Category Archives: Concerts

Concert reviews featuring concert photography

REVIEW: Nothing More Lets ‘Em Burn at The Van Buren in Phoenix 10-25-17

PHOENIX — Nothing More put on an explosive performance in Phoenix Wednesday night at the city’s eye-catching new venue, The Van Buren; named in honor of the historic Martin Van Buren. Once inside, it was a pretty swanky setup: grandiose crystal chandeliers dripping from the ceiling, marble double-sided bars wrapping around the room and on the back wall, an enormous, technicolored mural of the Sonoran Desert surrounded the stage — a fitting theme considering the band was formed out of San Antonio, TX. Interestingly, Nothing More frontman Jonny Hawkins is actually an Arizona native. This is a fact he shares with drummer Ben Anderson who is known for his presence in local success story Digital Summer.

Nothing More - Photo Credit: Katherine Amy Vega
Ben Anderson (Drummer) – Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

After stirring performances by Hell or Highwater, My Ticket Home, and Palisades, it was obvious the crowd’s anticipation was at its peak. All eyes were on the stage as the lights dimmed and the introduction to “Christ Copyright” rumbled out from beneath Anderson’s drum set. In a flash of white light, Hawkins entered the stage rocking his classic barefoot, shirtless style while yelling, “What’s up Phoenix?!”, as the remainder of the band stepped on stage behind him. A haze of blue and red light filled the room as the band moved right into meteoric performances of “Let ‘Em Burn”, “Mr. MTV”, “Don’t Stop”, and “Ripping Me Apart”; kicking things off with a mixture of heavy-handed tracks from Nothing More’s fourth and fifth studio albums, Nothing More and The Stories We Tell Ourselves.

The Stories We Tell Ourselves was an immediate favorite among fans after its release in mid-September of this year, coming in at 15 on the Billboard 200. And rightfully so, as the band’s live stage presence is both wildly unapologetic and deeply emotional.

Their set featured a variety of face-melting solos by each of the band’s highly talented members, but after their hit single “Go To War”, Hawkins and lead guitarist Mark Vollelunga decided to slow things down a bit. Midway through the night, the duo came together for a heart-wrenching acoustic performance of track “Just Say When”, which moved some neighboring fans and myself to tears. It’s a song that Hawkins said “almost didn’t make it onto the record” because they thought it might be “too sappy“. As is the case with many classic emo-toned favorites, the sad love story of the troubled rock star hit us right in the feels.

As “Just Say When” came to an impassioned end, the remaining members of Nothing More took the stage once again, throwing themselves into songs “I’ll Be Okay”, “Here’s To The Heartache”, and “Do You Really Want It”. Fans visibly rejoiced as bassist Daniel Oliver strapped his instrument into the infamous “Bassinator” while Vollelunga and Hawkins aggressively plucked and tapped along the fingerboard. They were, presumably, pumping up the audience for a prolific performance of profoundly personal track “Jenny”, the third single off Nothing More’s self-titled album which spotlights Hawkins’ sister’s struggle with mental illness — a topic that hits hard for many of the band’s listeners.

Nothing More - Photo Credit: Katherine Amy Vega
 Jonny Hawkins (Vocalist), Daniel Oliver (Bassist), & Mark Vollelunga (Guitarist) – Nothing More, playing The Bassinator
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

Just as we sang along to the closing lyrics of “This Is The Time”, Hawkins stepped forward to address the crowd for one of the last times that evening. “Well it’s that time of the night; it’s our last song. Who has seen us before? [Cheers] Who has never seen us before? [Cheers] We are a band that does not give encores because one: they’re fake, and two: they’re fake. We’re just going to play our last song instead, and give it all we’ve got.

Nothing More - Photo Credit: Katherine Amy Vega
 Mark Vollelunga (Guitarist) – Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

And just like that, Hawkins was back at it again, flinging his water bottle into the crowd and jumping all over the stage as he and his band mates poured their souls into iconic track “Salem – Burn The Witch”, standing atop their latest mega-futuristic, one-man-band machine – a 400-pound, 14-foot tall instrument. The members of Nothing More dubbed it as “The Scorpion Tail” in an interview with local radio station 98 KUPD earlier this week. The crowd went absolutely insane for it, cheering Hawkins on as he not only drummed with his feet, but sang as well. Even employees of the venue gathered to watch in awe, some with their fists thrust into the air.

Nothing More - Photo Credit: Katherine Amy Vega
 Jonny Hawkins (Vocalist) – Nothing More, on The Scorpion Tail
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

To say this performance was “impressive” would be to sell it short. Nothing More swept us off our feet yet again, and Phoenix will absolutely be back for more.

Nothing More - Photo Credit: Katherine Amy Vega
 Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved


by Katherine Amy Vega

Nothing More – The Van Buren 10-25-17

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REVIEW: Infected Mushroom Proves Phoenix is Becoming Insane at Monarch Theatre 10-21-17

PhoenixInfected Mushroom’s tenth studio album Return To The Sauce had fans rushing the streets of downtown Phoenix Friday night to secure a spot inside Monarch Theatre for a special DJ set. One-of-a-kind beats could be felt vibrating out of the dance club as Israeli psychedelic trance duo, Amit “Duvdev” Duvdevani and Erez Eisen (referred to as mega-revolutionaries and twice-ranked as the world’s “10 Best DJ’s” by UK’s DJ Magazine) took command of the room. The evening kicked off with notable openers Binary Hertz, Astony, and Avitas; a perfect cocktail of chunky beats and futuristic electronica to foreshadow what was yet to come.

Binary Hertz
Photography: Russ Broty, Photo Editor: Katherine Amy Vega © All Rights Reserved

Lime green and royal blue lights gushed in flashing motions above the entranced crowd as mysterious, three-dimensional psychedelia circumvolved on screen behind the stage. Their infamous visuals are actually known as a mark of transformation for the group, as they first introduced fans to this unique art in 2013 during their “FungusAmongUs Tour”, featuring three-dimensional figures that appear to collapse in on themselves as the music rises and falls. The hypnotizing display serves as the perfect backdrop for Infected Mushroom’s “psy-trippy synthetic rhythms”, having been dubbed by Relentless Beats as both “enigmatic” and “always trippy.”

Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

The vibe of the night was pure ecstasy. People danced with everything they had in them, grinning from ear to ear the whole time adorned in multi-colored glow sticks, varying Infected Mushroom gear, and glazed looks of general intoxication. The set was a solid two-hour fusion of fan favorites mixed with the full Return To The Sauce album, a dance party to top all dance parties. Curiously, the song titles of the most notable tracks from the evening seemed to perfectly foreshadow the audience’s spirit along the way.

Infected Mushroom - Photo Credit: Ken Kendall
Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

Although it was easy to get lost between one track and the next, it was clear Duvdev and Eisen knew exactly what the people of Phoenix wanted. They started things off with an electrified mash-up of “Return To The Sauce” followed soon after by “Flamingo” and “See Me Now.” As the opening notes to “Becoming Insane” tumbled out of the speakers, the crowd’s energy was on the verge of bubbling over. Bartenders thrust water hoses into the air in tandem, cutting through the dampened air with splices of icy water, sending everybody into a craze of complete euphoria. Senses dimmed and the beats took over; all that mattered was the music.

Infected Mushroom - Photo Credit: Ken Kendall
Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

It was the raw innovation behind Infected Mushroom at work, enrapturing the crowd and never holding back, passionately compelling the audience to mirror their energy with every ounce of being until the set’s closing. Together, we danced furiously through the remaining tracks of Return To The Sauce, erupting louder and louder each time at surprise mixes of tracks like “Special Place”, System of a Down’s “B.Y.O.B.”, and “Deeply Disturbed”. By the night’s end it felt a bit like all of us had left something much needed behind on that dance floor. And that “something” speaks to the magic that is Infected Mushroom: Two producers who invented an entire subgenre of trance music; two creatives who have been captivating listeners for over a decade. Whether it was sweat and spilled drinks or something a bit more meaningful “saucy” doesn’t even begin to cover it.

Infected Mushroom & Binary Hertz - Phoenix, AZ
Infected Mushroom & Binary Hertz in Phoenix
(Left-to-Right: Amit “Duvdev” Duvdevani, Sam Norris, Jeremy Miller, and Erez Eisen)


Binary Hertz Photos: Russ Broty | Infected Mushroom Photos: Ken Kendall
Photo Editor: Katherine Amy Vega

Binary Hertz & Infected Mushroom – Monarch Theatre 10-21-17

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Photography © All Rights Reserved

REVIEW: Evanescence Uplifts the Crowd With Synthesis Live at Comerica Theater 10-17-17

PHOENIX Evanescence brought a whole new level to their performance by teaming up with several orchestras around the US and Canada to promote their new album with the “Synthesis Live” Tour. The band’s fourth album Synthesis is set to be released in the fall of 2017, specifically November 10th. Downtown Phoenix was buzzing Tuesday, October 17th as fans eagerly anticipated the start of the show. Anyone who is familiar with this band knows that their music all has the same major trait to it: it’s intense. Whether it’s a soulful ballad or a heart pounding rock anthem, vocalist Amy Lee knows how to excite a crowd and keep them on their feet. This tour, however, was set to be a whole new experience from any other in the past.

Inside the concert area, center stage could be seen decked out with typical instruments; microphone, drum set, and a piano. The full orchestra surrounded them, warming up on a dark stage lit only by a hint of a purple hue. As the rest of the lights dimmed to signal the beginning of the show, the orchestra took it’s moment first to shine as it guided the audience through a symphony of sound. Wooden bows mixed with the sounds of brass and percussion shook the concert hall for several songs before turning the stage over to Lee. Met with rousing applause, Lee stepped up to the piano and played “Overture” off of their unreleased album.

Evanescence - Photo Credit: Katherine Amy Vega
Amy Lee (Vocalist, Pianist) – Evanescence
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

Transitioning into “Never Go Back” from their 2011 self-titled album, everyone remained in their seats as her velvet-like vocals spilled into the crowd, and entranced them with explosive melodies and vocals that still possessed the true Evanescence sound. And even though the audience being stationary is not the norm at her shows, Lee made it known that even without the head banging and stage dancing, this show was going to rock. “Thank you for being here tonight”, she said out into the darkness. “I just want you to know… Just because there’s an orchestra here, just because we’re sitting, doesn’t mean you’re not allowed to MAKE NOISE!!” This was met with thunderous cheers from the audience, ready to see what was in store for them next.

Evanescence - Photo Credit: Katherine Amy Vega
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

As the sixteen song (plus three-song encore) setlist progressed, the audience was taken through every level of nostalgia imaginable. Performing songs from each of their four albums, Lee’s ever present talent was really put into the spotlight. Almost like that of a rock opera, she gave off a Sarah Brightman vibe, from her outfit to her unfaltering voice as she belted the lyrics to her most popular tunes. Not having to do the intense movements a typical Evanescence show calls for worked in her favor as well, allowing her to focus more intently on her vocals. She took to the piano for several songs, singing her soul-searching ballads under a single spotlight as she expertly ran her fingers across the ivory keys. As if that weren’t enough to completely draw the crowd in, her beautifully haunting music was accompanied by a spectacular light show that emphasized the tempo and important parts of each song.

Following “Imaginary”, and before performing “Secret Door”, Lee took a moment to express appreciation for her fellow band members for stepping outside of their comfort zones to accomplish something new. “It’s a lot of fun for me. I think we’re all having fun up here. I want to give it up for my amazing band right now who had to go all the way outside the box! Beautiful, personal, amazing musicians who trusted me. Thank you.” She also later thanked the fans for trusting them.

A post shared by Haley J (@fortunedaze) on

As the set was nearing an end, there was one song that stood out in particular. With a sense of duality, Lee segued from the piano solo “In-Between” to the contrasting “Imperfection”; the second single from Synthesis. A pianist seamlessly replaced her at the piano bench, while she returned to center stage and unleashed the fierce song that combines the band’s current sound and channels the band’s original rock essence. It was able to fill the room with a powerful energy reminiscent of the time Evanescence came by storm with Fallen in 2003 (certified 7x Platinum); up through their time spent on the Family Values Tour in 2007 with the likes of Korn, Atreyu, Flyleaf, Trivium, and more. The light tech went all-out for this one as well, blanketing the room in a sea of color and shapes that perfectly aligned with the melody.

Before the first song of the encore, she asked the audience to indulge her before she played a solo song, “Speak to Me”, which she said they’ve only played live once, “so be nice.” Following this humble expression was a seemingly flawless performance of the song. The intensity and emotion was enough to send chills, especially as she hit the high note in the last instance of the lyrics, “Hear me call your name.

Wanting to interact more before she closed out the set, Lee took some time to get more personal, vulnerable, and authentic with the crowd. She talked about having nagging self-doubt, and that regardless of it, you have to persevere and overcome it. She related with every person in that room by telling them that she too has these feelings of doubt and uncertainty.

This is silly that I’m starting to talk now, after all of this time… You guys ever have that thing, where you don’t exactly know your place, and you’re just constantly inside, like, second-guessing yourself… ” One audience member shouted out, “Every day”. She continued, “…Here comes the punchline… wondering if you’re good enough? …You gotta fight that voice in your head. I fight that voice in my head every day. We all have to fight that voice in our head, we are good enough, you do belong here. One day at a time, ‘kay? Thanks for sticking with me.

Her sweet words of encouragement and love were met with resounding response, fans screaming her name, and a few tears. These uplifting sentiments were a tie-in the the song that followed; “Good Enough.”

Evanescence - Photo Credit: Katherine Amy Vega
Amy Lee (Vocalist, Pianist) – Evanescence
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

After the closing song, “Swimming Home”, Lee expressed, “Tonight has been so special to us, thank you, we love you.” By now the audience could no longer contain themselves, and Lee was met with a standing ovation from the entire theater. As she exited the stage, she bowed with the orchestra instructor and blew a kiss to her fans.

Lee and her band not only managed to put on another incredible, unforgettable show, but they also were able to give their fans a bit of encouragement to take home with them. There is no doubt that Evanescence will only have more surprises for their fans when they tour next, and that Phoenix should be ready when they do.


by Katherine Amy Vega

Evanescence – Comerica Theater 10-17-17

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REVIEW: MRCH Was Something Beautiful for Their “Reactions” Album Release Party at Valley Bar 10-14-17

PHOENIXElectronic indie pop duo MRCH did not disappoint as they rocked out with the crowd at their album release party at Valley Bar on Saturday night. MRCH (pronounced “march”) filled the venue with aesthetically pleasing visuals and entrancing music. Drummer Jesse Pangburn’s, sparkly silver drum kit and Vocalist/Guitarist/Synthist Mickey Pangburn’s black sparkly dress added to the October atmosphere and the band’s image.

MRCH,  Photo Credit: Dale Hurt © All Rights Reserved

Mickey Pangburn gave off Stevie Nicks vibes with her 70s inspired outfit which incorporated red velvet boots. At one point, she took off her boots, showing how comfortable she was with the crowd.

Heavy drums and synthesizer are the duo’s signature sound. One might consider some of their sound to be like a cross of Phoenix locals Vial of Sound, and The Birthday Massacre. Jesse Pangburn played the drums with seemingly effortless power and precision. Many times during the set, Mickey would ask the sound person to ease up on the drums due to the strong beats.

Jesse Pangburn (Drummer) – MRCH, Photo Credit: Dale Hurt © All Rights Reserved

One of their songs “Spooky”, the title lived up to its name, had a strong bass feel that even made the ground shake. Mickey’s vocals were fittingly haunting, and the song would’ve made an excellent soundtrack for those donning costumes for early Halloween celebrations outside the venue in downtown Phoenix.

Mickey incorporated guitar into some songs, often playing catchy riffs such as those in “Spin” and “Dark Days + Disco”.

Mickey Pangburn (Vocalist/Guitarist/Synthist) – MRCH
Photo Credit: Dale Hurt © All Rights Reserved

The duo paid a lot of attention to details in organizing the whole concert experience. They focused not only on their music, but also on the lighting and visuals. Green, blue, red, purple, pink and white lights cast over a background of white sheets added extra effect to their show setting the mood for the song.

Mickey Pangburn (Vocalist/Guitarist/Synthist) – MRCH
Photo Credit:
Dale Hurt © All Rights Reserved

Their visuals were just as amazing as their stage presence and musicianship. With a geometric theme, triangles and lines differed in shapes and colors varied per each song. Just as with lighting, their visuals helped make their songs and added to their meaning.

Mickey’s vocals were truly enchanting and transported the audience to another time in such songs as “Something Beautiful”,  “Spin” and “We Are the Strange Ones”.

Mickey Pangburn (Vocalist/Guitarist/Synthist) – MRCH
Photo Credit:
Dale Hurt © All Rights Reserved

Mickey also really engaged with the crowd, making silly jokes during stage banter. At one point a girl in the crowd asked for her number, and Mickey playfully asked if she was referring to her favorite number. The crowd was completely invested into the duo as they danced and enjoyed themselves as the night went on. Mickey was also having fun and dancing while singing and moving across the stage when she wasn’t playing guitar or her synthesizer.

MRCH’s cover of Metric’s “Black Sheep” from Scott Pilgrim vs. The World was clearly a crowd-pleaser; amping up the power with strong vocals and crashing drums.

At the end of the set, if fans had a wristband, they received a free CD of their new album Reactions. This was a kind gesture from MRCH that seemed to be their ‘thank you’ for supporting them, and the audience was grateful to the band in return.

MRCH is certainly a local band in Phoenix who you won’t want to miss! Follow them on their Instagram, Twitter, and Facebook to find out more about their future tour plans.

Also check out our interview with the duo to find out more about MRCH!

Photo Album

Photographer: Dale Hurt

MRCH “Reactions” Album Release – Valley Bar 10-14-17

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REVIEW: Portugal. The Man Kicked It Like It Was 1986 at The Van Buren 10-12-17

PHOENIX – Thursday, October 12th, was a much-anticipated night for fans of indie rock band Portugal. The Man. While many people may have heard of Portugal. The Man, or PTM for short, over the years since their inception in 2004, the band truly found fame after releasing their hit single “Feel It Still” from their new album, Woodstock. Almost overnight, “Feel It Still” became a widely played hit and currently sits at a comfortable 6th place spot on the Billboard Hot 100 list, inclusive of all genres of music.

This unexpected and sudden boost in attention may explain why their show at The Van Buren quickly sold out, and it may also explain a shirt they had on display at their merchandise booth with the message, “I LIKED PORTUGAL. THE MAN BEFORE THEY SOLD OUT.” This was just one of many interesting shirts and various other accessories they had on sale, with some items featuring their iconic and fascinatingly styled artwork. The lead singer, John Gourley, is the artist, and his style is quite unique.

The Van Buren is a new establishment, but it is quickly establishing its dominance in the Phoenix Metro area. Many people visited The Van Buren for the first time on Thursday evening, and many people in the crowd could be overheard discussing how great this new space is. Since the show was entirely sold out, they had the house cleared out as much as possible and even set up an auxiliary bar located house right, close to the side exits to the restrooms. This made for 3 bars inside to complement the bars out on the patio. The crowd was definitely hydrated, and the drinks were flowing — everyone was getting ready for the time of their lives.

The Chamanas

By the time The Chamanas started playing, the house was filling up fast. People were well lubricated, and cans of PBR could be seen in hands throughout the rapidly-growing crowd. While they were enjoying their beverages, The Chamanas treated them to a soothing mix of several of their distinctly varied songs. Paulina Reza, lead singer of The Chamanas, has a beautiful voice and a powerful set of lungs which she employed to their fullest throughout the show.

The Chamanas are considered a “Fronterizo pop fusion ensemble,” and their name is part English, part Spanish, and part portmanteau; all together, they represent a physical manifestation of the magical, spiritual qualities that music may sometimes bring into the world. Their goal? To change the way people may think or feel by bringing a positive outlook and spreading love through their songs. What better way to celebrate the idea of people coming together across borders to celebrate common interests and emotions? The members come from both Juarez, Chihuahua, and El Paso, Texas, making this a fantastic fusion of cultures, languages, and styles.

Reza brings vocals that are at once unique, but also reminiscent of many famous singers who may not be well known in the US. In fact, the style of her voice in many of her songs brings hints of Jeanette, the famous British-Spanish pop artist who spent much of her own musical career bridging cultural gaps through music. The rest of The Chamanas are also reminiscent of similarly-minded bands, such as Calexico, who will be playing at the upcoming Lost Lake Festival on Friday, October 20th, as well as Chicano Batman, who will be playing at The Van Buren on Saturday, November 4th.

During The Chamanas’s performance, Reza took a moment to tell the crowd, “We love music. We love to do this.” She continued to share positive thoughts like this throughout their performance, both in Spanish and English; “Music is the answer,” she said; it can become a cure for discrimination across the country.

Towards the end of The Chamanas’s time on stage, Reza also shared that, when using Portugal. The Man’s recording studio, Sonic Ranch, they became quite friendly with one another. After a while, PTM asked The Chamanas to perform some of their songs in Spanish to help bridge the gaps between genres and cultures. Reza and the band were thrilled to do so.

This lead to a stunning rendition of “Purple Yellow Red & Blue” in mostly Spanish, with a few famous lines still in the original English — most notably, the lyrics from the chorus that are the same as the title of the song. They also played their version of “Feel It Still,” which was phenomenal as well. This was a great way to get the crowd excited for Portugal. The Man, and Reza further hyped the crowd by asking if they were excited to see PTM later. The crowd screamed their approval.

Portugal. The Man

After a short break consisting of eager fans pressing ever-closer together towards the stage, the lights went out, and “Unchained Melody” by Righteous Brothers began to play. The crowd’s eager cheers soon gave way to gentle swaying, and a few people pulled out their lighters. Several others joined with their cell phones, but the effect was not the same. Some began to sing along, especially as the song reached its climax, so to speak:

“Are you
Still mine
I need your love
I need your love
Godspeed your love to me”

Just as the song reached the peak of its climactic crescendo, one of the Portugal. The Man logos was projected onto the backdrop along with their title, “The Lords of Portland.” Their desert kingdom awaited them.

Following their royal title was a message for their loyal subjects: “We are not very good at stage banter, so tonight’s performance will feature some slogans written by our management. Thank you for your continued understanding. PTM.” They followed this projected message with a verbal greeting: “What’s up Phoenix? We’re Portugal. The Man.” Immediately after this, they went right into their cover of Metallica’s “For Whom the Bell Tolls,” complete with ominous bells preceding stellar instrumentals.Those guys can rock out with the best of them.

The next song in PTM’s lineup was their second most famous song, “Purple Yellow Red & Blue.” It was clear that fans in the crowd loved hearing one of their favorite songs performed live, and many sang along. While much of the song was the same as the radio or album versions, they did add quite a few instrumental intermissions. This showed off their passion for progressive rock, which they would dive into again frequently throughout the remainder of the show.

Their penchant for progressive rock is rivaled by their love of psychedelic rock, so of course they had to cover Pink Floyd’s “Another Brick in the Wall (Part 2)” — if the singing heard from the crowd was any indication, the rest of the room definitely seemed to approve of this addition to the show. “Hey, teachers, leave those kids alone!” This was quite fitting because many might say Portugal. The Man is quite similar to a contemporary version of Pink Floyd, though they definitely have their own, signature style.

To couple with all the alternative, psychedelic, progressive, and experimental tunes Portugal. The Man were playing, they treated the crowd to an equally-psychedelic light show, complete with a section of “Purple Yellow Red & Blue” transitioning into an entrancing display of alternating rainbows reaching out towards the audience. Naturally, they also threw in purple, yellow, red, and blue lights, perfectly timed with their accompanying lyrics.

Hypnotic lasers, flashing lights, and rainbow hues were not the only visual accoutrements during the show; Portugal. The Man brought some fascinating visuals to display on the backdrop behind them. These frequently featured nightmarish images of bodies, heads, and eyes, and each song had a unique combination of one or many of these features. Diamonds and other geometric shapes also found their way into the visual feast on the projector. One thing is for certain — these graphics were unforgettable, hollow eyes and all.

As advertised, occasionally, the “management” threw up more messages throughout the show. Some of these messages stated things like, “We are Portugal. The Man! Just making sure you’re at the right concert,” and “Thank you for buying and/or stealing our new album.” Their self-awareness and reticence (or perhaps just pure love for playing music) were quite refreshing, and these textual messages were more than enough stage banter for this show.

Other amusing messages included the following series: “Smokin’ Weed???” “Gettin F*cked Up???” “Discussing Politics at Family Gatherings” and, finally, “That’s F*ckin’ Bad Ass.” The most important message throughout the entire show, however, was most likely the message that read, “That’s right kids. No computers up here. Just live instruments.”

After playing “Feel It Still” and many other hit songs, and after bringing some Woodstock vibes to Phoenix, it was time for a Portugal. The Man style encore. The crowd was greeted with a customized PTM version of the old-school “Indian-head test pattern” that used to play on broadcast TV: “Please Stand By.” Fans of the Fallout video game series may also recognize it quite well. This take on the interim between main show and encore was different and, again, self-aware, but everyone knew they’d be coming back out for a few more songs anyway. They must have wanted to be efficient about it.

Almost as soon as Portugal. The Man had swept into The Van Buren, the show was over. After their last song, the band quickly dispersed and left the stage without as much as a farewell. However, this is their style, so this is the way it must be. PTM fans were not bothered by this one bit, and many could be heard after the show eagerly chatting about how this was “the best concert of all time.” One thing is for sure: they put on a damn good show, and Phoenix is definitely feeling it still.

REVIEW: Halestorm Brings the Mayhem to Rock the Coliseum at the Arizona State Fair 10-12-17

PHOENIX The city’s weather was perfect on Thursday, October 12th as it enthusiastically welcomed Halestorm to the stage. People of all ages swarmed the Arizona State Fairgrounds for one of two reasons; fun rides and fried food, or heading to the Coliseum for a show that would allow them to experience rock at its pure essence.

Lzzy (Elizabeth) Hale is and has been the lead vocalist since the band came into existence in 1997. Anyone who has been to a Halestorm show can confirm that she posses a stage presence unlike any other female artist in the industry. From the moment she stepped up to the mic, there was a fierce connection between her and the crowd that remained throughout the entire show.

Halestorm - Photo Credit: Mark Greenawalt
Lzzy Hale, Vocalist – Halestorm
Photo Credit: Mark Greenawalt © All Rights Reserved

Even as the music shifted from fast-paced, bass pumping rhythms to slower, more haunting ballads and back again, her passion for their music poured from her. Literally and figuratively in this case, as sweat dripped from every pore, whether she was dancing around the stage during “I Am the Fire” or aggressively playing her piano for her more emotional ballad “Dear Daughter.” One would think she would steal any show completely, but with this band that is simply not the case.

Joe Hottinger, Guitarist &
Lzzy Hale, Vocalist – Halestorm

Photo Credit: Mark Greenawalt
© All Rights Reserved

Midway through their set she did something often seen at a concert by pausing midway through one of their main hits titled “I Like it Heavy”, from their third album Into the Wild Life, to introduce Arejay Hale, who is her little brother and Halestorm’s drummer. He is also an original member of the band, asking his sister over breakfast, at 10 years old, if he could play drums for her when she was telling her parents about wanting to start a band. Without returning to the song, Arejay instead spent the next six minutes in an intense, heart-pounding drum solo that shook the Coliseum walls and drove the crowd insane. “WHAT’S UP PHOENIX?!”, he yelled into his mic as he brought the solo to an end. He then took out chopsticks and proceeded to prove his pure talent as he effortlessly played the drums with them as if used them everyday. People cheered loudly, and it was obvious this bit is a crowd favorite. Still not finished, he pulled out broomsticks next and successfully played the same beat he just had with much smaller sticks. The crowd was losing their minds with amazement at this point, so Lzzy Hale took the stage once more to finally bring the song they had started playing nearly fifteen minutes before to an end. It was truly a unique transition of focus and made for an unforgettable introduction.

Halestorm - Photo Credit: Mark Greenawalt
Arejay Hale, Drummer – Halestorm
Photo Credit: Mark Greenawalt © All Rights Reserved.

One other thing Halestorm always makes clear when they perform is the love they have for their fans. After spending a good portion of the last half of the show playing upbeat, intense songs, Lzzy took a moment to toast the crowd with these words; “Thank you Phoenix for having us. Here’s to Rock and Roll, here’s to us being excellent to one another, and here’s to Arizona!”, which received thunderous applause and exuberant screams that were quickly drowned out as she launched into the beginning chords of “Here’s to Us.” This song brought out more emotion in the crowd than any song had yet. There were people pumping their fists and they sang back the lyrics they knew so well next to people hugging one another as they also sang along.

Halestorm - Photo Credit: Mark Greenawalt
Halestorm at Veterans Memorial Coliseum – AZ State Fair
Photo Credit: Mark Greenawalt © All Rights Reserved

This band really knows how to evoke emotions from a crowd. Even as they closed their set with the ever popular “I Miss the Misery” everyone was out of their seat, head-banging along to the beat and dancing with their hands in the air. The band didn’t give on their end either, wrapping up their final song with so much intensity from the music and the light show you could feel it at your core. “Thank you so much Arizona, we fucking love you!”, Lzzy said, which was met with roaring applause and a room full of metal horns.

The band bowed together as one and exited the stage. As the lights came on and everyone began to file out of the Coliseum, various chatter had already started about the show and how unforgettable it was. For never meeting a majority of their fans, they have a way of making every one of them feel like family. So it’s only natural that Phoenix will anxiously await the next time Halestorm returns to rock this city, and our hearts.


Photographer: Mark Greenawalt

Halestorm – AZ State Fair 10-12-17

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REVIEW: MUTEMATH’s “Play Dead” Live Brings New Life to The Van Buren 10-10-17

PHOENIX – Tuesday, October 10th, was yet another perfect early-fall evening in downtown Phoenix. MUTEMATH, during the latter half of their US “Play Dead Live” Tour, graced The Van Buren with their ethereal presence. Joined by the relatively new band ROMES and Tennessee indie rock band Colony House. Together, they filled The Van Buren with an interesting mix of different styles of music, approaches to live performance, and interaction with fans.


ROMES was first up; these young musicians came to Phoenix all the way from Toronto, Ontario and Wicklow, Ireland — all four met while attending school over the pond. This was their first time in Phoenix, and their enthusiasm and excitement to be at The Van Buren was palpable. The lead singer, Jacob Alexander, even sported a Phoenix Suns t-shirt to show his love for the city.

The members of ROMES had a few lights, including a lit-up sign of the band’s name, behind them on stage, but they relied mostly on their stage presence and energy to entertain the crowd. Their music was an interesting mix of styles, and they identify as indie, alternative, soul-pop or alternative pop. Their single, “Believe,” is a great introduction to their unique style. While they may be relatively new to the music scene, they have just released their self-titled debut album on October 6th.

The handsome and talented @romes hanging out with us at @thevanburenphx for their first visit to Phoenix

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Jacob Alexander, Nicolas Amadeus, James Tebbitt, and Andrew Keyes provided fantastic stage presence, energy, instrumentals, and vocals to the crowd. Their performance was a great warm-up for the incredible MUTEMATH show to come later, but ROMES certainly could hold their own. It was clear these guys are quite close, and you could feel the camaraderie on stage as they played their favorite songs. Their smiles were infectious, and their positive, friendly, welcoming aura certainly set the mood for the rest of the evening.

@romes rocked the stage at @thevanburenphx as the first opening band this evening

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Colony House

After a short break, Colony House’s time had come. Their set-up was a bit irregular, with the drummer on stage right and close to the audience. This provided everyone with a clear view of each band member’s performance, which was a nice addition. They certainly made excellent use of the entire stage. They also displayed a huge sign with their band name and logo behind them, which many in the audience thought looked a bit like a nice coffee shop or brand’s logo. They also provided a moderate amount of stage lighting, including what appeared to be four lighthouse beacons. At the very least, the audience could rest assured that no boats would be approaching too closely during the show.

@colonyhouse was the second opening band this evening at @thevanburenphx — eagerly awaiting @mutemath now!

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Colony House is from Franklin, Tennessee, which is also home to MUTEMATH lead singer Paul Meany’s record label, Teleprompt Records. While Colony House is not a part of this record label, it is clear they are quite close with MUTEMATH. They performed admirably, further lighting the fire under the crowd and increasing the energy. The highlight of their show was their hit song, “Silhouettes,” and the crowd certainly sang along with them. Later on in the show, the lead singer Caleb Chapman told the crowd to sing along with another song; after all, “it sounds so much better with your voices in it.” This was a nice way to get the audience involved.

@colonyhouse performimg their hit song “Silhouettes” at @thevanburenphx

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Colony House is considered indie rock, and they currently have two albums out. The most recent, Only The Lonely, was released in January of this year. Some of the singles off the new album are “You Know It,” “Lovely,” and “This Beautiful Life.” Chapman, his brother Will Chapman, and their friends Scott Mills and Parke Cottrell have been playing music together since high school, and once again, it was clear they are close with one another, just like ROMES. It is always wonderful to see a band composed of members who genuinely seem to love and respect one another.

Once Colony House was done playing, it was time for another break. This time, the break was a bit longer than last; MUTEMATH had a lot of equipment to set up. During this recess, the crowd continued to increase size as latecomers finally arrived to The Van Buren. Slowly but surely, people started packing in closer and closer to the stage, eager with anticipation. Meanwhile, The Van Buren was setting up for what was to be a truly impressive light show, projecting light towards the stage from the back of the house, illuminating the backdrop as well as the crowd.


After what seemed an eternity, New Orleans-based MUTEMATH finally arrived on stage. The crowd instantly went wild, and they were greeted by a band clad in purely white outfits. Aside from looking uniform in their comfortable outfits, their attire also served to complement the visuals being projected on to the stage and the massive silver backdrop. Their first song was “War,” joined by plenty of interesting visuals that either matched the song or captured the audience’s attention — soldiers, rising fists, a spiral galaxy, and various machines of war. Fans of the band who have seen the music video for this song may have recognized some of the imagery.

MUTEMATH continued the show with very different images across the board; each song brought something new, and just about every color of the rainbow was covered in the light show. In fact, this concert was less live music and more performance art. The band itself, primarily Meany, performed admirably. Their energy levels were truly unprecedented — perhaps even over 9000. They were all over the stage, dancing and playing all sorts of instruments, aside from the drummer. It was interesting to watch multi-instrumentalists performing a menagerie of fascinating instruments.

Meany’s featured instrument of choice seems to be the keytar, which he plays exceptionally well. Mixed with his bizarrely charming dance moves, unconventional voice, and the entrancing light show, the keytar is clearly the perfect weapon of choice for this artist. Later on, however, he also played his Rhodes keyboard, electric guitar, a bizarre stringed electronic instrument, and even the drums along with 2 other band members.

Meany did not just rely on his dancing and singing to entertain the crowd. He also resorted to surprise attacks in the way of headstands on top of his keyboard, the swinging of an LED light on a chord to mimic the display on the projector, getting up close and personal with the front row of fans, standing on top of his keyboard to absorb graphics being projected onto himself and the stage, and a few more surprises.

One of the most touching moments of the show was the shocking moment when Amelia Meany, Paul’s daughter, came out on stage. She had ear protection, for anyone who might worry about her little ears. She joined her dad in singing the song “Pixie Oaks,” containing these lyrics in its chorus:

My Amelia, my Amelia,
My Amelia, my Amelia,
She’s a killer, she’s a healer,
I believe her, my Amelia…

While the true meaning of the song is likely a personal thing, it is clear that his daughter has inspired much of his recent music and lyrics. She seems like an awesome kid, and her dance skills may one day rival her father’s.

In the middle of the show, MUTEMATH seemed to be finished. They had played for about an hour, after all, and vacated the stage. The crowd was not happy with this and continued to cheer for quite a few moments. After a short break of ambient background music and interesting graphics projected onto the screen, MUTEMATH came back on stage. What at first appeared to be an encore turned out to be an entire second act, so this must have been an intermission of sorts. Nobody in the audience was upset by the second hour of music, of course.

During the second half of the show, Meany, Todd Gummerman, Jonathan Allen, and their new drummer David Hutchinson somehow increased their energy levels and truly blew the crowd away. Their stage presence is nearly unparalleled, and for those up front, it was a fully immersive experience. Aside from Meany getting up close and personal with those close to the front at various points in the show, he also pulled out that interesting stringed electronic instrument and let a few people in the crowd play it with him. He passed it out to the crowd, let it float on the sea of hands for a while, and then quickly took it back.

The second most touching moment of the show came when Meany decided to jump down into the crowd while singing. When he wasn’t too focused on vocals, he began handing out high fives to those in the crowd. He proceeded down the center of the crowd, coming across a lucky individual whom he high fived and then proceeded to embrace him in what must have been one of the best hugs ever given. A few others in the crowd wanted in on this, so he gave out several more hugs before heading back to the stage. Those who received a hug seemed to be stunned in disbelief due to this intimate moment Meany shared with them.

While there were many incredible moments throughout the show, one thing is for certain — MUTEMATH rocked The Van Buren well into the night, providing an experience the crowd will not soon forget. They may have lost their beloved drummer, Darren King, and his iconic duct-taped headphones during live shows, but the new drummer did an admirable job. In fact, there was so much going on during the show that it was easy for people to forget about Darren King’s unfortunate departure from the band.

While the show blew everyone away, it was not without its faults. One attendee and long-time MUTEMATH fan, Jim S., mentioned a few concerns: “The live mix wasn’t great. The vocals were washed out. Might have to do with the mic technique.” Despite this minor concern, he was not at all let down. He proceeded to say, “The music complimented the stage presence. They have some really amazing songs and they sound good live, other than the mic mixing, but the stage presence really put the whole show over the top.” This was perfectly put, and a few others who attended the show agreed with Jim after discussing it once the show was over.

MUTEMATH is in a league of their own. They’ve gone through so many changes since 2002, and they have had some tough times, but fans old and new alike are so happy MUTEMATH is still making music and touring. In fact, people in Phoenix already seem to be prepared for their next stop — hopefully at The Van Buren again! Their new album, Play Dead, was just released last month and is a worthy successor to Vitals. Five albums and counting so far, and fans are certain to be eagerly awaiting new songs and albums in the future.

PHOTOS: The Movielife & The Early November with Racquet Club at The Rebel Lounge 10-3-17

PHOENIX — While genre-bending musician & DJ Bonobo was electrifying The Van Buren downtown, The Rebel Lounge was being taken over by post-hardcore, indie, and alternative rock.  On the bill were co-headlining classic Drive-Thru Records artists The Movielife & The Early November, along with Racquet Club, & locals Daylight Heist.

Racquet Club - Photography: Russ Broty
Blair Shehan (Vocalist, Guitarist), Racquet Club
Photography: Russ Broty, Photo Editor: Katherine Amy Vega
© All Rights Reserved

Racquet Club

Phoenix was the first night that Racquet Club joined this tour, and they will continue through to the last show on October 14. Racquet Club features members of Knapsack, The Jealous Sound, and Samiam. They released their debut self-titled album on September 29, just 4 days before this Phoenix show. Fans of local legends The Format, whose lead vocalist was Nate Ruess, may have recognized vocalist Blair Shehan from The Jealous Sound when they performed together in 2003 along with Limbeck and The Like.

The Early November

The Early November played their debut album, The Room’s Too Cold, in it’s entirety, to the delight of the crowd that sang 3/4 of the songs. The band took a break from 2007 to 2011, and has been active up until the present, with their fifth studio album Fifteen Years released in January of this year. The Early November performed as part of the Taste of Chaos line-up at Comerica Theatre in July of 2016; alongside Saosin, Taking Back Sunday, & Dashboard Confessional. (View our review & photos here.)

The Early November - Photography: Russ Broty
Arthur “Ace” Enders (Vocalist, Guitarist), The Early November
Photography: Russ Broty, Photo Editor: Katherine Amy Vega © All Rights Reserved

The Movielife

The Movielife released their first new album in 14 years, Cities in Search of A Heart, on September 22. Their 2014 reunion was a dream come true for fans who didn’t expect their return 11 years after their 2003 break-up, those who never had a chance to see them before, and for Phoenix fans who didn’t expect the band to play outside of New York.

Vinnie Caruana (Vocalist), The Movielife
Photography: Russ Broty, Photo Editor: Katherine Amy Vega © All Rights Reserved

Daylight Heist

Daylight Heist, who were on after The Movielife, are the official resident DJs of EmoNightPHX, which has been taking place at The Rebel Lounge, but will next be at The Van Buren on October 21. You can check them out, along with out all-emo cover band Hands Down, and other special guests (TBA) that night. Some of the special guest DJs that EmoNightPHX has had this year include: Buddy Neilsen of Senses Fail (9/27), Ryan Key of Yellowcard (7/20), and JT Woodruff of Hawthorne Heights (6/22).


Photographer: Russ Broty | Photo Editor: Katherine Amy Vega

The Movielife & The Early November With Racquet Club – The Rebel Lounge 10-3-17

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REVIEW: Bonobo’s Desert Migration Electrifies The Van Buren 10-3-17

PHOENIX – Tuesday, October 3rd, gave way to a beautiful early fall evening despite the higher temperatures during the day. This weather lead to what locals likely hoped was an adequate welcome for musical visitors from across the pond. Either way, Bonobo and his live band were greeted with immense enthusiasm by Phoenix music lovers.

Bonobo - Photo Credit: Neil Krug
Photo Credit: Neil Krug

Bonobo was one of the first shows announced for The Van Buren when the new downtown venue initially revealed its opening date, and many Phoenix area fans bought tickets as soon as they heard about this stop on Simon Green (aka Bonobo) and his band’s world tour.

Early in the evening, the diverse and interesting crowd that gathered within The Van Buren’s gorgeous walls seemed excited. One could easily sense the anticipation in the air. Many people were hanging out in the lobby area or enjoying the beautiful weather on the patio outside. Once the lights dimmed, people rushed to fill the floor, looking for the best spots available. It was a packed show that was nearly entirely standing room only, and people seemed hesitant to get close to one another at first. By the end of the evening, this part would change.

As the first few songs came on, heralded by pure white stage lights and a bright white Bonobo logo on the backdrop, people were tentatively interested. Fans or acquaintances of Bonobo already know that his music is quite chill and ambient most of the time, and he certainly started out with a couple of rather calm songs. Looking around the crowd, one might notice people gently swaying, bobbing their heads, and perhaps even wiggling around a little; otherwise, they seemed a bit unsure of how to properly enjoy the show.

Seizures imminent. @si_bonobo

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This uncertainty did not last long, however. Soon, Bonobo and his wonderful travelling companions warmed up the crowd with increasingly energetic beats. Shortly after the beginning of the show, they were also joined by the immensely talented and stunningly gorgeous Szjerdene. She began serenading the crowd, making for an entrancing accompaniment to the surreal tunes of Bonobo. Her dress was perfect for the interesting lighting as well, as more and more colors were added. The dress was made up of huge, bright white, vertical stripes that reflected the blues, purples, oranges, and reds of the light show. Overall, the entire stage took on a dreamlike quality. This gave the performers a mysterious presence on stage, shrouded in light and smoke.

Their first time in Phoenix! 😁

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After a few songs, Szjerdene took a break – likely to rest her vocal chords after such a marvelous performance. During the next segment, Bonobo was able to truly show off his mastery of building energy up and transitioning between different songs. The transitions were just about perfect; it was obvious that the order of songs was carefully considered, and they were performed with expert precision. The impeccable execution of these transitions became the true highlight of the show. In some instances, these transitions should have been jarring, but they were superbly timed. The crowd responded well, of course, and by the middle of the show, they were moving around much more than before.

With each seamless transition, the crowd hyped up more and more. The cheers and shouts grew louder, and many people raised their glasses high into the air. It was interesting to observe who got excited for each new song, as it seemed that everyone in the crowd had favorites by Bonobo. His immense library of released music did not allow for nearly enough of his songs to be performed, even within the nearly 2 hours they played, but it was clear that the crowd was having a great time throughout.

All around, people were dancing or enjoying the music in their own ways. Some were standing as still as possible, truly enchanted by the show and the energy surrounding them. Some were standing or swaying with their eyes closed, absorbing the music itself, perhaps further immersing themselves within the energy of the room. Others still were dancing with as much vigor as their space allowed – even in such close quarters with other concert-goers, many found ways to show off their best dance moves.

Thought someone was going to be teleported. #energize #twotobeamup @si_bonobo

A post shared by Sean Tingle (@music_seen) on

It is prudent to mention how much the light show amplified the music as well. While the music, the musicians, Bonobo’s DJ skills, and Szjerdene’s singing and dancing all made for a wonderful experience, they were all enhanced by the streams of light and smoke floating and shooting around them. At one point, it even seemed as if Simon was going to be teleported onto the Enterprise. While the light show would certainly not be ideal for those who may have light sensitivity, for those who were able to witness it, it was an almost-transcendental experience. It helped to energize the crowd and augment those incredible transitions between songs.

While Simon Green did not speak much at all during the show, he did mention how this was his first time visiting Phoenix after over 15 years of making music and touring as Bonobo. He also made sure to introduce everyone in the band, which was an admirable quality. They truly helped to make his music something else entirely when heard live, as people who are fans of his recorded music may have noticed. The live instruments and vocals were wonderful touches, and Simon himself even picked up an electric guitar during a few moments of the show. There was even a drum solo, and at one point, the concert felt like a fantastic heavy metal show. This was certainly not the average DJ show, and Simon/Bonobo is definitely not the average DJ. All in all, Bonobo live was such an intense, interesting, unique, and diverse experience, much like his music.

This tour was to celebrate Bonobo’s new album, Migration, which came out in January of this year. Next up on Bonobo’s tour, they are stopping by Tucson and then moving on to several locations in Texas before making a final US stop in Florida. From there, Simon and the band will move on to visiting several countries in Europe before heading over to Singapore. The last legs of the tour include Singapore, New Zealand, Australia, and Japan. Next year, they will return home to London and perform a few shows there, once this epic world tour has come to an end.

If anyone is going to be in an area close to one of these upcoming shows, they are highly encouraged to attend, even if they aren’t very familiar with Bonobo’s music. This show was an experience like no other, making it an entirely enjoyable experience. The nearly 2 hours of continuous, non-stop music was absolutely impressive. Their stamina, as well as their devotion to their music and the crowd, was nearly unparalleled. Seeing Bonobo live was such a rare treat to be cherished, and Phoenix and The Van Buren hope they will be back again someday soon.

Caught someone making a ❤️ with their hands up front 😍😂

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Featured photo (top) by Neil Krug

REVIEW: DaDadoh + The P.o.C. “You Can’t Rap Forever” EP Release at The Trunk Space 9-25-17

DaDadoh - Photo Credit: Lnin Oo
Photo Credit: Lnin Oo | Editor: Katherine Amy Vega
© All Rights Reserved

PHOENIX — With an Arizona summer solar-powered surge of ambition, Tempe-based Alternative HipHop artist DaDadoh started recording the 6-track You Can’t Rap Forever in June of this year. In only four months between then and the release show, he worked with a perfectionistic fervor to re-work and refine his songs that had already proven popular. Regardless of unwavering confidence in the songs he’s written, DaDadoh honed his insatiable appetite for challenging himself to accomplish beyond what he thought feasible before. In fact, he mixed and mastered the album, and performed all of the songs including all of the instrumentals, himself. The result was reaching the same kind of new heights as an artist that he is regularly helping other artists achieve as a music producer with his record label TVLiFE Entertainment.

Although You Can’t Rap Forever is a cohesive addition to DaDadoh’s discography, the release brings a fresh sound that comes with his growth and evolution as an artist and a person. Lyrically, he continues to cleverly inject commentary into his verses, using music as his platform to have a voice in matters. Steering away from his cocky, comedic, and sex-saturated themes of the 2016 release Radical, he takes a more sober tone, and channels angst into his music. The new release is both melodic, and infused with punk rock. The album feels sincere and intense – like it’s made of his very soul. Get ready to get f*cked up when you dive in.

You can buy You Can’t Rap Forever on Bandcamp as a digital download only, or with a physical copy in CD format: Here


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DaDadoh & The P.o.C. - The Trunk Space 9-25-17

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While DaDadoh is a charismatic (and somewhat-eccentric) staple in the Phoenix local music scene, he isn’t one to boast; despite the fact that one might consider him a hiphop-flavored renaissance man. If you’re not familiar with his projects and you’re reading this now, it might have taken some online sleuthing to discover that on top of his solo project and music production, he also hosts “Before The Show: The Podcast,” and is a member of bands including Exxxtra Crispy and Militia Joan Hart. And during the four months leading up to the EP release, he helped local musicians even further by recruiting 3 live band members – now known as The P.o.C. – Andy Warpigs (Guitar & Vocals), Jimmie Lewis (Bass), and Daviid Giiron (Drums).

The more you learn about DaDadoh, the more you come to understand that he passionately pours 100% into his artistic projects, and how important the community is to him. Although this release show was his time to shine, his gratitude for his new bandmates, and all of the fans and media people swarming around The Trunk Space venue, was no secret; nor was their willingness and enthusiasm to support his release show – and THAT reciprocal community is what Burning Hot Events is all about.

Catch DaDadoh’s next show,
with Amuck, Wait for the Sun, & TOSO,
at Rogue Bar on October 10!


by Katherine Amy Vega

DaDadoh + The P.o.C. – Trunk Space 9-25-17

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