PHOENIX — Heavy metal legends Judas Priest drenched Phoenix fans in a fast-paced scintillation of velvety-strobing lights, squealing guitar riffs and the ear-splitting vocal prowess of leather-clad vicar Rob Halford, whose voice could be heard echoing through the streets of downtown outside Comerica Theatre. Priest announced English heavy metal pioneer Saxon and hard rock group Black Star Riders as openers for the U.S. leg of their 2018 “Firepower World Tour” earlier this year. Saxon is renowned for their influence on archetypal acts like Slayer, Metallica and Mötley Crüe and are noted for selling more than 23 million albums worldwide. Black Star Riders was formed in 2012 as “the next step in the evolution” of hard rock band Thin Lizzy. Their third and most recent album, Heavy Fire,reached #6 on the UK album charts in 2017.
In their announcement, Judas Priest also noted that thrash metal icon Megadeth would step in as the supporting act for the European leg of “Firepower”. As if that wasn’t enough, Judas Priest will also be appearing alongside Ozzy Osbourne on his farewell tour later this summer before co-headlining a tour with the infamous Deep Purple later this year.
Judas Priest’s 18th studio album Firepower’s explosive energy has shocked Priest fans, skyrocketing it to success and ranking the album at No. 5 on the Billboard 200 chart — the band’s highest-charting album in the United States to date.
With so much musical history under one roof, there were moments where the night truly felt like a spiritual experience. Black Star Riders took the crowd by storm early-on boasting a youthful stage presence, which positively intermingled with Thin Lizzy’s time-honored style.
After a minimal set-change, Saxon followed quickly thereafter, bringing the house down with a mix of heavy-handed hits and highlights from their latest album Thunderbolt, which was released in February of 2018 under producer Andy Sneap — who also joined Judas Priest on the “Firepower World Tour” to support Glenn Tipton, following Priest’s announcement that Tipton’s unfortunate battle with Parkinson’s had progressed to a level at which he cannot currently tour (Feb. 2018).
Among the audience were obvious diehard fans of all ages, including everything from seriously skilled air-guitarists energetically moving up and down the aisles, to children and families, headbanging all-together beneath an incredible display of vibrant, ever-changing lights which moved in-time to the note of each new song. One little girl, about 4 years old with tiny blonde pigtails, stood atop an empty seat with her father behind her, rocking out with every ounce of movement she had — proving once again that heavy metal music has a timeless quality to it that continues to bring together people of all ages and walks of life, challenging the status quo.
During the night’s first hidden set-change, a curtain displaying an impossible trident waved gently beneath the dimmed lights as red-orange flames swirled in the background. As the opening notes to Priest’s latest title track rumbled out across the crowd, the curtain shot upward to reveal Halford draped in gold from his suit pants to his tassel-adorned jacket. Sneap (Guitarist), Richie Faulkner (Guitarist), Ian Hill (Bassist) and Scott Travis (Percussionist) followed close behind, taking their place on stage among an illusion of pyrotechnic projections which were fitting alongside towering castle-like structures, topped off with a symbolic devil’s tuning fork which mirrored itself across the stage.
Halford then transitioned into tracks “Running Wild”, “Grinder”, “Sinner” and “The Ripper” from albums Killing Machine, British Steel, Sin After Sin and Sad Wings of Destiny before turning attention back on to their latest album for “Lightning Strike” which highlights Firepower’s eclectic mix of classic Judas Priest sound, and something quite a bit different — a savage expansion on Halford’s incredible vocal talent (at 66 years old) also reminiscent of old school Iron Maiden or Motörhead.
Next-up on the night’s setlist were “Bloodstone” (Album: Screaming for Vengeance), “Saints in Hell” (Album: Stained Class), “Turbo Lover” (Album: Turbo) and”Freewheel Burning” (Album: Defenders of the Faith), each of which was signaled by a change in Halford’s eclectic collection of hell-bent-for-leather type jackets, each song rivaled by the energy of the last.
Halford stepped center-stage to address the crowd, “Thank you all for for coming out and keeping your heavy metal faith tonight. And thank you for supporting evilness, evilness… Because evil never dies!”
Fans rejoiced in a sea of chants and fist-bumps, singing along to new crowd favorite, “Evil Never Dies” also off Priest’s latest album, before moving onto unbelievable performances of “Some Heads Are Gonna Roll” and the ever-anticipated “You’ve Got Another Thing Comin”, succeeded by an intermittent recording of “The Hellion”, during which Halford and his bandmates momentarily disappeared backstage. Despite having already put on a thrilling hour-plus performance, Priest emerged once more for a staggering finale.
Seconds after the closing notes of “Electric Eye” (also off of Album: Screaming for Vengeance), Halford shot across the stage on a black-and-chrome chopper while clips from the 1978 track’s music video faded on and offscreen above. Halford passionately belted out the lyrics to“Hell Bent for Leather” from atop the bike, before closing the evening with a powerful performance of “Painkiller”. Halford had one last surprise up his leather-studded sleeve — an earth-shattering encore. Fans were elated to see 70-year-old Tipton take the stage for three ultra-nostalgic and goosebump-worthy renditions of “Metal Gods”, “Breaking the Law”, and “Living After Midnight”.
After completing an astonishing 19-track setlist, it was clear that Halford and his bandmates show no signs of slowing down. Judas Priest proved to their fans once again that even after 40 years, they continue to ignite the fire.
PHOENIX — Amidst their “The Witching Hour” tour, shock rock quintet In This Moment had fans spellbound during a thrilling visually-charged performance at historically-located venue The Van Buren. Openers on the bill included The Word Alive — a metalcore group from Phoenix who’s most recent album Deceiver reached No. 97 on the Billboard 200 (2010), and fellow AZ-based nu metal band Ded, who’s been on the rise since the release of their wildly successful debut track “FMFY” in 2016. Audience members were elated to hear that In This Moment had offered both opening groups the option to extend their setlist for the night, in celebration of the obvious outpouring of support from local fans.
After a vigorous crowd sing-along to Journey’s “Don’t Stop Believin’,” ferocious frontwoman Maria Brink dawned the stage through a storm of purple-red smoke, spookily cloaked in all-black attire which was somewhat reminiscent of Emperor Palpatine in Star Wars.
As Brink positioned herself center-stage, horror-esque slivers from In This Moment’s music video for title track “Blood” spliced on and off on a large overhanging screen. Current members Chris Howorth (Lead Guitarist & Founding Member), Travis Johnson (Bass Guitarist), Randy Weitzel (Rhythm Guitarist) and Kent Diimmel (Percussionist) followed close behind her — also dressed to shock and impress in true gothic metal fashion.
The group transitioned into a haunting yet brutal performance of “Blood”, which was seamlessly followed by “River of Fire” from In This Moment’s latest album, Ritual (2017). In between these first two songs, Brink seductively shed her dark ceremonial garb for a ghostly white dress that shimmered beneath the spotlights.
With a mix of fire and wind enveloping her silhouette, Brink immediately dominated the stage with her display of unique showmanship and incredible ability to personify her lyrics through purpose-driven theatrics. Her gruff throaty screams and eerily dazzling vocals are a fitting accompaniment for the band’s vehemently aggressive rhythms, sludgy guitar and relentlessly rhapsodic percussion.
Although In This Moment’s 2017 album is in fact less sexualized than albums in previous years, Brink’s outlook on the highly-debated topic remains the same. The singer changed from costume to extraordinary costume throughout the show — reappearing on-stage in everything from skin-tight bodysuits and ritual garb, to Krueger-like talons, a top hat, and faceless creature masks. Backup dancers morphed from demons and witches to twinning alter-egos as the show’s storyline evolved before our eyes, exquisitely interpreting the lines of each song. Brink seduced the crowd with ease, gripping the audience with infectious performances of “Adrenalize”, “Roots” and “Burn”, which preceded a chilling vocal performance of ballad “Lay Your Gun Down.”
After an official band introduction, Brink disappeared from the stage leaving Howorth, Johnson, Weitzel and Diimmel in the spotlight for a savage Metallica tribute beginning with the opening instrumentals to “For Whom The Bell Tolls” and leading into a monster drum solo harnessing the chunky classic rock vibes that we all crave.
Next, Brink stepped center stage once again beneath a large crescent-shaped entryway, which appeared as two halves of a glowing moon, altar-style. The opening scene from “Black Wedding” featuring Rob Halford (of Judas Priest) strobed in and out to church music, teasing the energized duet between Brink and Ded frontman Joe Cotela which was to follow. The night finished strong with blazing performances of fan favorites “Big Bad Wolf”, a cover of Phil Collins’ “In The Air Tonight”, “Sick Like Me”, and “Oh Lord” — which had fans raging.
However, there was still one song yet to be desired. Audience members roared as Brink stepped out from behind the curtain for one final song — this time wearing the infamous blood-smeared dunce hat as featured in “Whore”, which Brink described to Steppin’ Out Magazine as “an empowering, beautiful song for women.” On-stage, as oversized balloons began bouncing across the crowd, she went on to explain that “Whore” is about reclaiming control of what hurts us and rising above it:
“I was told that I would amount to absolute shit”, she told the crowd. “That I would become nothing at all. So, you see this next song, this last song is about rising above other people’s expectations, all of these ideas about who and what we should be. This song is about taking other people’s hate and turning it into something powerful and liberating within. So tonight, ladies and gentlemen, if I can inspire just that, turning hate into love, then I am proud to say to you Phoenix — tonight, I will be your whore!”
The song’s title “Whore” is actually an acronym created by Brink to further communicate its underlying purpose:
It seems that with their most recent album, Brink and her bandmates have finally perfected the delicate balance between their sultry sex appeal and crust punk approach to the ideals of empowerment and strength embedded in their music. “The Witching Hour” tour is more than an unforgettable performance; it’s a wakeup call. We truly cannot wait for more.
Tempe, AZ – On April 15th, Nightwish enchanted the Marquee Theatre with their music, and also delighted fans with a free two-disc CD of their Decades album featuring an archive of songs from 1996-2015 to celebrate their “DECADES: WORLD TOUR 2018”. For those unaware of Nightwish, they are a symphonic metal band from Finland. The band was formed by keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and former lead singer Tarja Turunen in 1996. In 2005, Nightwish said goodbye to Turunen. In 2012, Nightwish had to say goodbye to a second lead singer,Anette Olzon, but former Revamp singer Floor Jansen graciously filled in to finish the North American tour that year. Since then, Jansen became the lead vocalist for Nightwish’s album Endless Forms Most Beautiful and continues to tour with the band.
It was a cool night in Tempe, fans entered the venue and filled the entire floor. Everyone patiently waited for the music to begin. Nightwish greeted the fans with an audio recording, asking fans to go back to simpler times when they would not use phones to take pictures and videos during the show. They wanted everyone to enjoy the moment. Many phones went dark, but some fans couldn’t resist the urge to take a few shots of their favorite band. After that message, a one minute countdown began. As the seconds dropped to single digits, the crowd began to shout as each second decreased. Once it hit zero, the screen changed to gears, and one by one, the members of Nightwish took the stage, greeted by cheers.
Being Nightwish’s “Decades” tour, they picked their greatest hits from all eight of their studio albums. Nightwish didn’t achieve popularity in the United States until their 2004 album Once, and it sold more than one million copies. The biggest hit single from Once, “Wish I Had an Angel”, received MTV airplay and was the second song on their set list that night. As the first chords played, the crowd clapped and screamed. One fan held his hands to his face, in awe of the live performance he beheld. As Jansen sang, the video board had the well-known angel statue from the album cover seen through a gate, as if we were entering a cemetery.
As the first four songs played, fans mouthed the words and jumped to the beat. The video screen went perfectly with each song. For “10th Man Down”, the video soared over gravestones. For “The Kinslayer”, the video showed red candles as crimson light illuminated the band.
Before starting their fifth song, “Gethsemane” from the album Oceanborn, Jansen spoke to the fans, welcoming everyone to the “Decades” tour. She said she spotted some familiar faces in the crowd. The last time Nightwish visited the Marquee was May 2, 2015 for their “Endless Forms Most Beautiful Tour”. Jansen then asked who was seeing them for the first time. Hands all around the venue went up. Jansen smiled and said, “Buckle up. It’s going to be a bumpy ride.”
The band grew quiet for a moment as Jansen addressed the crowd before going into the beloved song “I Want My Tears Back”, from the album Imaginaerum; she said “Tempe is already warm, but let’s make it hot!” During the uilleann pipes solo midway through the song, Jansen urged the crowd to dance and throw their fists in the air. Jansen herself danced on stage and then said, “Tempe! Turn this place into a volcano!” After the song concluded, Jansen spoke again, “It is hard to dance in a volcano. You did a good job though. Thank you!”
It was vocalist and bass/acoustic guitarist Marco Hietala’s turn to address the crowd. He had a smile a mile wide as he asked, “How are you doing?” The crowd cheered and people put up devil horns to show their excitement. Hietala laughed and said again, “I’m not quite sure yet. How are you doing?” The crowd screamed louder. “Sounds like we’re having fun. Ready to rock!” Hietala replied as the song “Devil & the Deep Dark Ocean” from the album Oceanborn filled the air.
“What a night. It’s good to be back,” Jansen said later, “This one’s for the dreamers.” Just then, the instrumental of “Slaying the Dreamer”, from the album Century Child, swelled into the room.
Nightwish had an incredible nineteen-song set, and the fans were full of joy for every single note and lyric. After Nightwish finished their last song for the night, “Ghost Love Score” from the album Once, they left the stage, and in the darkness fans cried out for more. The band members came back to take a final bow and toss some lucky fans guitar picks and drum sticks. Nightwish had done it again — amazed another crowd and filled their hearts with beautiful music.
PHOENIX — Unity, love, and an all-around good time were the three main focuses of the Lost in Translation Tour’s stop in Phoenix. “Don’t ever forget that each and every one of you here has the power to do anything you set your heart on,” said David Boyd, lead singer of New Politics.
New Politics, Dreamers, and The Wrecks put on an sensational sold out show at Crescent Ballroom, with each band bringing the energy of a headliner.
The Wrecks were first in the lineup with an electrifying set. Lead singer Nick Anderson’s unique voice took the crowd to a new level. The energy from the five piece band was reminiscent of early 2000’s pop punk. Their new EP Panic Vertigo, just released last month, showcased the growth of the band. The Wrecks played an unreleased song “Live”, and Anderson said the band only plays it when people in the audience have enough energy to give back. They ended with the upbeat angst filled song “Favorite Liar” which has been played frequently on 93.3 Alt AZ. The Wrecks hinted at wanting to do a headline tour with a stop in Phoenix soon.
Their band name describes their set: dreamy. The three-piece band played fan favorites such as “Painkiller” and “Sweet Disaster”, which have been on rotation on 93.3 Alt AZ as well. With catchy guitar riffs from lead singer and guitarist Nick Wold, strong rhythm from bassist and back-up vocalist Marc Nelson, and striking drums from drummer and back-up vocalist Jacob Lee Wick, the band amped up the crowd.The upbeat set proposed the feeling for New Politics’ upcoming performance. Their song “Bleed Through”, Wold explained, is about people who have jumped off the Golden Gate Bridge and coming back from that ledge; also for any who has fallen.
Inspiring the crowd to raise their hands immediately, the energy exuded by the three piece band from Copenhagen, Denmark, was mind-blowing, to say the least. With Boyd sporting pants that could have been inspired by Beetlejuice, and a John Lennon style hat, his charisma got the crowd rocking.
The trio started their set off with “Istanbul” from their latest record Lost in Translation, which was released last year (2017). Their set consisted of a variety of songs that showed how diverse they are.
“Girl Crush”, “Everywhere I Go (Kings and Queens)”, and “Dignity” were noticeably among the crowd-favorites.
“Tonight You’re Perfect”, “One of Us”, and “Harlem” are among the most well-known songs from the trio.
One of the more intimate songs played during the set was “Color Green”, which Boyd dedicated to his newborn daughter.
Guitarist and lead/backup vocalist Søren Hansen and drummer Louis Vecchio, were highly animated throughout the 20 song set. It was impressive to see the same energy that Boyd offers in Hansen and Vecchio.
Boyd knows how to perform. The lead singer engaged the crowd from all angles, and got intimate with the crowd multiple times by resting his leg in fans’ hands as he sang. It also seemed as if he would sing directly into fans’ phones. ULTIMATE FANGIRL DREAM.
By mentioning unity more than once, it was clear that Boyd places importance on giving fans a unifying experience. He showed his gratitude to the fans at the end of “One Of Us” by making bowing gestures toward them, suggesting that this experience is just as meaningful to him.
“I don’t want this to end”, Boyd exclaimed before the final song. “There’s only one thing we’re gonna have to do, is come back soon, right?”, he continued. “So what we’re gonna do right now, ‘cause endings are so sad, we’re gonna do the opposite. We’re gonna take this energy here, and we’re gonna celebrate that we f***ing did it! Alright? And we’re gonna cherish every memory of tonight, and we’re gonna even make it better, and there will be a surprise…”
The band certainly knows how to end a show with a grand finale, by playing the explosive “Yeah Yeah Yeah”, with Dreamers’ Wold singing the first verse, and The Wrecks’ Anderson coming back to rap during the second verse.
How to end a show: with Hansen crowd surfing as he plays his guitar solo. √ CHECK
PHOENIX — P!nk kicked off her Beautiful Trauma World Tour in an unreal musical experience that rocked the Valley of the Sun. Following the release of her seventh studio album, aptly named Beautiful Trauma, came the announcement that she would hit the road once again to share her exquisite sound with the world. With anticipation of her first album release in five years, it came as no surprise that the Phoenix show was completely sold out. Fans flooded Talking Stick Arena, sporting the artist’s color in everything from bedazzled wigs to homemade jumpsuits. Inside the arena KidCutUp could be heard spinning his usual mashup of hip hop and party songs in order to rouse the crowd before the main act.
From start to finish, P!nk put on a show that left the crowd wanting more, even after a 21-song setlist. Her energy is tangible as soon as she appears before the crowd, launching into the show with one of her biggest hits of all time “Get the Party Started.” What was seen as the curtain dropped at the start of the song could only be described as unbelievable. Breathtaking acrobatics featuring her in a full body sequined jumpsuit paired with incredible dance numbers involving an array of mobile props on stage and back-up dancers. It made for a mind-blowing start to what would be a truly unforgettable set.
Paying ode to her newest album release, P!nk segued straight into “Beautiful Trauma,” serenading the audience with her haunting lyrics before taking them right back in time with old favorites like “Just Like a Pill” and “Who Knew?”
“Hello!”, she shouted into the mic, taking a moment to address the audience, “I can’t believe tonight’s finally here! Just like you guys, I have no idea what’s going to happen!” Her excitement rang through the arena, the frenzied crowd cheering the whole time. That energy remained, with those on stage and those in the crowd, for the entire performance. She played several more songs off of her new album such as “Revenge”, “Barbies”, and “I Am Here”, while also including additional top hits “Try” and “Just Like Fire.” Whether old fan or new, everyone in the arena was able to sing along.
P!nk collaborated with artists such as Eminem and Phoenix’s own Nate Ruess, who both made appearances in creative ways. A video of Ruess was displayed on a screen, while Eminem was made into an enormous inflatable puppet that was guided across the stage by her dancers as P!nk sang along beside it.
One thing that makes P!nk stand out as a performer amongst others is that each song is, in and of itself, like a unique mini concert. From the band to the dancers and backup vocals, there was a passion that could be felt from all of them. Beautiful costumes were accompanied by expert dance sequences and enormous, detailed props were used on and off the stage to help create a multi-level experience. With each new song came a sense of wonder as to what magic would take over the stage next.
Another thing that makes her stand out as an artist is her fierce dedication to being herself and her love for people. Throughout the show, she takes time to shed light on important messages and reminds everyone about things like love and unity, connecting with her fans on a level unlike many other music artists.
As the show neared its end, she amped the energy up to the maximum level and brought the crowd to its feet once again with her smash hits “Raise Your Glass” “Blow Me (One Last Kiss)” and “So What.” She spent a majority of that time soaring far and wide throughout the arena sporting her same sequined jumpsuit. Lights flashed in every direction as confetti shot from mini cannons on stage. Fans watched in wonder as she flipped through the air past all of the sections. “Thank you all, remember to love one another,” she said as she was lowered to the ground for the final time.
Concertgoers left amazed with the show they had just witnessed, although it was clear that they would have stayed all night if they could. P!nk puts on a performance unlike any other artist in today’s music scene, and that is partially due to the immense love she has for her fans and a driving desire to make a difference in the world. She truly is the beauty and strength that resonates in her music, and she uses that as a driving force to give her beloved fans an unforgettable experience.
Tempe, AZ — February 24th, 2018, shortly a month after Zakk Wylde’s 50th birthday, he put on a great show at the Marquee Theatre with Black Label Society, showing that he’s definitely at a different level musically and also in showmanship. Opener EyeHateGod, a band that has been playing since 1988 showed great energy, starting what was about to be a great night of rock. Corrosion of Conformity, who I remember watching their music video “Dance of the Dead” when I lived in Chile, only raised the bar and rocked the house, closing with their most popular song, “Clean My Wounds”.
Then the show became the kind of show you’d expect to see at a full stadium, opening with pyrotechnics and a classic curtain drop, to the excitement of the fans that had filled up the venue to what seemed to be absolutely max capacity. This was my first time seeing Black Label Society live, and I could not have been more pleased, as their sound and showmanship was definitely beyond what you normally see at small venues like the Marquee Theatre.
Photo Album
Photographer: Rodrigo Izquierdo
Black Label Society, Corrosion Of Conformity, & EyeHateGod – Marquee Theatre 2-24-18
Scottsdale, AZ – For 9 out of 10 years strong, a very special show has been held annually at Pub Rock – a venue formerly named Chasers Bar. A staple in the Industrial/Gothic community, Mustache Massacre is an event that brings together both new and well-known faces alike, for a night that reminds us not to take ourselves too seriously. It’s a free concert with one caveat… you’re only getting in free if you have a mustache.
“Grow it, glue it, draw it, clip it, tape it, make it…So, trim your sister’s armpit hair, shave a dead muskrat, or steal the president’s toupee. ‘Cuz we don’t care where you get the hair, as long as it’s there!…CAN YOUR FACE HANDLE IT?!!!”
The 10th Annual Mustache Massacre (& Wa’s 40th Birthday Bash) featured entertainment by Ikonoklast, 80*D, Goth Brooks, Camel Enamel, Family Secret, and DJs //SHE// & Zander. With these 5 bands bringing industrial, goth, punk, metal, and even a little bit country, 2 DJs, a crowd of characters that weren’t afraid to dance and mosh, a photo booth run by Burning Hot Events, and even a mustache contest, it made for a long, hard, and nutty night.
“Get yo’ bad-ass mo’-fro’ pho-togged to show your grand kids what a freakin’ weirdo you were!”
Check out all of the shots from the photo booth HERE!
Mustache Rules:
Must be hands-free (attached to your face somehow)
No finger mustaches! (drawing on finger and placing to face)
5 o’clock shadow does not count (add some roughage to that stubble!)
The more outrageous, the better! (get creative, there is a contest!)
TEMPE, AZ – Lights, along with special guests Chase Atlantic and DCF, illuminated Marquee Theatre last Thursday. This eclectic mix of musicians magnetized a diverse crowd to The Marquee’s doors, and together, the entire venue celebrated a night of pure joy and musical euphoria. Fans of all ages blissfully enjoyed the great sound, atmosphere, and company of each band, but Lights certainly shone brightest of all — fans were dazzled by their otherworldly sounds and gorgeous visuals on stage, and it is clear for any outside observer to understand why they command an army of such devoted fans.
For those who know and love Lights already, they’re aware that this is certainly not Lights’ first rodeo — they’ve been to Phoenix many times since 2008, but as lead singer Lights Valerie Poxleitner put it, they come back stronger every time. From The Nile to Warped Tour, Lights certainly know how to command a stage of any size and location, and their attention to detail certainly transfixes audiences on multiple levels. As Poxleitner is an artist in more ways than one, it is no surprise that Lights’ live performances are as much visual spectacle as they are aural extravaganza. It’s no wonder that Lights has recently received nominations for the Pop Album of the Year and Artist of the Year categories in the 2018 JUNO Awards.
DCF
The first performance of the evening was DCF, an artist who is a compelling example of contemporary pop, alternative, and indie music styles. His was a solo act, yet he projected enough energy and personality to decently command the entire stage and crowd. Concert-goers, in fact, were somewhat devastated when it came time for Prince DCF to exit the stage after an acoustic version of “Misery Business” by Paramore, letting out an audible sigh as he departed.
DCF’s interesting style, mix of genres, and unique take on what is considered pop music all went well with what could only have been a Napoleonic-era Royal Navy Admiral’s Coat. Together with his stylish hairstyle and glasses, DCF exudes confidence and mirth as he DJs, sings, cracks jokes, and finds any other way to entertain a crowd. His performance was certainly a great ice breaker for the evening, though it did end on a relatively anticlimactic note.
Chase Atlantic
Next up was Chase Atlantic, a wonderful group visiting all the way from Australia; they likely chased the Pacific in this case, but everyone at The Marquee was certainly happy to see them. They instantly took over the stage and crowd, carrying the momentum over from DCF and further building fans up for Lights later in the evening. Their high energy was contagious, and they also shared a unique take on contemporary music, just as DCF had done before them. It would be difficult to say exactly what they sound like, but all alternative musicians seem to be elusive when it comes to absolute definition.
Due to their eclectic mix of sounds, it was easy for everyone in the crowd to join in on the fun. Lead singer Mitchel Cave, who first got his big start on the world stage by performing on X-Factor Australia, must have chugged several energy drinks prior to coming out, because he was moving at the speed of light all over the stage. He also seemed to love having the audience join him in the adventure, jumping down to join them briefly, before hopping back up on stage to hype everyone up even further. Chase Atlantic was definitely a great act to follow DCF with, and these boys made the transition into Lights’ scintillating performance a flawless one.
LIGHTS
Though the performances of Chase Atlantic and DCF were fantastic, some fans simply could not contain their excitement for the main act of the evening — Lights; in fact, one young fan was spotted running all over The Marquee, seemingly unable to contain her excitement. It was clear this was likely not her first time seeing Lights, and her excitement proved to be quite the harbinger of the incredible musical and visual adventure ahead.
Lights came out on stage after quite the setup time, but the wait was certainly well worth it. Immediately, fans were greeted by lead vocalist Lights Valerie Poxleitner’s silhouette in front of a massive screen; the bright, neon lights behind her perfectly symbolized the band’s name, and the hype and tension felt throughout the crowd instantly reached a breaking point. The buildup to her full visual reveal was palpable, and her glamorous, vogue-like poses as she sang in her spectral, ethereal form brought out the best fashion week vibes. Finally, she emerged from the darkness and into the light to a feverish sea of fans.
Lights performed in 3 major acts throughout the evening. During the first act, Poxleitner kept the energy from Chase Atlantic going, with some of their most exciting, upbeat songs. During this portion of the show, she asked the audience if anyone here has seen them live before. There was a resounding, screaming yes, with the majority of hands within the crowd immediately shooting up as high as they could go. She continued, clearly pleased by this reaction, explaining that they love coming back to Phoenix, and that their first time here was at The Nile (Nile Theater) over in Mesa, AZ back in 2008, where they performed with Copeland. They’ve been back many times, including to Warped Tour, and she stated, “Year after year, we keep coming back stronger.” For fans who missed out on this tour, I think it is safe to assume that Lights will surely be back soon.
As the mood seemed to chill out a bit, Poxleitner began a new discussion: “I wrote this song when I was going through a shitty time. Who’s been through a shitty time?” The oddly enthusiastic screams from the crowd were certainly clear answer enough; “We’ve all been through shitty times. Do you know what helps get us through it? Friendship, a little bit of wine, and music.” The crowd loved this strategy, and prior to performing “Face Up,” Poxleitner gave them further inspiration: “Your weaknesses become your strengths.” This phrase would certainly make a great tattoo.
“Your weaknesses become your strengths” – Lights
We Were Here Tour – Issue Two
After “Face Up,” Lights retreated off stage for a brief respite. During this time, Poxleitner displayed some of her artwork on the huge screen on stage. Since she is an artist and illustrator, it only made sense — we got to see some of her characters and settings from her Skin & Earth comic series, synonymous with Lights’ new album of the same name, which currently has 6 issues out for purchase. The images and scenes shown were quite similar to the trailer for Skin & Earth, which can be viewed here: https://youtu.be/FnbL7ZE4hmo
During this phase of the performance, Lights returned to the stage with a more somber attitude. The setup had changed during this short intermission as well — suddenly, there was a piano with lots of candles on top, helping to relax the mood even further. It was time for some calm, more acoustic songs. Poxleitner was back on stage in a new outfit, sporting an acoustic guitar. It was a pleasant change of pace, and it certainly kept the vibes fresh for the evening. It also made the grand finale that much more powerful.
After another quick break and some more stunning illustrations on the big screen, Lights was back on stage, and Poxleitner was sporting a third and final outfit. They brought back the high energy with a vengeance this time around, and Poxleitner joined the band with her own electric guitar. This guitar, she explained, represented her second character in her comic books, and it sported the beautiful Skin & Earth logo seen on stage, on the cover of her books, and all over her website and social media accounts — not to mention she also has it tattooed on her arm. She transitioned into her song “Running with the Boys” after this interesting discussion.
A highlight from this phase of the show was the video clips of Sailor Moon’s transformation and Street Fighter’s Chun Li pronouncing, “I am the strongest woman in the world!” playing in the background, which perfectly complemented the power behind Lights’ performance. Towards the end of this third act, Poxleitner brought up her song “We Were Here,” asking everyone, “When the song starts, do you hear waves or a storm?” The majority seemed to scream, “WAVES!” Poxleitner replied with, “Fuck. I always hear a storm.” She continued to discuss the music video for “We Were Here,” saying that she doesn’t recommend burning a bus, but that it was definitely a lot of fun: “Full disclosure — a pyrotech got to do it. But I got to throw the lighter.”
Bonus Issue – The Encore
Once more unto the breach, Lights came back on stage for a quick encore. They weren’t off stage long, likely because the crowd’s chants, screams, and claps were so demanding. Poxleitner picked the mic back up and asked, “Do you guys wanna hear another song?” Everyone, of course, responded with a loud “YES!” She replied, “Alright, so be it, but you guys gotta dance, and you gotta sing,” and the crowd certainly complied. To reward fans, Poxleitner jumped down into the crowd for a bit to give most people up front the best high-fives ever before jumping back on stage for a special surprise for Poxleitner’s sister.
Poxleitner pulled out her phone near the very end of the show and told everyone that it was her sister’s birthday. She wanted to get a video of herself singing “Happy Birthday” with everyone in the audience, so the lights lit the house up, and everyone sang along while she recorded. “I’ve never done one of these before!” she exclaimed after. Her sister certainly got the best little gift from that moment.
Overall, the Phoenix stop of Lights’ We Were Here Tour was an exhilarating experience for everyone, and it was clear the entire band had just as great of a time as the crowd. In fact, Poxleitner may have had the most fun of all — she truly seems to love what she does, and this shines through in her incredible displays of creativity. From the life-sized cardboard cutouts of her comic book character illustrations out in the lobby to the strange vegan pizza box introduction to some synthy song intro tunes, her contagious enthusiasm spread throughout Marquee Theatre and well beyond. This went well with her aura of power her music, and she herself exudes, in addition to her uplifting spirit. She is an inspiration in many ways — a true Renaissance Woman.
Prior to heading out for the evening, Poxleitner explained that Lights is part of Plus 1, a movement and organization that ensures $1 from every ticket sold for participating shows and artists goes to causes they believe in. Lights decided on GRID Alternatives, an organization that helps to bring solar power to places across the states. Poxleitner closed by stating we all need to “protect this little planet that we have… it’s all we got.” They left the stage to resounding cheers of joy, leaving everyone to their evenings with a little positive thinking and a lot of great memories.
Mesa, Ariz. — Stabbing Westward has been rocking out for more than 30 years, but the energy they brought to the intimate Club Red was dynamic, like they were fledglings on their first tour. They brought 90s rock nostalgia to the crowd gathered inside the dark brick walls of the venue after their 14 year hiatus. This performance was part of their 30th Reunion show, which featured local openers; Paranova, There Is No Us, Amnestic and Swindy, who all performed with stamina and grit to wow the crowd.
Stabbing Westward
Stabbing Westward keyboardist Walter Flakus and drummer Johnny Haro prepared for their set by carrying up multiple 12-packs of Coronas to the stage, and vocalist Christopher Hall walked out on stage during the sound check to record footage of the excited crowd for social media.
When Stabbing Westward took the stage, the crowd’s energy rose even more, with Hall embracing the space of the stage to engage the crowd during the opening song, “Drugstore.” During the second song, “Falls Apart,” guitarist Mark Eliopulos was playing so aggressively, pushing his guitar against the mic stand like a capo, that he broke his bottom E-string. When Hall asked him if he needed a break to replace it, Eliopulos replied, “…it was the one at the bottom, you know, the one no one uses,” and he played the rest of the show on only five strings.
They played “Lies” and “Nothing” off their 1994 Ungod album; “What Do I Have To Do?” and “Shame” off their 1996 album Wither, Blister, Burn & Peel; “Sometimes It Hurts” and “Save Yourself” off the 1998 Darkest Days album, in addition to six other songs from their expansive career. In between the songs, Hall poked fun at himself and his bandmates telling the crowd “old people” jokes and attributing it to their current lifestyle. However, with the way Hall strutted his stuff all over the stage and jumped down into the crowd, one could have guessed him only 25-years-old. Hall closed out the show with a proper drop-mic after announcing to the crowd, “We are Stabbing Westward bitches! Good night!”
Prior to headliner act Stabbing Westward, four local bands played opening sets to amp up the crowd. Each band brought diversity to the stage with their original songs and performance styles filled with vigor and moxie. The bands provided an eclectic, yet complimentary sampling of folk goth, industrial, metal and alt-rock styles.
Swindy
Swindy was on first playing their ethereal folk goth and industrial-rock inspired songs. They started out with “Synergy” followed by the electro-tech “iBegin,” and a new song, “Animal.”
Lead vocalist Randall Swindell’s stage presence oozed sex appeal in his black, wet-look tee shirt and ripped, black denim skinny jeans, and even more when he stopped playing guitar mid-song to run his hands through his cheek-length blond hair.
During the show, it was announced that this would be vocalist Alyson Precie’s last show for a while as she recently enlisted in the Navy. Her strong voice and harmonizing vocals will be missed. Swindy also consists of members Tamara Jenney on keyboard, Mike Jenney on bass, and drummer Steven Escalante.
Swindell’s passion really came through with the song “Reflection,” as he opened his arms to metaphorically embrace the crowd and pull them in. They finished the set with “Just Don’t Like It,” and “Ignite My Love” from their self-titled EP Swindy.
Amnestic
Amnestic took the stage with their industrial electro-hard rock, which they self-describe as “angry robot noises.” Vocalist Brook Thomas’ growlesque screams set the tone for a post-apocalyptic robot revolt. Amnestic comprises two other members, keyboardist Sarah Elizabeth and guitarist Aaron Coldblood. The dark stage and bold red lighting cast a demonic glow over the band intensifying the message of their music. The trio played “Harbringer,” “Desensitization,” “Discipline,” and “Absent Affect” from their current album Future; as well as “Nervous System” from their album Real Bad Day.
The third band to play, There Is No Us, came at the crowd no holds barred with their opening song, “Chemical Murder,” followed up by “Farewell to Humanity,” which is interspersed with snippets from tragic news broadcasts. Vocalist Jim Louvau’s aggressive vocals are a good representation of the societal angst reflected in their political lyrics.
The five person band consists of Andy Gerold (former guitarist for Marilyn Manson) and Jared Bakin on guitar, Eddie Lopez on bass and PHEET on drums. They played “Kings & Queens,” and “Angels Face with Devils Hands,” which Louvau described as a love song. Louvau finished out the set screaming at the crowd to throw their fists in the air for “In Violence We Trust,” getting the crowd pumped for the headlining band.
Paranova
Right before Stabbing Westward, Paranova took the stage. Vocalist Owen Doheny walked on with an instrument one does not usually see at a rock or metal concert, a saxophone. They opened with the song “Lazarus,” and guitarist Dylan Ewing executed a flawless guitar solo. The band followed with “Hyperhollow” and “Sanctuary.” Bass player Erin Sperduti’s intense bass lines and drummer Logan Dolezal’s punchy drumming really bring their sound full circle.
The band covered NIN’s “March of the Pigs,” then finished out with their original songs “Enfilade,” and “Headline.” During the last song, Doheny pulled out the sax and gave it a short-lived appearance playing it for 15 seconds right at the end of the song. All songs, except the cover of NIN’s “March of the Pigs,” are on their album Hyperhollow.
In Closing
The entire show was a high energy rock fest for the mid-size Club Red. Each opening band brought their original style and sound to the stage to work up the anticipation for Stabbing Westward’s performance. Thirty years together, they know how to put on one hell of a show. They’ve kept fans satiated, and gained new fans, as The Dreaming for 17 years. It’s unknown how long the guys will continue to tour as Stabbing Westward since their 2016 reunion kicked off, but it was a pleasure to have them back in Arizona playing the 90s rock that made them famous.
Photo Gallery
Photographer: Russ Broty
Stabbing Westward, Swindy, Amnestic, There Is No Us, Paranova – Club Red 1-12-18
PHOENIX — It was nearly Christmas Eve as Lindsey Stirling’s fans gathered at Comerica Theatre. Donning their Santa caps and winter scarves, they fell down the rabbit hole that is the visually stunning show on the Warmer in the Wintertour. The last show on Stirling’s tour landed here, in her hometown of Phoenix, and fans couldn’t be happier to welcome her back home for the holidays. Stirling has recently competed on “Dancing with the Stars”, and her dance partner Mark Ballus was opening for her on the tour with his band Alexander Jean. It was the last show on her tour, and she didn’t slow down for one second, inspiring the audience to follow their dreams, break boundaries and defy industry.
Stirling emerged from a curtained archway, sparkling in ruffles of metallic purple, silver and gold playing “All I Want for Christmas”. Surrounding her were snow-covered illuminated houses, straight from a children’s book. She was joined by her four dancers, and together they ignited the audience with their smiles and choreography.
For the next number, snowflakes swirled in the background as the notes to “Frosty the Snowman” and “Let it Snow” were merged. The dancers twirled with black umbrellas that sprinkled snow as they glided across the stage. The Christmas spirit was alive and swelling inside the theatre as Stirling performed “Warmer in the Winter”, in which she both sang and played violin, and the classic fiddle song “I Saw Three Ships.” Visions of the ocean and pirates flickered on the screen as dancers appeared in plaid skirts with bouncing steps.
After a short musical break, Stirling reemerged in a stunning sheer dress adorned with sparkling silver sequins. She and her bandmates sat down on the floor toward the front of the stage for a special treat. Stirling had laid out “instruments” for them all to play: two kazoos, a toy piano and a tiny violin. She told the crowd that she had an advantage because her instrument wasn’t a toy, it was the violin that most children start playing on at the age of 5. She laughed, saying “this one’s name is Pickles” as she held the tiny violin in the air. Together the group serenaded the crowd with a medley of tunes starting with “Jingle Bells”, merging into the Harry Potter theme, and winding down with a saucy “Santa Baby”.
At the end of the group’s medley, the pianist Kit challenged Stirling to play “The Devil Went Down to Georgia” on the tiny violin, claiming “it’s what the audience is really wondering.” And she smiled, rising to the challenge as she played about 20 seconds of the fast-paced classic fiddle song. The crowd erupted in cheers as they quickly cleared the little instruments from the stage.
The first few notes of “Crystalize” fell over the crowd, mesmerizing them as Stirling elegantly danced across the stage in a mist, with slivers of light casting eerily beautiful shadows over her. The audience listened as if under a spell, being broken only by Stirling herself, as she addressed the crowd before her next number. She spoke powerful words about her own experiences with anorexia and self-esteem. She reminded the crowd, as they listened to the next song, to remember that even if they don’t see the beauty in themselves “someone sees the beauty in you.” She then went on to perform “Hallelujah” with the curtain closed and only her guitarist to accompany her. The curtains then opened as dancers joined her on stage to perform “Angels We Have Heard on High”, wearing swaths of white fabric that draped and swirled around them as though they were angels themselves.
For the last part of the show, Stirling emerged once again in a different costume; a shining pink strapless dress, with her iconic marching band hat, with white feathers reaching towards the sky. The show pulsed with excitement as lights and sound were pushed to an impressive high. After a stunning rendition of “Dance of the Sugar Plum Fairy”, Stirling went right into “The Grinch”, where her dancers flowed across the stage in red sequins. They held giant red feather fans. At one point covered Stirling, who emerged from the fans in shorts after shedding her ruffled skirt, ready to dance about on the stage. They continued with “Carol of the Bells” as the stage lights flickered with the beat, a visual feast for the eyes and ears.
Before the last number, Stirling addressed the audience one more time and shared her family tradition of wearing matching PJs every year. “Christmas C’mon”, with a track of vocals by Becky G, rang through the theatre, as lights and dancers in matching pajamas spum around the stage. Once finished they left the stage, but the audience waited, clapping and yelling. Stirling reappeared to the ample applause of the crowd and shared a very personal story. She said while she usually likes to leave a crowd with a big number so she can read on their instagram that they just “went to a violin concert and got their face melted off.” This time, however, she was going to close on a more personal note. She shared the story of the loss of her father last year around this time, and that this song was very dear to her. She asked the audience to remember those they loved and hold them close, and played “Silent Night” to close out the night.
The “Warmer in the Winter” Tour was like a traveling snow globe, shaken up with a wonderland of lights, sounds, and dancing. Stirling touched hearts with her words and music, and spread smiles with her jokes and shining personality. As people poured from the theatre that night, they were ready to celebrate not just Christmas, but their family, friends and loved ones and everything that they held dear.
,
,
