of the tour came from the names of the two most recent studio album releases from each co-headliner — Disease from Beartooth (released Sept. 2018, deluxe edition Oct. 2019), and Disguise from Motionless in White (released June 2019).
Nothing Left, the opening band, has the most recent studio album release, with Disconnected (Dec. 2019). This supergroup, formed in 2016, consists of members of four other metalcore bands: For Today, A Bullet for a Pretty Boy, Silent Planet, and Take It Back! They kicked off the night with high energy that wouldn’t let up. Lead vocalist Danon Saylor rarely stood in one place, pacing the stage while he delivered the lyrics in his trademark growl.
Stick to Your Guns
Stick to your Guns follows a long, proud tradition of California-based punk. They honored the scene with their set — an explosive show that frequently had frontman Jesse Barnett playing to the crowd at the edge of the stage. Guitarist Josh James and bassist Andrew Rose seemingly spent as much time in the air as they did on the stage, which kept the crowd hyped and wanting more. STYG released their sixth studio album True View in October of 2017.
Never dialing down, Beartooth kept the spirit of the night going with a vigorous performance that made their dedication to a fun, crazy show apparent. Caleb Shomo, lead vocalist, provoked the mosh pit to keep widening shouting, “We want a big circle pit… bigger… BIGGER.” As strobes and colorful backlights accented their energy, the moshing extended far back into the room. He involved the audience during “Body Bag”, asking them to say “one decision” when he said “one life”. He also gave a heartfelt speech about being vulnerable, and not feeling like you are enough.
Despite macabre titles and theatrics, fans know full well that they can expect a positive, uplifting night with these artists. The themes of the night were, “be a good person” and “be yourself“. Both Motionless in White and Beartooth cemented these messages, and encouraged finding the will to persevere. Beartooth expressed how much they love touring with MIW. In fact, during one song, MIW lead vocalist Chris “Motionless” Cerulli came out to hug Beartooth’s frontman Shomo. Later on MIW made it clear that the feeling was mutual, saying that the guys in Beartooth are ‘the nicest guys they’d ever toured with.’ Burning Hot Events’ photographer Andrew Marshall described the show as “a lovefest” — love between the bands, love of the fans, and encouraging fans to love themselves and others.
Motionless in White
With a music box introduction that sharply transitions into synths, then erupts into screams, Motionless in White launched their set with title-track “Disguise”. MIW is influenced by a wide range of genres: hard rock, heavy metal, industrial, gothic rock, punk, nu metal, electronica, and more. Their amalgam of influences shows, making them an absolute delight to the ears, topped off with an eye candy aesthetic.
Fans sang along to every word, while the heavy beats reverberated through their chests. “Voices” had a particularly notable, enthusiastic sing-a-long, after which Cerulli high-fived a crowd-surfer. Guitarist Ricky “Horror” Olson never let up on headbanging throughout the entire set, and bassist Justin Morrow posed for and wildly interacted with the crowd. The night closed perfectly as “Eternally Yours”, from 2017’s Graveyard Shift, decrescendos to light strumming and soft fading vocals.
The lineup of the “Diseased & Disguised” tour is well-paired and guaranteed to please. We highly recommend coming out to let loose and lose yourself in heavy music. Tonight (January 15) will be the last of Nothing Left’s scheduled tour dates at this time. The tour continues throughout North America until January 30, and then MIW, Beartooth, and STYG will proceed to tour Europe separately.
PHOENIX— This day had a solemn beginning as the news announced that the legendary drummer for Rush, Neil Peart, had passed away. Styx keyboardist Lawrence Gowan took the opportunity to pay tribute to his fellow Canadian musician by singing and playing a beautiful acoustic piano cover of “Limelight”. The lyrics pulled at the heartstrings and the chords and melody were hauntingly mesmerizing. As the song faded and commiserating fans’ cheers resounded, Gowan declared, “Thank you for one of the greatest drummers and certainly one of the all-time greatest lyricists, Neil Peart.” This was a highlight of the evening and made this particular show very special.
Drummer Todd Sucherman provided a link to a fan’s video on Facebook and wrote:
The show kicked off on a high note as the song “Gone, Gone, Gone” electrified the theater-in-the-round. This song also opens the latest Styx studio album, The Mission, which was released two and a half years ago and put Styx back on the radio as it rose to 45 on the Billboard 200. There was no opening act, so Styx had time to unleash all of the “classics” and still sprinkle in a few more songs from The Mission: “Radio Silence”, “Red Storm”, “The Outpost”, and the classically influenced “Khedive” piano piece. Veteran guitarist James “JY” Young hinted at the fact that there may be new Styx music coming our way in 2020. The die-hard Styx fans were thrilled to hear this, but everyone went wild when they launched into the evening of hits, beginning with that classic Hammond organ intro to “Blue Collar Man (Long Nights).”
Most bands have a “lead” singer, but at a Styx show, the lead vocals (and bantering duties) are shared between the three frontmen in the band: guitarist Young (original member since the inception of the band in 1972), guitarist Tommy Shaw (who replaced John “J.C.” Curulewski in 1975), and keyboardist Gowan (who replaced Dennis DeYoung in 1999). Replacing DeYoung meant filling some big shoes, since his iconic voice and hit songwriting abilities were equally as important as his talent on the keys. But for the past twenty years, Gowan has held his own with studio albums and touring worldwide. Gowan’s keyboard and vocal skills were put to the test with the next pair of songs penned by DeYoung: “The Grand Illusion” and “Lady.” The keyboards were spot-on. The vocals were noticeably different from DeYoung’s, but very strong, confident, and blended wonderfully with signature Styx harmonies.
The original rhythm section of Styx was comprised of twin brothers Chuck and John Panozzo on bass and drums respectively. Tonight, Chuck would make several guest appearances, but it was Ricky Phillips on the Imola 5-string bass for most of the evening. Phillips was was best known as the bassist for The Babys and later a founding member of Bad English, but then joined the band in 2003. Chuck is still a current member of Styx, but he has limited his playing time due health issues related to HIV. Sucherman has held the drum throne since 1995, taking over for John Panozzo, who was battling cirrhosis of the liver and subsequently passed away in 1996. Gowan introduced Sucherman and mentioned that his mother was in the audience that night, and also dropped a bit of trivia that last year, Modern Drummer Magazine listed him as the number one Classic Rock Drummer in the World.
Danny Zelisko had Styx here at the Celebrity Theatre exactly one year ago for a two-night stand and welcomed them back tonight and tomorrow night to do it again. Last year, both nights appeared to be sold out; tonight, there were only a handful of seats that seemed to be open. It is such an intimate venue for seeing a band, and the sound is always crisp and clear. The rotating stage allows more people to feel closer to the front of the stage. The novelty wears off at times when the stage is facing away during a favorite song, but Styx did a pretty good job of running around the stage when they weren’t stationed to a microphone. One notable exception was on the song “Red Storm”, when the stage stopped rotating for the whole song, presumably because Phillips was perched up high on a riser behind the drum set (author’s note – of course, they were facing the other direction from me for this whole song).
As the stage got its groove back, JY stepped up to the mic to introduce the next song. He reminisced about the old days of lighting lighters for certain songs, but conceded that there were dangers. “We can approximate that with the cell phone camera light…” he said, “…Let’s approximate the way those stars might look and LIGHT IT UP EVERYBODY!” It was exhilarating to be immersed in a sea of LED lights throughout the entire theater as the band broke into “Light Up,” one of only two songs played from the Equinox album from 1975 (the other one was “Suite Madame Blue” to top off the first set).
Chuck Panozzo made his first appearance on stage during “Fooling Yourself (The Angry Young Man).” He had played the powerful yet simple quarter notes on this Tommy Shaw anthem from The Grand Illusion Album released on 7-7-77. The crowd gave a very warm welcome as Shaw introduced him as “Our original bass player, Mr. Charles Panozzo,” and he stepped into the stage lights looking dapper in a navy blue sports jacket and wielding a black Rickenbacker bass. Instead of leaving the stage, Phillips picked up a double-necked guitar with a 12-string and a 6-string neck and joined in on the massive sound.
There was a brief 20-minute break before the second set. There was a fundraiser with a giveaway guitar benefiting Alice Cooper’s Solid Rock Foundation that was introduced by Tim and NeanderPaul from KSLX radio station.
The second set contained some of the usual suspects from the vault of hit songs, including “Come Sail Away,” “Too Much Time On My Hands,” “Miss America,” and the definitive power ballad “Crystal Ball.” There were also brief reminders to pick up the newest album, which featured “The Outpost” and “Khedive,” but the song that was a pleasant surprise for the evening was the title track from Pieces of Eight. This song is a fan favorite, but was overshadowed by “Renegade” and “Blue Collar Man (Long Nights)” from that album and was not released as a single. Noticeably absent from the setlist was anything from the Cornerstone album, including their only number one single, “Babe” nor anything from Edge of the Century (“Love is the Ritual” nor “Show Me The Way”, which charted at number three).
The song “Mr. Roboto” had been absent from the setlist for many years although it also charted at number 3. This wasn’t surprising since it may be the defining song that put a rift in the band dynamic. More importantly, it polarized fans into either the rocker camp that thought of Styx in terms of “Renegade” and “Miss America,” or the pop music camp that thought of Styx in terms of “Babe” and “Best of Times.” Fortunately, there is a lot of crossover (or at least no hostilities that lead to disowning the band). What caused more controversy was when the song returned to the setlist a little over a year ago, even though DeYoung wasn’t there to petition for it. The live version is a little amped up, and the good news is that it was well received by fans, finding its way into the coveted encore position.
However, there was still one song left that even “Mr. Roboto” couldn’t upstage and that was the aforementioned “Renegade.” This is the song that starts with soft and haunting vocal by Shaw: “Oh mama, I’m in fear for my life from the long arm of the law.” At this point, everyone’s hand raised to their chest as they mimicked the heart beats that still echo to this day from John Panozzo’s kick drum. There was even a wash of red light over the massive drum set that kept time with these beats. Another line. More heartbeats. Silky three-part harmony for the next line. More heart beats as more of the crowd joined in. More harmonies. One beastial scream and the crowd was in the proverbial palm of their hands as the hardest rocking song of the Styx catalog closed the show.
Styx was flawless. The talent in the band is simply overwhelming. It is so hard for a band that is branded a “classic” rock band to be relevant in a world where “classic rock” stations won’t play anything new from their “classic rock” artist roster. Meanwhile, new rock stations tend to ignore new music from bands that are considered classics. Yet Styx has maintained a growing fan base by continuing to be road warriors and taking the music to every corner of the planet, continuing to write and record music that is true to their roots and diverse style.
Check out The Mission to form your own opinion if you haven’t heard it yet. Here’s to great new music from them in 2020, and hopefully yet another return trip to the Valley of the Sun to see them again.
SEATTLE — High Dive was host to an Emo and Pop Punk dance party called “I’m Not Okay” amidst the Emo revival that is sweeping the globe. Being named after their hit single, there is no doubt that some attendees came out to ease the pain of missing out on My Chemical Romance’s December 20th reunion concert in Los Angeles.
The animated DJ Baby Van Beezly led the night, appearing at home amongst the community — many whom were teenagers when the music spinning was new and permanently impacting them. Heard throughout the night were artists such as My Chemical Romance, Yellowcard, Blink-182, The Offspring, Panic! At the Disco, Paramore, Taking Back Sunday, Good Charlotte, The Used, Green Day, and more.
A sole band performed — MySpace Romance, who some may have assumed was strictly a My Chemical Romance cover band. Rather, they additionally covered the likes of Arizona’s very own The Format and Jimmy Eat World, along with Coheed and Cambria, The Starting Line, Fall Out Boy, Dashboard Confessional, and more. (Find the setlist in the photo gallery below.) The band had good energy and put on a delightful set for those that longed to experience these songs in live performance again.
Emo nights occur frequently nowadays, and there is certainly no shortage of them in Burning Hot Events’ home — Phoenix. The venues The Rebel Lounge, The Van Buren, and Pub Rock are some that have been host to emo nights, so keep an eye on their upcoming events. As for Seattle: “The Emo Night Tour” took place at El Corazon the same night as “I’m Not Okay”, but there is another opportunity to experience this event on February 22nd! Wherever you may be located, if you are a fan of the genre, do find an emo night nearby and experience catharsis, nostalgia, community, and the passionate energy that comes with this type of music.
Tempe, AZ — Authority Zero has reached a milestone that all bands aspire to: a quarter of a century of putting out incredibly great music — in their case, punk rock. To celebrate 25 years, they threw a bit of a party, inviting their fans as well as four local bands to join them in celebration. Madd Dog Tannen, Skull Drug, Black Mountain Moonshine, and ZeeCeeKeely all preceded Authority Zero, playing to a rowdy and energetic crowd.
To the uninitiated — those who have never had the joy of attending a punk, ska, or reggae show — it would be easy to be a bit puzzled as to how all three are related. The first wave of ska formed in the 1950s, and reggae evolved from ska in the 1960s. Punk’s roots are also in the 60s, stemming from the garage band scene, and was focused mainly in England and New York, while ska and reggae got started in Jamaica. Ska punk, closely associated with third wave ska, blossomed in the 80s and 90s. The punk scene from the start was anti-establishment, and that carries into today. There is a sizable underground punk scene in Arizona, with smaller venues such as Yucca Tap Room, Pub Rock, Chopper John’s, Last Exit Live, Rebel Lounge, The Underground and others playing host to some loud and fun concerts on a weekly basis.
This underground scene does not get the recognition it deserves; there are many massively talented local bands and artists that play every week, but they rarely rise to the level of national stardom that some ought to. This show was a duality of a celebration of a band that rose to fame, and the introduction and showcase of local bands that are hidden gems.
There was a buzz around Marquee Theatre as the crowd started to trickle in with eager anticipation of the night ahead and the experience of Authority Zero. This is a band who has worked hard to get where they are and appreciate the fans and those that come behind them.
The first band was a reggae band from Tucson: ZeeCeeKeely. They were the perfect choice to start the night off. Their music is excellent, albeit a bit calm compared to what the rest of the night had in store. But they are still a loud, energetic, and fun reggae band to watch.
The short 7-song set included a very nice surprise: a reggae version of “Another Brick in the Wall” by Pink Floyd. With great vocals from Zachery Keely and a group of talented musicians that will soon include horns, this band is one you should catch if you enjoy reggae. They will perform on February 23rd, 2020 at Rawhide during the Arizona Roots festival.
After a quick stage change, the second band, Black Mountain Moonshine, took the stage. Shortly after they started, a staple of a punk show formed: a mosh pit — a unique and nearly sacred place where total strangers can run into each other and pummel one another, and at the end of the night, hug each other and leave exhausted and elated.
The lead singer Ethan Minney plays an electric mandolin, a piece that is not often seen in a punk band, and plays it very well. Their sound is also unique: at points it sounded like they were about to launch into a country song, while at others, you would swear that Flogging Molly was on the stage. Currently, they have no shows showing as scheduled, so following them on social media is a must to find when and where you can catch this unique, talented band.
Skull Drug was up next, and it immediately became apparent that we were in for an incredible set. When asked before the show how to identify lead singer Evan Williams, the band manager described him as looking like he had murdered a muppet. This was accurate, as Williams had bright red hair, a green shirt and blue plaid pants.
The set unfortunately did not start smoothly, but this did not keep them down. While working through technical issues with Williams’ guitar, the guitarists Justin Waldrop and Roger St. John kept the crowd entertained and bantered with them until everything was worked out, including asking the crowd, “Are you ready to party?” Party they did, launching into the loudest and most entertaining set of all the openers.
All three are amazingly talented guitar players, backed by an incredible drummer in Wyatt Clark. They also have a stage presence and can get the crowd involved to work them into a frenzy. The set felt extremely short, even though it was over 30 minutes long. The style is loud, in- your-face, and impossible to not want to move to it in some way – either by bobbing your head, by running into your neighbor in the mosh pit, or by dancing. All three of those scenarios played out that night. Williams and Waldrop danced around the stage nonstop during this set, and kept the party going after their set ended. Waldrop was spotted crowd surfing during the Authority Zero set while Williams was in the crowd next to the mosh pit.
Together since 2010, it would not be a stretch of the imagination to see Skull Drug headlining their own tour at some point in the very near future. Their set, from their stage presence to the music, was every bit as memorable as Williams’ hair. You can catch them on January 4th at Yucca Tap Room. They also have an album coming out sometime next year called Your Government and God Won’t Save You.
Madd Dog Tannen took the stage next as the final opener. For those who think that the name sounds familiar, it should if you are a Back to the Future fan. All members were a bit of a contrast to the previous bands: well-dressed, looking more like they were about to close a business deal with you than melt your face off with some amazing punk music. As they did a quick sound check before their set, Brian Willey (lead singer) comically tried to lead the crowd in a rendition of “Deck the Halls”.
Willey and his band quickly jumped into a fantastic set, at times bringing out a younger guitar player as their fifth band member. They are veterans of the music scene, playing since 2006, and have opened for Authority Zero in the past. Willey is an imposing figure on the stage as he puts everything he has into the performance. He is entertaining to watch and produces great power with his voice. While mainly a punk band, there was some ska mixed into the music. As they wrapped up their set, they played a cover of “When I Come Around” by Green Day. They, too, are a band that should be followed on social media to hear about their next dates. You won’t regret tracking them down to see their shows.
As Madd Dog Tannen left the stage, the anticipation built for Authority Zero. The chant “We want Zero!” started right before the band took the stage, growing in volume until they got what they wanted.
To the delight of the band, the crowd exploded as they walked onto the stage. Lead singer Jason DeVore greeted the crowd with a grin and launched into “A Passage in Time,” from their first album. The opening bands had slowly cranked the intensity up to 10, then Authority Zero quickly cranked it up to 12 and never slowed down. DeVore seems to be utterly indefatigable, a force to be reckoned with after nearly a quarter of a century as the lead singer of Authority Zero. He delivers each line with fury and passion, and yet looks out at the crowd awestruck that he’s lucky enough to keep doing this.
While DeVore is keeping the crowd pumped up with his incredible delivery, drummer Chris Dalley is tasked with keeping the beats going in the unimaginatively fast songs that are the staple of Authority Zero’s catalog. He seems to do this effortlessly. Rounding out the band are guitarist Dan Aid and bassist Mike Spero, both of whom are incredibly talented and fun to watch.
As the set progressed, the mosh pit showed no signs of slowing down and the crowd surfing started. DeVore repeatedly reached out to the crowd surfers to help them as they were being set down, giving a couple of high fives, pointing to crowd members and acknowledging them throughout the night. He announced that they were going to use that night as a New Years Eve party, which hyped up the rambunctious fans. DeVore has apparent and enormous appreciation for the fans and the bands who opened for them.
It would be fair to say that this was not just an early New Years Eve party, not just a celebration of the 25 years of making music, influencing and inspiring the Arizona and national music scene — it was something more. It felt like a love letter to the fans, the people who have faithfully shown up even when the venues were tiny, when the sound wasn’t great, when the band was struggling. DeVore held the mic out to the crowd, asking them to sing lines in the song, gesturing for them to be a bit louder, and all in all, making sure that every single person walked away from that show happy. He also repeated “Thank you Arizona!” more than once, obviously meaning it from his heart every time.
As the night drew to a close and after returning to the stage for the encore, DeVore called out onto stage a young fan, one who is known for his incredible music talents. His name is Recker Eans, a name that I believe we will hear many more times over the years, and he played the drums for the song “Mesa Town”. It was a great way to end the night, almost the passing of the torch to the next generation, though I believe we will have many more great years to look forward to with Authority Zero.
The night was one for the ages. It is also a night that happens weekly around the valley, albeit on a much smaller scale than what was at the Marquee on Saturday. The punk scene is alive and thriving, and there are many, many great bands out there who deserve to have you stop by and listen to their music, to watch their shows. There are hidden gems playing in small venues, bands that love their craft and love their arts. The appreciation that these bands all have for each other is clear, and the love for Arizona and the punk scene that Authority Zero has was on full display on a magical night — a celebration of the upcoming new year, and the birthday celebration of an influential and great band.
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.
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.
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).
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.
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.
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.
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.
“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.
PHOENIX — The weekend after Thanksgiving can be a bit of a challenge when it comes to energy levels. Between possibly overindulging on turkey (or tofurkey) and pie, grinning nervously through family dinners, and running through the aisles of the local electronic store, it is indeed easy to feel completely worn out by the time Sunday night rolls around. However, this year there was a cure for the fatigue: The “3 Dimensional Tour” at The Van Buren. Triple-headlined by the New Politics, The Mowgli’s, and Plain White T’s, it was a night filled with energy and noise, and a perfect antidote to the anecdotes you heard over the helpings of holiday fixings.
Plain White T’s
Plain White T’s started the night, as a backdrop lit up with the cover of their latest album Parallel Universe, before drummer De’mar Hamilton came out and sat down to set the tone for the rest of the night. Hamilton is an exceptional drummer, and it was truly fun to watch as he laid down a solid beat throughout the set. As the first notes of “Light Up The Room” were played, lead singer Tom Higgenson strode to the microphone with a huge smile on his face and said, “What up Phoenix?! Let’s have some fun!” Higgenson and the rest of the band delivered on that promise, with Mike Retondo deadpanning “Thank you for liking my bass,” as Higgenson asked the audience to applaud Retondo after “Rhythm of Love”. Higgenson interacted and joked with the audience extensively throughout the night, taking time to thank everyone for coming out, and taking notice that “It looks like you’re having a good time! Everyone in the front is smiling!”
Indeed, it is hard not to feel jovial at a Plain White T’s show, as Higgenson keeps smiling throughout the night. As the set started to wind down – entirely too soon, it seemed – Higgenson and the band started to play “Hey There Delilah,” the song they are best known for. The crowd took over singing for him as he backed away from the microphone with a look of joy and gratitude on his face. After “Our Time Now,” he thanked the audience once more and the band left the stage.
After a quick stage change, The Mowgli’s came out while a video played in the background, showing clips from movies meshed with scenes that gave a bit of a psychedelic vibe to the start of the show. In fact, the video continued throughout the set, and at certain points, it displayed the lyrics of the songs. As the first song “Spacin’ Out” started, the shift in energy was very apparent: where the Plain White T’s generate the audience energy through engagement with fans and having fun, while The Mowgli’s generate energy via the audience by turning the stage into a massive dance party.
Vocalist Katie Earl never once stopped moving, even imploring the audience multiple times to dance along. It was a challenge to stay still as they played songs like “Real Good Life,” “I’m Good,” and “San Francisco,” and so the crowd gladly obliged her requests. She also talked about the need to talk through the tough conversations to come to an understanding with another person. The Mowgli’s have quite a bit of fun on stage. At one point during “Talk About It,” — off of their latest EP American Feelings— almost the entire band switched positions, with everyone playing a different instrument. As the last notes of “San Francisco” faded, Hogan and Earl jumped off the stage, high-fived some in the crowd, and shook hands with others. There was a great deal of appreciation from the band toward the audience.
The show ended with a loud, chaotic set from the New Politics. David Boyd pranced onto the stage while rapping the opening lyrics to “Unstoppable,” the first song off of the new album An Invitation to an Alternate Reality. Boyd has a stage presence that is unforgettable, as he prowls and dances like an uncontainable bundle of energy around the stage. At one point during “Yeah Yeah Yeah,” Boyd jumped over the barricade and had the audience gather around and jump together with him. Those in the crowd were visibly exuberant as they interacted with Boyd and circulated energy amongst each other.
During another song break, he promised everyone that the band would sit in the back after the show and sign everything that was purchased at the merch table. While it became a bit difficult to see the stage at some points due to the amount of smoke, the show was incredibly high energy, even when things didn’t quite go as planned. Guitarist Soren Hansen threw his guitar into the air, and while it didn’t hit the stage, it also apparently didn’t do what he had hoped it would do. He recovered quickly, brushing off the mishap as if nothing had happened.
Part of the magic of a New Politics show is the apparently inexhaustible front man: As the show came closer to the end, Boyd seemed to only become more energetic — At one point, right before “Harlem” started, Boyd started breakdancing, ending up on his head in an impressive pose. As the last notes of “Everywhere I Go (Kings and Queens)” faded, Boyd stood on the drum kit — his back to the audience — and did a backflip, sticking the landing and getting a massive cheer from the astonished fans.It was the perfect end to a night of noise and energy, a night that saw three extremely talented bands take the stage and leave the audience energized, with the food coma of the recent holiday in the rearview mirror. The “3 Dimensional Tour” wraps in Sioux City, IA on December 20th, and is a show that should not be missed. (View Tour Dates)
PHOENIX — There is an age-old argument over when exactly the Christmas season starts. Some would say that the day after Halloween is the official date that you can start preparing for Christmas, and others argue that the day after Thanksgiving, and not a day before, is the proper date to throw some Christmas music on and start feeling festive. It should be postulated that neither of these are correct: The first day that it officially feels like Christmas is the day of the first concert in Lindsey Stirling’s annual winter tour.
The tour is in its third year now, first named “Warmer in the Winter” in 2017, “The Wanderland Tour” in 2018 and now “Warmer in the Winter” again. Stirling, an Arizona native, noted during the show that the name came from all of the warm winters she spent here in Arizona. “The Wanderland Tour” bypassed Arizona, which may possibly explain why the tour changed names last year.
Arizona winters are indeed warm, and this one was no exception up until earlier this week. As the doors opened and the public began pouring into Comerica Theatre in Downtown Phoenix, there was a chill in the air, one that announced that winter actually does come to Arizona. In the moments leading up to the first wisp of smoke from the machine on stage, the audience filtered into the theatre and found their seats with a growing buzz of anticipation, as excited conversations built toward a crescendo as showtime drew closer. All ages had come out to see Lindsey Stirling, from the wide-eyed young girls who wore dresses that looked much like the dresses that Stirling wears in her music videos, to the older fans who looked like they were ready for a Sunday morning church service. For the young, they had come to see their hero. For the older, to see an artist who has redefined what it means to be a violinist. No one left disappointed.
The “Warmer in the Winter” tour was a delight in every way possible. From the first few moments after the smoke machines kicked on to announce the start of the show until the final notes of the last song, “I Wonder While I Wander,” each and every second was packed with magic. Stirling and her dancers moved effortlessly through incredibly difficult maneuvers, drawing the crowd in. She is well known for her violin skills and her dancing, but she is also an incredible singer with a wicked sense of humor. Backed by a talented band including Kit Nolan on the keyboard and Drew Steen on the drums, Stirling danced, sang, and cracked jokes throughout the night.
The production includes special effects, props, and costuming that inspire awe and joy. The backdrop was a massive screen, which was one of the key elements to the show. Throughout the night, it would be used to show a clip of Stirling’s alter ego Phebla, become a backdrop of the universe while she played “Between The Twilight” from her newest album Artemis, and finally to have us fly through a field of mushrooms as a nod to Alice In Wonderland during “Carol of the Bells.” She explained that she named the album after Artemis because Artemis is the Goddess of the moon, and the moon brings light into the darkness.
Her concerts are always an inspirational and moving experience because heartfelt speeches in between songs are a regular part of the show. She told the audience, “I want you to think about how amazing you are, because I think that’s something you may not tell yourself enough…every single person in this room is incredible and powerful…as I play this song, maybe even close your eyes and see yourself for how beautiful you are and for your own light, because the world needs every single person to shine.” As she started to play “Between The Twilight”, the spotlight turned off, and the screen behind her showed the universe, or the stars in it at least. The ethereal sound took the audience on a journey of light, of sound, of beauty.
Stirling is also a fierce advocate for her fans. After a visually stunning “We Three Gentlemen,” She gave an emotional speech, talking about her journey to get where she was. She then told the audience “Nobody else can write your story. Never let anyone else tell you what you can do, what you can’t do, what you’re good at, what you’re not good at — because you’re the only one who knows what you can do, what’s inside of you.” She admitted that her insecurities had not changed from before she found fame until now.
Stirling spoke at length, her voice quivering a bit as she talked about losing her best friend to cancer 4 years ago, and her dad 3 years ago. It was an emotional, vulnerable speech. She spoke about angels and how she felt they surrounded her. This led into “Angels We Have Heard on High,” during which she stood at the top of the stairs in front of the screens with a mesmerizingly beautiful light that followed her every move with her bow. It was the most impactful song of the show.
She spoke with gratitude of how much she appreciated the shows in Arizona, saying that she looked forward to them because, “I feel like this is my family.”
“Thank you guys so much for coming! It’s only because of you guys and the support I had from home from the very beginning that I am here. Thank you.”
During Stirling’s “favorite song to play,” “Hallelujah,” the tone switched away from happy, jovial, and infectious. The entire venue was utterly captivated by the otherworldly beautiful sound of the violin and backing guitar. There were some in the audience wiping away tears as the last notes faded away and Stirling again thanked everyone.
There are those that dedicate their life to the mastery of the violin, and others who train to lead the dance troupe at the theatre. To be able to do both at once – and do it well – is rare indeed. As the show started it became apparent the immense amount of planning and attention to detail that went into each and every step of this spectacular display. Each costume change was so well-planned that it would not be noticed or delay the show, and each dance move was tightly choreographed. Stirling has a zest for performing, a love for the fans, and a respect for her craft that lends itself to a show that would be hard to equal.
Everyone had gathered for a concert, but those in attendance received so much more than that. Viewing the show through the eyes of one who has seen many, it was an incredible, exciting show — one that lingers in the back of the mind. She is a wonderful role model to the young that view her as a giant. They aspire to one day reach her greatness after witnessing the impact of her beauty and grace.
Stirling has a self-awareness that gives strength and power to those around her, saying what people need to hear before they even know they need to hear it. She is, in a word, rare. She is a once in a generation talent who has captured the imagination of the young, inspires the broken and gives peace to all who hear her. As the show ended and we walked into the cold night air of her hometown, it was hard not to feel refreshed and ready to celebrate the season. And that, in the end, is the magic of Lindsey Stirling.
PHOENIX — In the middle of downtown Phoenix is a nondescript alley with a door halfway down it. Over that door is a neon sign with the words “Valley Bar” spelled out. It casts a stark and yet warm glow into the alley. It is not an easy venue to find, but it is absolutely worth the trek if you’re looking for great music. For this particular event, Heather Woods Broderick and The Building was playing on a Wednesday night.
The Building is fronted by Anthony LaMarca, a talented and accomplished music veteran. He is currently the guitarist for the band The War on Drugs, and has played drums for St. Vincent on tour. He also has his own record label, named Primary Records. Broderick has toured with Sharon Van Etten as part of her backing band and has also played in bands such as Horse Feathers. To be able to see musicians as talented as these two in a venue as intimate as the Valley Bar is indeed a treat.
By the time the show started just after 8:00pm, the entire audience had shown up. There were fewer than 20 people in attendance — likely due to a somewhat hard to find venue and a midweek show. For those of us fortunate enough to be in attendance, we were treated to a downright solid show.
Heather Woods Broderick
Broderick took the stage first with Andrew Carlson on the bass guitar, and Dean Anshutz on the drums. Carlson and Anshutz would be on stage for most of the evening, since they play in The Building as well. Broderick started with an acoustic guitar. Her fingers flew across the strings as a nearly ethereal sound came from the guitar — a sound that would be present for much of the evening. Her otherworldly vocals are enough to find your mouth agape. There is a beauty in the melancholic, enthralling tone of Broderick’s music.
While most of the songs are slower, she turned up the tempo with “Quicksand” from the album Invitation, which is a song that is rather drum heavy and a very nice change of pace. Anshutz was a joy to watch during the show because of his precision on the drums and how much he gets into it, but he was even more so during this song. Broderick also played “I Try” and ended the show on “Invitation”. With the voice of an angel and impressive control, Broderick yodeled through the closing notes of the final song, which is a delight that can only be experienced live since these fluctuations are not heard on the studio recording of the song.
Mid-show, she mentioned that she was surprised at how warm it still was outside and what there was to do in downtown Phoenix. Later on, she also spoke about touring with The Building, and said “They’re very sweet people and I love hearing them play their stuff every night.” It was also mentioned that there was a week and a half left in the tour.
The Building took the stage shortly after 9:00pm, and LaMarca greeted the audience with “We’re called The Building, we’re from Youngstown Ohio, thanks for being here!” and launched into the first song. He seemed to forget the lyrics after the first line of the song, but instead of powering through and going to the next line, he stopped the song and cracked a joke about the mistake. He noted that it was better to acknowledge the mistake and fix it, saying “It’s like when you go to a sandwich shop and you order turkey on a sandwich but instead they give you fish and it’s just not as good.” The song was restarted, and the night was back on track.
There is a bit of a wistful feeling to these songs, perhaps owing to the fact that the drums were rarely used throughout the set. Watching Carlson play the bass grants a new appreciation for how precise each note needs to be. There is also a mellowness to the songs that feels a bit like quiet reflections in musical form. The soothing mood of the music would pair well with The Paper Kites on a relaxation playlist.
Midway through the show, LaMarca stopped to chat with the audience. He noted that this was their first time in Phoenix and then asked if anyone had any dogs. Surprisingly, only one person indicated she did, and they had a conversation about the three dogs she owned. The latest album is named after LaMarca’s dog Petra, a German shepherd. There is a story on their website about the name of the record and his dog Petra, and it is one we highly recommend reading.
As the night drew to a close, LaMarca announced the final song as “Peace’s Eternal Truth Renews All,” or “PETRA”. Each of the songs off of the latest album are quite personal, as he has battled Multiple Myeloma twice in the past few years and this was written and recorded during his latest battle, but PETRA feels more personal than the others. As the last notes faded, the show ended, and the few of us fortunate enough to be there made our way up the stairs and back into the alley in downtown Phoenix. Watching LaMarca and The Building in such a small venue is not an opportunity that should be taken for granted. All members of the band are extremely talented, and as such, the music was excellent.
Glendale, AZ — Tool stopped in Glendale night to play the Gila River Arena to an ocean of patiently adoring fans that could not have been more excited to hear the band rip into their ear drums. However, little did everyone in attendance know that what transpired next would be far beyond even what their lofty expectations could prepare them for.
One might think after a 13-year hiatus from recording new music, that a band might be well past their prime but fortunately for Tool, they’re clearly an exception to the rule. With the release of their latest album, Fear Inoculum, this is a band that has proven they won’t compromise their artistic vision for the sake of putting an album out every two years or so. They take their time perfecting a raw, mysterious sound that fans have come to revere over the years.
UK veterans Killing Joke kicked off the night and proved to be an excellent opening act, getting the crowd pumped up with their whiplash-inducing brand of quasi-metal and goth rock sounds. They were definitely an interesting choice for the opening band, but Tool has always brought their friends and greatest musical influences along with them on tour. It was fascinating to observe and clear how Killing Joke’s unique take on music clearly influenced Tool’s own iconic sound as their set went on. Notably, Killing Joke has had many lineup changes throughout the years. But recently, all of their original members are officially back in the band. This brought an inspiring energy to the night that would only flourish in intensity as the time grew closer for Tool to take the stage.
Fans of Tool know very well the law of the land at their concerts: no photos or videos. One might find this to be disappointing, but in many ways, it enhances the concert experience as people allow themselves and others to become fully engaged in the moment. As the lights fell to black, the sounds of cheering cut in front of the ambient noise with the swiftness of a starving octogenarian jumping to the front of the line at an early-bird dinner buffet. You could reach out and touch the energy in the room, and just when it seemed like the arena would burst from the crowd’s anticipation, guitarist Adam Jones played the opening swells to the new album’s title track, “Fear Inoculum.”
This was a very good choice for the opening number, not only because it’s the first song on the new album, but also because it represents the first example of new music they presented to the world after a 13-year drought. The song was recreated beautifully in the live setting, and it was accompanied by some of the most impressive Alex Gray-inspired visuals to date. Incredibly long threads formed around the stage in a circular formation as intensely colorful images were projected onto the screen towering behind the band. These threads also allowed the images projected on stage to glide across them in a pseudo-3D effect that was nothing less than spectacular for lucky enough to capture it firsthand.
Familiar clay aliens and faceless men in business suits adorned the screen as fans were treated to the corresponding music videos for each of the band’s older songs. One particular highlight included a full live rendition of “Parabol/Parabola” in all of its 9-minute glory, to the uncontainable delight of many fans in attendance. The drums punched through the mix with a primal fury not seen from many other bands around today, thanks to the incomparable Danny Carey behind the monstrous kit. His effortless playing and ad-libbing enhanced the songs without it sounding too busy or as if he was showing off. Every single drum strike was as tasteful as the last, which is no small feat when you have such a large kit at your disposal to tempt a less stoic individual into overplaying.
Guitarist Adam Jones and bassist Justin Chancellor were also both in exceptional form throughout the night, proving their playing only continues to improve. The ear-piercing squeals of Jones’ dark Les Paul mixed with Chancellor’s thunderous yet melodic bass lines are truly a match made in heaven.
Other notable highlights of the night included the second song of the set “Ænima”, introduced by singer Maynard James Keenan happily declaring “Alpha Omega. AZ. It’s good to be home. We just got back from LA.” Immediately followed by the familiarly breathy “hey” repeated throughout the intro of the song about a great flood of biblical proportions consuming the entirety of Los Angeles in all of its perceived decay and decadence. This was followed by excellent performances of “The Pot”, “Jambi”, and “Schism”, with the latter incorporating an unexpectedly sped-up bridge section that had to be heard to be believed.
Tool have achieved what so many other bands who have been together for as long as they have only dream of doing successfully: standing the test of time. So many bands of yesteryear lapse into obscurity or worse yet, self-parody, as they make their comebacks. Tool is not one of them. They continue to deliver unprecedented, phenomenal live shows and mind-blowing visuals that only get better as time flows onward. If you get the chance to see them live, do yourself a favor by not missing out, because they deliver every single time.