Tempe, AZ — Marquee Theatre hosted a sellout crowd for the return of AFI to the valley for the first time since their February 2017 sold out show at the same venue. The AFI “Bodies Tour 2022” stopped in this college town following a short COVID postponement, and included opener Drab Majesty with their unique ethereal sound to excite the fanbase. Known for high-energy live performances, AFI had their loyal followers fist-pumping and singing every song word-for-word. It was a memorable show to be sure and well worth the wait.
Playing in low-light with some dramatic smoke, Drab Majesty took the stage with their purposefully androgynous uniform look. The two-piece band sported white shirts with gray jackets, white face paint and black goggles, with matching white choppy hair. They had a synth-heavy sound with monotonous vocals, inciting memories of 80’s bands like The Smiths or Spandau Ballet. One fan was overheard comparing them to Joy Division, and they are not wrong. With choruses repeating lyrics like, “When you were dead, I took you by your head” from their song “Cold Soul”, they add a dark edginess to their seven-song set.
The “darkwave” band was formed in 2011 in Los Angeles, California by Andrew Clinco – aka Deb DeMure – who currently provides vocals, guitar, and percussion for Drab Majesty. DeMure previously worked for the group Marriages as a drummer from late 2012 until 2017 when the band apparently broke. He is joined onstage by keyboardist and vocalist Alex Nicolaou – aka Mona D – who joined Drab Majesty in 2016.
Their record label, Dais Records, claims “DeMure insists that the inspiration for the songs is received from an other-worldly source that Deb is merely a vessel through which outside ideas flow inward”. The duo have 3 albums on the label: Careless (2015), The Demonstration (2017) and Modern Mirror (2019). They have previously toured with The Smashing Pumpkins.
AFI is touring in support of their 2021 Bodiesalbum, bringing “A Fire Inside” to Arizona, and what a show it was! The burgeoning crowd lit up from the first note of “Girls Not Grey,” from the 2003 album Sing the Sorrow. Frontman Davey Havok immediately climbed on a riser situated on the front of the stage, wearing a brass-studded vest with “Death of the Party” on the back, and the room exploded with energy. Havoc ran from one side of the stage to the other, and leaned precariously forward from the stage while singing directly to fans. When he wasn’t jumping from the riser, or swinging his microphone stand, he was belting out hit after hit from the AFI discography.
Onstage was Havok, along with original drummer and backing vocalist Adam Carson, with Hunter Burgan on bass, backing vocals and keyboards, and Jade Puget also provided backing vocals and on the keys. Their 18 song set was not shy of hits, including an intense version “Escape From Los Angeles” from 2021’s Bodies album, a super-sultry version of “The Boy Who Destroyed the World” from the All Hallows EP, and an encore including: “Third Season” from Shut Your Mouth and Open Your Eyes (1997) and “Silver and Cold” from Sing the Sorrow (2003). Notably missing from the setlist, however, was “Miss Murder”, from 2006’s Decemberundergroundalbum.
Havoc knows how to connect to people and there’s a palpable love that’s reciprocated. While singing “I Hope You Suffer” from Burials (2013), he trusted the fans to support him as he walked across the crowd. You read that right. In some sort of biblical walk-on-water feat, he used outstretched palms to walk into the crowd about 10 deep. A feat to behold, to be sure, and a bit of a surprise to the Marquee’s bewildered security. Perhaps they underestimated the crowd, who would never, ever let him fall. Havoc is an icon, and AFI is in their bloodstream.
AFI moved on to the “When We Were Young Festival” in Las Vegas the next day, leaving Arizona fans fulfilled, for now. This show has left a mark on the band’s devotees. Sometimes watching a crowd enjoy a show is as exciting as the show itself, and this is one of those times. AFI just brings it.
PHOENIX – Panic! at the Disco returned to the Valley of the Sun for the first time in over 4 years; the longest absence from the state since the group was formed. At one point – between Valentine’s Day 2014 and March 29th, 2017, Panic! at the Disco (Panic) visited the Phoenix area a whopping 7 times, so the 4 year absence – in part due to the pandemic – meant that the fans in this area were hungry for the pageantry that comes with a Panic stage show. Opening for Panic was Jake Wesley Rogers, who catapulted into the public’s eye in 2012 when he competed – and was unfortunately eliminated in the quarterfinals – on America’s Got Talent. Following Rogers was MARINA, a Welsh-born singer/songwriter who started on her path to stardom across the pond in 2005.
The three artists visited the valley on the “Viva Las Vengeance” tour, in support of the latest album – of the same name – from Panic! at the Disco. Together, the three bands promised to put on one entertaining show. The stage was a bit different than what most are used to with a square catwalk surrounding a standing room only pit for the lucky few who were able to score those prize tickets. If one were to stand in the middle of that area, it would only be around 15 feet from the stage in all directions, making it an incredible place to view this show.
As his accompanying band started up, Rogers emerged wearing a white, sparkly suit with ruby red high heeled boots. It was a triumphant entry, his hands held high as he spun around before he took a seat at the piano.
Rogers may not be the most recognizable name on this tour, but he was an excellent choice to join Panic! He was an entertainer though and through, projecting some Freddie Mercury vibes when he whipped off his jacket, revealing a tank top. It would be easy to get lost in the majesty of his stage presence, but he is not only great at setting a scene and then chewing it right up, he is also a staggeringly talented vocalist.
At one point, he performed a cover of My Chemical Romance’s “Welcome to the Black Parade,” to the delight of the crowd. The mix of his vocal talents and his ability to impressively emulate Gerald Way shows that Rogers is the consummate entertainer, and we will likely see him quite a bit more on tours – perhaps even headlining on the scale of Panic – in the future.
Mid-set, he introduced himself and explained he was from Missouri, “You know…the Bible Belt,” and, chuckling, he showed off the soon to be infamous high heeled red boots – perhaps a nod to Brendon Urie’s time in the Broadway musical “Kinky Boots” – and stated “I like to think I was the rhinestone on the belt buckle.”
The 30-minute set was capped by “Pluto,” the title track of the album he released last year. As his performance was coming to an end, he announced he was putting his phone number up on the screen, and he would select one person to upgrade their seats. This was his way of giving back, as he had told the story of how, growing up, his mother took him to concerts, but they ended up sitting in the nosebleeds. This was his way of taking someone who was in the same type of situation, giving them a night they wouldn’t soon forget.
As the stage change occurred, a banner with “MARINA” was raised. This act alone caused a cheer to rise from the crowd, and it became clear that there is a huge portion of Panic fans who are also MARINA fans. It’s easy to see why, as they both share the flair for the dramatics.
While there are no pyrotechnics that back up vocalist Marina Diamandis, she truly does not need them. She came out wearing a pink dress, slinking onto and owning the stage, and she launched into “Ancient Dreams in a Modern Land.” Standing on a white platform, Diamandis commanded the attention of the audience, keeping them in awe for the entire performance.
She greeted the crowd before “Man’s World,” saying “Phoenix! How are you feeling tonight? I’m so, so happy to be here, thank you for the warm welcome! I wasn’t expecting it.” Diamandis was extremely grateful for the love that the crowd showed her, thanking them between many of the songs, and also seemed a bit surprised at how well the crowd knew her music. Her mix of confidence and humbleness endeared herself to the crowd even more. It was hard to walk away from her set and feel anything but awe for her performance.
When she started out, she had stated she was influenced by Britney Spears and The Distillers’ singer Brody Dalle. She is now an influence herself, and there are undoubtedly many musicians and vocalists who are inspired by her for good reason: Her voice is stunning, she has the stage presence of a superstar (making the most of a minimalist background), and her lyrics are sharp and pointed, even with the upbeat sounding music. In short, it is no wonder that so many knew her music, and no wonder that she was given such a warm welcome from the crowd. Over the course of a 12-song set, she moved between the platform, her piano, and walked the stage with a fierce confidence. She closed her portion of the show with more gratitude to the audience, followed by “Bubblegum Bitch,” which drew the biggest cheers of her set.
After MARINA’s set ended, the temperature in the arena started to plummet. Signs on the pillars on the way in warned that there would be flashing lights, smoke, and pyro effects. When you see a sign about pyro in an arena, and you feel the temperature dropping, it is a good sign that you’re about to get a lot warmer, and not just because you’re going to be dancing yourself into a frenzy. Panic! at the Disco is well known for their stage shows, which are always over-the-top and some of the most fun you can possibly have at a concert.
There is also a build-up of anticipation before the show starts: on the sides of the stage, a clock counts down from 10 minutes, giving fans plenty of warning so they could return to their seats. During this countdown, various songs were playing, and as the last couple of minutes ticked by, the newly rediscovered masterpiece of a song “Running Up That Hill (A Deal with God)” by Kate Bush. As the song ended, the lights cut out, and a simulated thunderstorm started.
Lights flashed, thunder rumbled, smoke poured from the stage and the cheers started. And then seemingly out of nowhere – due to some fantastic misdirection – Urie stood on the outer edge of the stage with a huge grin and a microphone. As he began to sing “Say Amen (Saturday Night),” he also began to slowly make his way around the loop up to his ultimate destination of the main portion of the stage.
For those who have not attended a Panic show, Urie is a showman to the core – a flashy entertainer who will make sure you’re having the time of your life. The first 6 songs of the set were quite familiar to the fans, ranging from “This is Gospel” to “Emperor’s New Clothes,” the song when the pyro really kicked in. As the skulls on the screen behind Urie and the band laughed, flames erupted across the stage. 30-foot flames produce massive amounts of heat, and with multiple fireballs erupting, it became very clear why the arena attempted to turn the massive room into an icebox.
Once the first portion of the show ended, Panic proceeded to play the entire new album, starting with the title track “Viva Las Vengeance.” Not all of the songs were overly impressive, but the presentation is what mattered most here. Joining Urie on stage was a guitarist, bassist, a small brass section, and stringed instruments. The three stringed instruments – two violins and a cello – were thrust into the spotlight during the openings for most of the new songs. The brass section would get their chance to shine during “Death Of A Bachelor” later in the show, as everyone – including the drummer – left the stage beyond the saxophonist, trumpeter, and the trombonist, who all joined Urie at the outer edge of the stage.
The tracks off of Viva Las Vengeance range from the tragic in “Don’t Let The Light Go Out”, to the bouncy “Sad Clown” – which sounds as if it was pulled straight from a musical. There is even a song that might make some imagine that Will Ferrell and Christopher Walken are about to burst onto the stage: the cowbell content of “Sugar Soaker” is excessive perfection – which is perhaps a paradox – but unlike “Jumbo Shrimp,” this makes sense once one sees a live performance of the song. Many bands don’t showcase their entire album at once, so it was a bit unusual to have 12 songs sandwiched between classics that all Panic fans know and love.
The new album also shows off the incredible, unearthly vocal range that Urie has. The 4-octave range is used throughout the previous albums, but to witness it in person is breathtaking. There seems to be very little that Urie cannot do, and he appears to relish each moment up on stage. The fans relished it as well, and the Shakespearean saying “parting is such sweet sorrow” would apply here. Fans in Phoenix will undoubtedly eagerly await the next show, which hopefully will not require another 4-year wait for Urie and his crew to give us a dazzling spectacle of lights, sounds, and imagination.
PHOENIX – In support of their new album Omens, Lamb of God performed with Killswitch Engage at the recently renamed Arizona Financial Theatre. Nearing the end of the approximately 2-month long “Omens” tour, an impressive slate of east coast bands was completed with acts Fit for an Autopsy from New Jersey, and the Washington D.C. progressive metal band Animals As Leaders.
There are certain elements that are expected at every metal show: One is a circle pit, which – for the uninitiated – is what it sounds like: a moving circle of humanity, some slamming into others, and others just there to run around and avoid those hits. Most in those pits walk away with mutual respect for everyone else who partook, and it is a staple for most shows no matter the size. Another would be passing by religious protests outside of the venue. While the protesters are mostly there to yell at attendees, they also provide comic relief for the fans of a band that used to be named “Burn the Priest.” There is also an unwritten rule that a metal show should have fire of some sort, and to the delight of the pyros in the audience, this show delivered.f
Smoke rose from the stage as the pit filled and fans trickled to their seats. Drummer Josean Orta, guitarist and backing vocalist Pat Sheridan, guitarist Tim Howley, and bassist Blue Spinazola of Fit for an Autopsy (FFFA) took to the stage, with the first note of “Sea of Tragic Beasts” shortly following. Lead vocalist Joe Badolato erupted onto the stage, yelling out “ARIZONA!” before singing the first lines of “Tragic Beasts.”
FFAA have previously stated that they get their inspiration from Lamb of God (LoG), and in fact, Badolato temporarily replaced LoG lead vocalist Randy Blythe when he contracted COVID-19 earlier this year. Fit for an Autopsy released a cover of “Walk With Me In Hell,” whichMetal Hammer postulates is even heavier than the LoG original release.
Indeed, while it is possible to draw parallels between the two, FFAA is often heavier than their idols. Badolato stalks the stage, headbanging between lines, and implored the crowd to bring their energy levels up. For some, a 4-hour long metal concert means a slightly less than energetic reaction to the opener, no matter how heavy they are. Badolato did his best to bring up the energy in the venue, so at one point – right before “Pandora” – he told the crowd that the song “involves a very massive circle pit, the biggest one this room has ever seen.” The fans gladly placated him, quickly forming a circle pit for the duration of the song.
As the set drew to a close, Badolato spoke about his time in the Phoenix area, mentioning he had lived there for a year during the pandemic, and noted his mother was currently at the concert. What Badolato didn’t mention was the fact he had owned a barbershop next to The Nile in downtown Mesa during his time in Arizona. He is a talented barber who regularly gives those on tour with him haircuts and beard trims.
The next band to take the stage was Animals As Leaders (AAL) – a trio of exceptionally talented musicians: Guitarists Tosin Abasi and Javier Reyes, and drummer Matt Garstka. There was but a single microphone on stage, set in front of Abasi, who used it sparingly. The music speaks for itself, with Garstka putting on an absolute clinic behind the kit. The ease at which he plays complex and technical beats are borderline unfair, and he is known as something of a prodigy. Currently just 33, he joined the band at 23 and has been blowing the minds of audiences ever since.Drum Magazine wrote an article – albeit nearly a decade ago – about the technical prowess of Garstka, and it seems the only thing that has changed is his skills have simply increased.
AAL being a three-person band means that each member needs to be able to perform at the top of their game, night-in to night-out. Reyes and Abasi do just that, and what these two wizards do with their 8-string guitars is something that no one would want to miss. In fact, as soon as they left the stage, the many in the pit – and the audience in the seats – made a beeline for the restrooms and concession stands. In a genre where it is not surprising to see two or three guitar players and a bass player, watching these two execute some incredibly complex patterns with no margin for error, producing sounds that normally take full bands to accomplish, it is no wonder that the theater stood in rapt attention, watching and soaking up every single note that poured forth from the trio.
Compared to the other three frontmen in the night’s lineup, Abasi was a soft spoken – yet firm – and calm voice between the 6 songs the band performed. The set opened with 2016’s “Arithmophobia” – a song first performed live at the now defunct Livewire in Scottsdale, Arizona – and then showcased 4 songs from their newest album, The Madness of Many, before the band circled back to “CAFO” from their 2009 self-titled debut album. Before CAFO started, Abasi asked the crowd to give the crowd a round of applause for each of the other bands before saying, “this is going to be our last one of the evening. We’ll catch you next time we’re in Phoenix, take care.”
Killswitch Engage seemingly has become a staple in the Phoenix music scene, even though they’re based far across the country. This was the third time in this past year that they had performed in the Phoenix area, but there was no sign of fatigue from fans. The repeated appearances could also be due to the tour manager having roots in the area; a bonus for the band since the manager has contacts with local businesses and can get some great local brews delivered.
As they took the stage, the difference between the size of the drum kit that AAL’s Garstka uses and that of Killswitch Engage’s drummer, Justin Foley, is notable. Foley prefers a smaller drum kit – a simple set-up compared to the monster that Garstka uses – but he is a master behind the kit. Literally; he has a masters degree from Hartt School of Music and has played with symphony orchestras in the past. It cannot be emphasized enough: Garstka and Foley are genius drummers, and to see the two back-to-back is a rare treat.
The rest of Killswitch Engage is vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, and bassist Mike D’Antonio. Leach, while an intense presence onstage, does not have the angry, caged-animal style Badolato and Blythe share. Instead, he moves around from side to side with something that could be considered grace if one were to compare him to his contemporaries.
There is a mutual interaction – something unspoken if you will – between Leach and the fans. It is not to say the other bands cannot connect with the audience, it is instead that Leach focuses on connecting to the fans onstage, and his charisma shines through naturally. At one point, he stated that “At the end of the day, it’s all about unity man, it’s all about us coming together to have a good time.” He also made a point to ask how the people up in the nosebleeds were doing, and after asking if they have a bar up there, he said, “At least they’re taking care of you up there!”
As the night drew to a close, the band jumped into their cover of Dio’s “Holy Diver”, a song they released in 2007. After it finished, Leach acknowledged the fans who sang the entire song, and then paid tribute to Ronnie James Dio by saying, “You have to pay respect for the masters, the ones who have paved the road for us.” Leach closed the night out by dedicating “The Signal Fire” to their managers, saying they had taken care of them in their 20s, and now they’re “old pricks.” As that song wrapped, Leach told the fans, “We love you!” before leaving the stage.
As the crews rushed out to set the stage for Lamb of God, a curtain was lowered, covering the stage and raising the anticipation for this upcoming spectacle. The song “Memento Mori” began to play as the lights fell – inciting cheers as a backlit, swaying silhouette of Blythe appeared. He sang the first few lines of the song in a surprisingly controlled, quiet – relatively speaking – manner. Then, a concussive pyrotechnical effect exploded, the curtain fell, and the night devolved into a maelstrom of noise, fireballs, and screaming guitars.
As mentioned, Blythe has the stage presence of a caged beast; one that prowls in open, plain view, looking for his next prey to pounce on. His audience is utterly captive, and responds to his commands with glee. Circle pits opened, grew, shrank, and bodies surfed to the front of the stage where security helped them down to safety. Those who made it up to the front would then run back around and join the pit, where the entire process would start all over again.
There was a sense of euphoria in the air during this show, mixed with the overwhelming sonic boom that LoG produces. Blythe is joined onstage by guitarists Mark Morton and Willie Adler, drummer Art Cruz, and bassist John Campbell.
It is hard, if not impossible, to overstate just how much talent crossed the stage on this night. There is a bit of duality with Blythe; the character you see on stage is diametrically opposed to the person who he is offstage. The angsty, stalking beast exists in the way he approaches the issues of social justice – directed at the oppressors – but he is also an example of integrity. His arrest in the Czech Republic in 2012 is an example of this, and he made brief mention of his arrest before the start of “512,” which was inspired by his experience. An excerpt from his book on this matter can be found in the Rolling Stone article, “Lamb of God Singer Reveals What He Remembers of Deadly 2010 Czech Show.”
Once “512” ended, he announced – to the frenzied cheering of the crowd – that they would be playing “Grayscale,” the 8th song off of Omens, live for the very first time. In typical LoG fashion, the entire album is a ridiculously incredible display of lyrical mastery as well as the artistry that comes from the masters of guitar and drum, providing Blythe a wonderful tapestry to weave his vocals onto. The album is a must have for anyone who even remotely enjoys LoG, as it is another banger of an LP from the legendary band.
Throughout the night, Blythe made mention of the first show that the band had played at this venue 16 years ago with Megadeath. In the 16 years since first playing at the venue, LoG has returned 7 times, and is currently one of the few – if not the only – bands to play under all four names the theater has had. The venue currently known as “Arizona Financial Theatre” has had the names Dodge, Comerica, and Arizona Federal over the 20 years since it opened in downtown Phoenix. It is a very popular spot for LoG, as they have played half of their Arizona gigs in the venue since 2006, for a total of 8 shows there in 16 years.
The end comes even if no one is ready for it or really wants it to happen, and after thanking the crowd, jumping off the stage and singing with the front row of the mosh pit, and after the fiery stage show, it was time for Lamb of God to say goodbye.
The last song of the night was “Redneck,” off the 2006 album Sacrament, released shortly before the first show they played at this theater known by many names. As the song came to a close, another concussive blast shook the venue, and the night officially ended. With quite a large fanbase in the area, there is little doubt that Phoenix will again see these four bands that are exceptionally technically adept and soul-shaking.
Tacoma, WA — A surreal air swept over the night that a once dormant My Chemical Romance erupted on the stage of Tacoma Dome, following a warm-up by “emo” post-hardcore cohorts Taking Back Sunday and anti-folk singer-songwriter Kimya Dawson from Olympia, WA.
The show arrived nearly 3 years after the Halloween 2019 announcement of the reunion, and 9.5 years following the March 2013 break-up of this band with a gargantuan legacy. To top it off, it had been 11 years since Washington state had last seen My Chemical Romance (MCR/My Chem) perform on September 1st of 2011, at White River Amphitheatre on the 10th Annual Honda Civic Tour, co-headlining with blink-182. Yet, somehow, as MCR released each note into the atmosphere on the evening of October 3rd, the achingly forlorn feelings that persisted throughout the years of their absence finally melted away.
On March 9th of this year, Dawson announced she would be opening for My Chemical Romance at Tacoma Dome. As an acoustic guitar wielding solo artist with a folksy sound, some fans of the rock opera stylings of MCR initially found the choice of opener perplexing.
I’m so excited to announce that I’m opening for My Chemical Romance at The Tacoma Dome!!! WOOOOOOOO!!! So psyched (and nervous)!!! 🖤🐇🖤
Monday, October 03, 2022Tacoma, WATacoma Domehttps://www.ticketmaster.com/event/0F0058379DC3A7C9 https://t.co/MMXXQ5pdKD
She is best known as part of a duo named Moldy Peaches, whose song “Anyone Else But You” was at the end of the film Juno (2007), performed by Elliot Page and Michael Cera. Independent of Moldy Peaches, she contributed a whopping 12 songs to Juno – on its soundtrack, within the film but excluded from the OST, and a few “almost adopted songs” that were released on a b-sides soundtrack.
Kimya Dawson performing at Tacoma Dome 10-3-2022. Fan phone pic.
Dawson and her daughter Panda (who is also an artist), performed together in matching Ernie sweaters, à la Bert and Ernie from Sesame Street. For the duration of Dawson’s performance, the big screens on each side of the stage stayed illuminated with her name and an illustration versus live video, preventing a visual of the artist and her daughter for the majority of the audience, and leading to some bewilderment when she said they were “just a couple of Ernies hanging out.” The set included “You Are My Baby” – a song Dawson wrote for now 16-year-old Panda when she was a “little teeny tiny newborn”. Kimya expressed, “I can’t even believe it… being able to share the stage with my child is the best.” MCR frontman Gerard Way later dedicated “Teenagers” to Panda.
“‘[Moldy Peaches] are not sort of amateur, lo-fi indie,’ said Geoff Travis, the founder and president of Rough Trade, an English independent label that once signed the Smiths and the Violent Femmes, and has recently signed both the Strokes and the Moldy Peaches. ‘If Lou Reed was writing these songs at this age, he would be absolutely jealous. This is really serious, world-class songwriting … and the performance is so unusual, and it is so naked emotionally. It is very, very brave.’” - Deborah Netburn, Observer - "Sesame Street Meets Avenue A in Goofy Tunes of Moldy Peaches”
Listening to the sound of Dawson’s songs coupled with her witty lyrics brought Amanda Palmer to mind, especially during “The Beer” with black humor reminiscent of Palmer’s notorious “Oasis”. As it turns out, “The Beer” was released in 2003 and “Oasis” was released in 2008. What’s more, Palmer actually covered Dawson’s song “All I Could Do” with her father Jack Palmer in 2015, and Dawson nodded to Palmer in a Tweet sharing an MTV article from November 2016 about whether oppression from Trump’s presidency would lead to better music.
During “I Like Giants”, Dawson tweaked the lyrics after, “She said, ‘I like giants, especially girl giants’” to add, “and trans and non-binary giants!” Before following “The Beer” with “Loose Lips”, she said, “I don’t know why I put this one back-to-back but we’ll see what I can do,” presumably because both songs are rather fast-paced.
Excerpt from “Loose Lips”:And we'll pray, all damn day, every day
That all this shit our President has got us in will go away
While we strive to figure out a way we can survive
These trying times without losing our minds
(...full lyrics)
Mid-song, Dawson shout-sang, “Fuck fascism!” and proceeded to give an impactful monologue:
“On this day in 1967 Woody Guthrie died, and he was very outspoken against fascism, and I just wanted to acknowledge him, uh… he is the OG!” She went on to say, “…so, the original, like, lyric was, ‘Fuck Bush’, but that was like 20 years ago, and then I was saying ‘Fuck Trump’ but I don’t even want to think about that guy. And I could be like, ‘Fuck Marjorie Taylor Greene!’, you know, ‘fuck Matt Gaetz, fuck Ben Shapiro, fuck Mitch McConnel… DeSantis,’ you know, ‘Bezos… Proud Boys, TERFs… the list is endless… but not clowns. I love clowns.” (Video)
kimya dawson saying fuck terfs mid-set made me feel so safe tonight 💛 i adore my grandpa
Dawson’s modest 6-song set was finalized as a trio with Panda and a surprise guest – MCR’s rhythm guitarist Frank Iero – performing “Anyone Else But You”.
“Last night i got to play one of my favorite songs with one of my favorite artists, before getting back up on that same stage a little later and playing more of my favorite songs with my best friends… all while my daughter watched and filmed. Life is pretty darn ok sometimes.
Thank you Kimya and Panda for being the absolute raddest and for sharing your stage with me, it was a dream come true. thank you Tacoma. Thank you rock and roll. music is magick. KTF 🖤 xofrnk”
Taking Back Sunday from the back of Tacoma Dome 10-3-2022. Fan phone pic.
“We’re here to warm you up for My Chemical Romance… Mikey Fuckin’ Way is not coming out to a cold audience!” frontman Adam Lazzara declared amidst their set, referring to MCR’s bassist.
Indeed, fellow “Taste of Chaos” tour veterans Taking Back Sunday (TBS) served as an integral segue between Kimya Dawson and My Chemical Romance.
Taking Back Sunday’s 8-song set started with “What’s it Feel Like to Be a Ghost?” from their 2006 LP Louder Now. The mix of Lazzara’s dirty vocals and the band’s instrumentals seemed to be off for the first few songs, and his stage banter felt a bit obligatory and forced. However, what may have seemed to constitute standard intros to band members between songs was actually rather significant to any fan aware of the band’s dramatic history. Guitarist John Nolan and bassist Shaun Cooper left TBS in 2003, but returned in 2010.
Before starting the second song of their set, “A Decade Under the Influence”, Lazzara gave big-ups to drummer Mark “Thunderbolt” O’connell, who lives true to his nickname “when his foot hits the kick drum”. Following the song “Tidal Wave”, he shouted, “…this is my pal, and yours… John Nolan on guitar!”
Taking Back Sunday at Tacoma Dome 10-3-2022. Fan phone pic.
Their energy spiked and sound solidified with “Error Operator” and sustained through the 4 remaining songs, transforming them into that promised pre-heater. Unfortunately the screens continued to merely display a still image – Taking Back Sunday’s panther logo – until My Chemical Romance performed. However, the energy of this rock band along with the spectacle of colorful stage lights brought satisfactory stimulation to the crowd.
Taking Back Sunday at Tacoma Dome 10-3-2022. Fan phone pic.
It was surprising how much space was available in the general admission between the crowd and front row of seats, even after it later filled out a little more for the headliner. One of the most entertaining parts of TBS’s performance was when someone dove beneath the barricade (separating row A of seats from the pit) as if they were on a stealth mission, and strolled up to the crowd.
Taking Back Sunday at Tacoma Dome 10-3-2022. Fan phone pic.
“Ladies and gentlemen, we have but a-two songs left for you this evening,” said Lazarra, which elicited a shocked and disappointed, “WHAT?!” from some fans. He continued, “Now, make no mistake, we are very well aware (as we feel it too), of how long you’ve been waiting for this show tonight… Us, too! So, with that said, I would like to thank each and every one of you for being so kind and showin’ us a good time… Now, my pal John over here… he’s gonna blow your minds. They don’t call him ‘tomcat’ for nothing.” (Video)
The last 2 songs of Taking Back Sunday’s performance, “Cute without the ‘E’ (Cut from the Team)” and “MakeDamnSure”, are guaranteed crowd-pleasers. Their most recent studio album Tidal Wave was released 6 years ago. Eddie Reyes, who originally founded TBS with former member Jesse Lacey of Brand New, departed the band in 2018 citing alcoholism as the culprit. In 2019, they released Twenty, a 20th anniversary compilation, and of course COVID-19 took over the world in 2020. All things considered, if they are resting on their laurels (mind you, touring and performing are no small tasks), perhaps they can be forgiven for doing so while the nostalgia of individuals formed on their music is still running high.
As part of a culmination of the emo revival that has been steadily expanding over the last several years (which has conflated emo and pop punk), Taking Back Sunday will continue to perform in the shadow of My Chem up through the last day of the seemingly-impossible “When We Were Young” festival, which is spread out over 3 dates on 2 weekends at the Las Vegas Festival Grounds.
“When We Were Young” festival line-up
Despite the fact that multiple massive festivals have taken place and continue to be planned since the pandemic eased up (such as Coachella, Lollapalooza, Innings, Bonnaroo, Firefly, Aftershock, Austin City Limits, Zona, and more), this particular festival stood out as “too good to be true” and has received heavy speculation and criticism over logistics and feasibility – especially initially, when only one 1 day was announced. It was called “the next Fyre festival” by the faithless and snarky, and sensationalized by the uninformed as being put on by the company behind Astroworld: Live Nation – the company that puts on nearly all major concerts in the United States. Perhaps it is simply difficult for the “misunderstood” demographic to which this festival caters to believe that it is possible to get what they want.
An updated site map for an expanded general admission (GA) area was posted on October 6th, much to the ire of the VIP section. It will be interesting to see how this all plays out.
“Ladies and gentleman, we are a band called Taking Back Sunday… and we hope all your dreams come true!” said Lazzara as their performance finished.
Taking Back Sunday at Tacoma Dome 10-3-2022. Fan phone pic.
Despite the grueling wait for the return of My Chemical Romance, who are now nearing the end of their reunion tour, the show at Tacoma Dome felt like it went through a time warp.
Sure, the band may have been stripped of costumes, make-up, and theatrics – given permission to be more of a normal rock band – but the magnitude of their performance spoke the prevailing truth that all of that is just fluff – the real power lies in the showmanship and musical expertise of the group. Gerard Way (lead vocalist), Mikey Way (bassist), and Ray Toro (lead guitarist, backup vocalist) especially radiate in their stage presence.
The stage setup included a backdrop and props of a decaying city. On this tour, MCR’s setlists have varied wildly in comparison to most tours, which tend to stick to the same songs or change up just a couple of songs on most stops. However, the introductory song has remained the same throughout their reunion tour, and that works well – because one of the most exciting things a fan can experience after all of this time, on top of the ecstasy of seeing them live, is to kick it off with a fresh, explosive sound. If “The Foundations of Decay” is any indicator of what can be expected of a future studio album, there is no end to the anticipation.
Including the encore, My Chemical Romance performed 19 songs at Tacoma Dome. For anyone who discovered them when “I’m Not Okay (I Promise)” was released as a single, it was the perfect song to follow the first, flipping from the present to the start. This track of course comes from their second studio album, Three Cheers for Sweet Revenge, however many fans were not turned on to the Bullets album (fun fact: it was produced by Thursday vocalist Geoff Rickly) until after being introduced to this album.
Still more were blind to the magic of My Chem until after “Welcome to the Black Parade” was released. The music video for this track was awarded the title of MTV’s “Greatest Music Video of the Century” in 2017. This achievement was deeply gratifying to a fanbase aware of how criminally underrated MCR once was, and every heap of praise this band has received since the announcement of their return continues to be sweetly satisfying.
“They offered up spiritual solutions to real problems, and they did it with huge riffs and big theatrical stage shows, with rarely a hint of irony or detachment… it’s unlikely there will ever be a band quite like them again.”
The encore began with Gerard reading an excerpt from Interview with the Vampire with heavy distortion over his voice, and it consisted of the banger “Vampire Money”, the classic “Vampires Will Never Hurt You”, and closed with the solemn “Cancer”.
Before starting the delightful “Ballroom Blitz”-esque intro of “Vampire Money”, Gerard professed his and his wife’s love for The Batman: “…Lyn-Z and I watched the new Batman. We had like a little weekend getaway, it was really fucking rad, and… we really fucking liked it. We LOVED it. We watched it two times in a row it was so fucking good! …It was that good…. THAT. FUCKING. GOOD! …and Robert is really, incredibly fuckin’ handsome.” (Video)
This is worth noting because Gerard Way is the creator and writer of The Umbrella Academy, a comic book series which was adapted into a Netflix series that broke numerous records in viewership. So if you have wavered at all on whether another adaptation of the Batman story is worth your time, this endorsement may tip the scales for you.
In an NME article, “My Chemical Romance defend ‘Cancer’ track”, Gerard is quoted as saying, “It’s not a poetic track… It’s very direct, very brutal, but that’s the way disease is. Obviously cancer is being used as a metaphor… But I also wanted the song to be directly about the disease, because it’s something that the patient has gone through and it’s a very powerful thing. For me it was almost like an attempt to write the darkest song ever, and I think we achieved that.”
With regard to the closing song, on the walk toward the exit of the dome, a fan could be overheard saying, “…why did you end on this? Now I’m going to cry myself to sleep!”
Sprinkling in upbeat songs from Danger Days throughout the set list certainly contributed to a continuous buzz throughout the show. The only songs from the same album that were performed consecutively were “Famous Last Words” and “Welcome to the Black Parade” from The Black Parade – obviously fan favorites, as it seemed that every person in the 23,000-seat venue was singing along.
Mixing songs from their 4 studio albums created an excellent ebb and flow, and the inclusion of the “I’m Not Okay” b-side “Bury Me in Black” was also a treat. Unfortunately, Washington was not treated to a live experience of any of the songs from the Conventional Weapons compilation album of unreleased tracks. However, surrounding shows in Portland, OR (Oct. 2) and Oakland, CA (Oct. 5) included “Boy Division” and “The World is Ugly”.
This weekend, My Chemical Romance is appearing in the truly incredible line-up of “Monster Energy Aftershock 2022” festival alongside the likes of Muse, Evanescence, Slipknot, Kiss, Bring Me The Horizon, Stone Temple Pilots, Rob Zombie, The Pretty Reckless, Halestorm, Ice Nine Kills, Judas Priest, The Struts, Motionless in White, and many more.
The last date of the “When We Were Young” festival, October 29th, will be the last show of the North American leg of MCR’s reunion tour. Afterward, Mexico City will see them in mid-November. Finally, after touring since mid-May of this year, they will get a break until March 2023 when they are scheduled to perform 1 show in New Zealand and 6 more in Australia.
My Chem made the Cascadian crowd sweat that night, and you can bet money that the MCRmy (their dedicated fanbase) is insatiably hungry for more – they won’t let go. May this not be considered the famous last tour of My Chemical Romance, but rather just the beginning of a new era with great longevity.
“It’s pretty much accepted canon at this point that My Chemical Romance are one of the most significant rock bands this side of the millennium. And as yesterday’s teenagers become today’s arbiters of acceptable nostalgia, that sentiment isn’t going anywhere soon.”
PHOENIX — Alicia Keys brought the house down at Arizona Financial Theatre with her mighty chest voice, riveting talent on piano, and smooth, confident moves in an approximately two-hour performance. The “Alicia + Keys World Tour” is her first since her “Set the World on Fire Tour” in 2013, and it celebrates the releases Alicia (2020) and double album Keys (2021). Beginning in June 2022, the two-legged tour had 19 stops in Europe, and will be wrapping up in late September after 31 stops in North America – totaling 52 shows for the mega-talented Keys. This Phoenix stop was opened by Philadelphia-born singer/songwriter Pink Sweat$, whose debut album Pink Planet was released in 2021 after COVID-responsible delay.
When the lights went down for the “Princess of Soul”, a solar video crescendoed on the screen behind the stage and quickly immersed the audience in Keys’ “world”. After a keyhole appeared on screen, a curtain raised and the commanding and womanly silhouette of Keys was revealed.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Donning a plum taffeta trench coat over a blinged-out bodysuit, she took a slinky stroll toward the front of the stage – her glittery costume but a fraction of the shine of her charismatic presence upon her arrival. Keys said, “the vibe is amazing in here”, as she expressed appreciation to offer an “intimate” show to her fans, adding, “this energy is just what I wanted.” She kicked off her 34-song set with “Nat King Cole” from Keys, entrancingly playing her mobile grand piano while crooning and belting soulful lyrics.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Keys moved into a mashup of the Kanye West-produced “You Don’t Know My Name” and “Will You Ever Know It?” followed by a reggae-inspired version of “Wasted Energy” also from the Keys album. Soon after, she played a powerful, key-pounding version of “New Day” from 2012’s Girl on Fire.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. ( Photo by Kevin Winter/Getty Images for AK)
Following was a sultry execution of her 2005 Grammy-winning song with Usher, “My Boo”, then she put her spin on “Nobody” by DJ Khaled. Her band, which included a standing bass, guitar, back-up vocalists, and two additional keyboard players showcased their talents in an interlude of Michael Jackson’s “Off The Wall” while Keys briefly left the stage.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Video clips of Harlem appeared on the screen behind Keys, who was now sporting a silk white and black jacket emblazoned with her name. Up next was an astounding version of her and Jay-Z’s hit “Empire State of Mind”.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Later, Keys exuberantly played DJ while surrounded by three keyboards, offering up alternate versions of three of her hits: “Skydive”, “It Is Insane”, and “Only You”. Her new 2-disc album Keys offers original versions on the first disc, “unlocked” versions on the second one, and on the deluxe edition – Keys II (2022) – some additional songs and alternate mixes. She made a game of the alternating versions, playing samples of each, bringing up the house lights, and having the crowd vote between versions with cheering.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
After Keys descended the stairs and showed a little love by briefly walking into the screaming crowd, she returned to the piano for a heartfelt version of “Girl on Fire”, followed by her homage to self-love: “Superwoman” from As I Am (2007). Fans were asked to turn on their phone lights before joining her in singing “Fallin’”, and the room lit up both visually and in spirit for the beloved hit song that became a massive hit after she wrote and produced it herself in 2001.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
She treated fans to her dancing skills and self-assured voguing during “In Common” (Black Coffee Remix), which brought an infectious buzz to the atmosphere. The screams of her fans well-represented her idol status.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
After a bountiful hour and forty-five minutes, the pre-encore ritual began before her band started up with a slick instrumental version of Prince’s “Purple Rain” featuring a mean solo on a Gretsch by her guitarist. When Keys returned to the stage, she proclaimed, “this thing is special that we did tonight.” She was not wrong. Her library is full of songs about growth and loving yourself. She added, “the energy is beautiful; the energy is perfect”. What is more, Keys encouraged the audience to “make every moment count”, to push past fears, to live and love in an unpredictable world, “because what else even matters?” Her encore included “Like You’ll Never See Me Again” and “If I Ain’t Got You”.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Keys’ performance was beyond outstanding – all the while exuding a heart of gold and exhibiting a warm, beautiful smile with a lovable, joyful presence – demonstrating what made and sustains her superstar status. On the same night, Kendrick Lamar as well as Alice in Chains with Breaking Benjamin and Bush were also performing in Phoenix at Footprint Center and Ak-Chin Pavilion. Of the many tours to choose from to spend your hard-earned dollars on this year, the “Alicia + Keys World Tour” was most certainly a worthy, once-in-a-lifetime experience.
Alicia Keys performs onstage at The Greek Theatre on September 06, 2022 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for AK)
Featured photo (top) by Kevin Winter/Getty Images for AK
PHOENIX — Ak-Chin Pavilion wrapped up its summer concert series with Incubus, Sublime with Rome, and The Aquadolls as part of their “Summer 2022” tour. The three California bands brought a reggae-meets-alternative end-of-summer party to Phoenix, and a party it was! The kick-ass girl band The Aquadolls, plus 90’s and beyond radio favorites Sublime with Rome and Incubus brought a “chill” to the desert and a whole lot of fun for a Monday night in Arizona.
The Aquadolls emerged as Abba’s “Dancing Queen” ushered them onto the stage. Singer and lead guitarist Melissa Brooks shouted, “Who’s ready to party?” and jumped into the 2013 song “Mine” from their album Stoked on You, followed by “Our Love Will Always Remain” from the same album.
The all-girl band of “perma-teenage mermaids” from the Orange County area were founded in 2012 by lead singer and writer Brooks, who recorded demos in her bedroom before signing with indie label Burger Records. Their current lineup includes Jacqueline Proctor on drums and Keilah Nina on bass. Their tongue-in-cheek lyrics paired with an upbeat pop sound served as a great fit for this summer tour. A psychedelic, tie-dye screen with floating palm trees and the Aquadolls logo were the perfect scene-setting backdrop for their high-energy pop-alternative music.
Their seven-song setlist continued with their new single “Beachy,” which is scheduled for release on August 26th on Enci Records, and a high-energy cover of the Go-Go’s classic hit “Vacation.” Brooks gave a shout out to their crew and tour headliners: “Who’s ready for freaking Sublime? Who’s ready for freaking Incubus?!” while the exuberant crowd cheered. Next up, a catchy and fun song about obsession, “Sneaky,” followed by “Take Me Away.” Finishing out the set was a song Brooks said was about tripping out, called “Wander.” The Aquadolls made sure to take time for fans at the merch booth after their set.
With flashing red and blue police lights and images of riots projected behind them, stoner-music favorites Sublime with Rome kicked off their set with “April 26, 1992”. As if on cue, the arena filled with the smell of weed, with Rome Ramirez asking, “Where my stoners at?!” before sliding into the weed-friendly anthem “Smoke Two Joints.” Eric Wilson’s deep guttural basslines hit hard during “Doin’ Time” while images of lowriders were projected on the screen and the crowd sang along to the chorus, “most definitely”. Drummer Carlos Verdugo didn’t miss a beat with his huge beaming grin, and his unique bent-elbows-held-high style of drumming.
The band played more reggae-inspired hits next with “The Wrong Way” and “Badfish”. They also made time to pay homage to “our brothers in Katastro”. The Phoenix reggae-rock band Katastro lost their lead singer, 32-year-old Andy Chaves to a deadly car crash on May 12th on the Pacific Coast Highway in California. Sublime is no stranger to loss, and have rebuilt the band following the death of original singer Bradley Nowell to a heroin overdose in 1996. With the house lights up, a dalmatian dog joined the band onstage, in honor of “Lou Dog,” the Sublime mascot who shared the stage with the band in the 90’s.
Ramirez started “What I Got” while fans danced with their flashlights on. Their set ended with the popular “Santeria”. Sublime brought their mega-talent and chill vibe for a fun, end-of-summer show.
Incubus
“I want my, I want my MTV…” from “Money for Nothing” by Dire Straits played over the P.A. as the walk-out song for Incubus, the third California-based band of the tour. On came the lights, and frontman Brandon Boyd sang a powerful version of “Nice To Know You” to kick off a nearly two-hour set covering three decades of songs from the alternative band. Boyd spent the entire set on a chair, stating he hurt himself without elaborating how, but amused by the spinnable chair.
With his shoulder-length hair and white pants, Boyd said he remembered playing Ak-Chin Pavilion years before, after traveling from California in a van when Incubus toured with Dirty Heads in the 90’s. Currently, he is touring with bandmates Mike Eiziger on guitar, Chris Kilmore on turntable, José Pasillas on drums, and Ben Kenney on bass guitar on a 27-date U.S. tour that began July 24th and wraps up September 3rd.
Next up was “Circles,” matching the track sequence from Morning View. Afterward, the house lights came on and Boyd asked for the crowd’s help as the band performed “Wish You Were Here”. A powerful version of “Anna Molly” blew the crowd away, followed by an amazing, extended version of “Just a Phase” with a little of The Doors “Riders on the Storm” injected into the middle.
Their 16-song set was full of both radio hits and deep cuts from their 30-year history, like Make Yourself’s “Stellar” and “Pardon Me”, “Sick Sad Little World” from A Crow Left of the Murder, 2020’s apropos “Karma, Come Back” from Trust Fall (Side B), “Vitamin” (barely placating S.C.I.E.N.C.E. fans) and more. During “Mexico” the injured Boyd placed his arm around guitarist Eiziger’s shoulder in a sort of seated side-hug and sang the “ooo”s of the song’s bridge in a beautiful bromance moment.
When Incubus said goodnight, fans naturally were not having it. With cell phone flashlights beaming, the fans cheered for more, and the band returned to the stage. They closed out the night with “Warning” and “Drive.” What a way to end the summer – three hella chill bands bringing Cali-style fun and cool vibes to the desert!
PHOENIX — All in attendance at this rock & roll revival – Halestorm’s mega Summer 2022 tour – were there to bear witness to a concert fronted by some of the top women in rock music today! It was definitely ladies’ night on stage, co-commandeered by Lzzy Hale (with her flagship rock & roll machine known as Halestorm) and Taylor Momsen (with her nuclear destroyer blitzkrieg known as The Pretty Reckless).
Photography: Mark Greenawalt
But wait, there’s more! These two co-headliners brought an additional bevy of ladies to the shed with supporting acts Lilith Czar and The Warning. This entourage began this Summer Tour 2022 in Detroit in July and will wrap up the twenty-one stops in Portsmouth in August. This night’s “sermon” was held at Arizona Financial Theatre for the Phoenicians. And it was good… Correction – It was great!
Lilith Czar had a short set and half empty arena to deliver it to. Despite that, she and her band played their asses off and established their reason for being on this stellar bill. Fans know her to be the artist formerly known as Juliet Simms, who CeeLo Green coached to the finals in the 2011 season of The Voice. In 2021 she re-tooled her look and her sound and changed her moniker to Lilith Czar, and this was the night her new persona touched down in Phoenix (note that in March ‘22 she played Mesa Amphitheater with Black Veil Brides).
Her hair was raven black with bangs like Bettie Page. She was dressed in red leather short-shorts and a red lace shirt to match. Accessories included hoop earrings, a black leather choker, and a black leather vest that came off early in the show – a very evocative look. Her set began with “Feed My Chaos” and “100 Little Deaths,” a song carried over from her Juliet Simms days. Her voice is the same as when it won us over singing “Oh! Darling” by the Beatles on The Voice blind auditions, but the music has gotten much heavier. Between songs she armed herself with an Epiphone Les Paul Gold Top guitar and later an acoustic guitar.
Despite the low energy of the early crowd, her band put on a stellar performance and special shout out to drummer Lindsey Martin, who truly seemed thrilled to be behind the drum set. Crowd participation peaked when the band did a cover of “Edge of Seventeen” by Stevie Nicks and then rolled out the songs from her current music video suite for “Lola,” “King,” and “Anarchy.” Lilith Czar has developed a unique sound and a unique look and her loyal fanbase is coming around. We’re looking forward to seeing and hearing her future offerings.
The convergence of these four particular acts may never happen again and it was a thrill to experience the “dark horse” performance of The Warning. I expected to be blown away by Halestorm and The Pretty Reckless, but The Warning was such a pleasant surprise of an up-and-coming act…that has arrived! Their story is documented in countless YouTube videos about these three sisters from the city of Monterrey, Mexico. They were just children when they did a video of themselves covering Metallica’s “Enter Sandman.” It went viral. The youngest, bassist Alejandra, is still just 17 and the oldest sister, guitarist Daniela, is just 22. The middle sister of the Villarreal family is drummer Paulina (age 20).
Most of their original songs were from their third studio album, Error, however they did take a moment to show how much their musicianship has blossomed by doing a new cover of “Enter Sandman,” and it was very impressive. All three sisters sing and their stage presence is invigorating to watch. Although they may have been new to many attendees, there were quite a few die-hard fans singing along to every song.
Their YouTube reach has continued to grow with more seasoned music videos for songs “Choke” and “Disciple.” These videos show that those cute little children have grown into beautiful women, not to mention they have evolved as songwriters too. Their heavy sound has traces of the bands that have influenced them, but their musical style is uniquely their own. Crowd favorites tended to be their current single “Money” (which reverberated echoes of “Seven Nation Army”-meets-“Balls To The Wall”) and the closing song “Evolve,” which has prog rock elements. Keep your eyes peeled. We haven’t seen the last of this power trio from Mexico!
In 2020, Taylor Momsen was ready to hit the road in support of Death By Rock & Roll. The title track had been pre-released and shot up to number 1, then the pandemic hit. The album release date kept getting pushed back until it finally was released in February of 2021, but touring was still not in the cards. Finally, 2022 is proving to be the year for The Pretty Reckless (TPR) to reconnect with that tangible live experience. The press for this show implied a dual headline of Halestorm and TPR, but it was soon clear that TPR were relegated to being an opening act with a fraction of the full stage, less lights, and about half as many songs. They handled it with grace and thanked Halestorm for bringing them on the tour, but it seems they may have been somewhat short changed for a band that sports 7 number one songs (one more than the headliner).
The set opened with a cover of Soundgarden’s “Loud Love,” a song The Pretty Reckless recently recorded for Sirius XM with Soundgarden’s Kim Thayil on guitar and Matt Cameron on drums. Momsen has cited Soundgarden as a huge influence and she again recruited Thayil and Cameron to play a track on the new album, “Only Love Can Save Me Now.” This song, another number 1, also made it into the short set. The Pretty Reckless were on a career high when they had the pleasure of being the opening act for Soundgarden until the tour tragically ended with the passing of Chris Cornell.
There was a mix of new songs like “Witches Burn,” a rocker with a nostalgic AC/DC feel, and back to their first single “Make Me Wanna Die.” You know it’s real live music when there is a bass malfunction and guitarist Ben Phillips stops the show and says, “Hold up. Stop. I don’t wanna play the song without bass.” The problem was fixed right away and Phillips continued, “Let me decide where we’re going to pick up. This is how live rock and roll could work. I can count this out where ever the fuck I want it to start.” He chose to start back at the first verse, the crowd cheered in agreement and just like that, they were back in the swing of things. No tracks to sync up to, just live music. Much appreciated.
Momsen looked beautiful with the smoky eyes and glittering eye shadow and wore her platform biker boots and black silk camisole like a superhero costume. There was no doubt that she had reinvented herself when she started this band and left Cindy Lou Who and Gossip Girl behind in search of her own identity. It’s working. She exuded sexiness with a devil-may-care attitude and you could tell that her primary goal wasn’t to turn you on with her womanly wiles, but to draw you in with her voice, to deeply experience her music. Her voice was in top form as she emoted smoky smooth low notes in “Going To Hell” and then launched into raunchy, gravelly high notes in “Heaven Knows.”
So many good songs had to be left on the cutting room floor like “Follow Me Down,” “25”, and “And So It Went”, but they did save a really good one for their final number. Momsen thanked the opening acts and Halestorm for bringing them on this tour. “I don’t know about everyone here, but all I wanna do with my life is fucking rock, and fucking roll, and play fucking music,” she said, “And thanks to all of you, I get to do that and that’s absolutely incredible. So thank you from the bottom of my heart, from all of us. We love you so much.”
The song “Take Me Down” is an amalgamation of all the greatest hits of classic rock mixed with that signature sound of The Pretty Reckless. It’s a song about selling your soul for rock & roll. Momsen donned an electric six-string as the band played from their souls and she sang from her heart. Great show!
Halestorm is no stranger to Phoenix. In fact, they were here in November 2021 with Evanescence in this same venue. Hale and company are back this time with a fresh set of monster tracks from Back From The Dead, just released in May. Last year’s show introduced the title track “Back From The Dead,” which was riding high at number 1 on the charts at the time. Tonight’s show took a deeper dive with half of their 16-song set being new material. Two of the new songs were more familiar due to radio airplay including “Wicked Ways” and the number 1 song that capped off the night, “The Steeple.”
The opening acts had the audience primed and ready for the Halestorm experience, which began as a black veil that dropped, revealing the band 8’ above the stage on platform risers leading to the drum cage. Two colors popped out of the scene under the blistering white lights: the cardinal red of Lizzy’s signature Gibson Explorerbird (with matching lips and sexy boots) and the neon green glow of drummer Arejay Hale’s hair, drumset, and modern-day zoot suit! Poised for attack, they left no doubt that their intention was to thoroughly entertain!
Praise be to Lzzy Hale, first for her songwriting prowess on every Halestorm song (including six number 1’s, by the way), second for her mastery of the guitar which earned her a coveted sponsorship last year from Gibson Guitars as the first female brand ambassador, and third…good Lord almighty, that voice! How she reaches those notes with such a growl and perfect intonation, night after night for months on end is truly one of the natural wonders of the world. Steve Whiteman (Kix) may have given her some tips to the secret sauce of belting, but there is something about her vocal anatomy that makes her a celebrated freak of nature.
The rasp was on full display on songs like “I Am The Fire,” “Psycho Crazy,” and “I Miss The Misery,” but she proved that her voice is much more than controlled screaming when the show entered the proverbial eye of the hurricane for the ballad “Break In.” All the lights went down except for the spotlight on the piano at center stage. Oh yeah, did I mention that she’s also accomplished on piano? She played solo and had the audience in the palm of her hand during the new acoustic anthem “Raise Your Horns.” Janis Jopplin had to be looking down and smiling for this song. Touching.
Although she is undoubtedly the focal point for most, the band is rock solid at every position. Brother Arejay Hale is a phenomenon to watch on the drums. He is technically precise, but exudes fun and antics while delivering a clinic on professional drum techniques. He did a drum solo which included some interesting oversized drumsticks (still smaller than the broom sticks he used when Halestorm played the Arizona State Fair in 2017). Although cool, the drum solo was unnecessary in the sense that his playing was so incredible throughout the show that there was nothing left to prove! Guitarist Joe Hottinger and bassist Josh Smith seemed to keep their nose to the grindstone and play to the masses while the brother/sister act basked in the spotlight. But make no mistake…they didn’t (make any mistakes, that is). The band was tight and obviously rehearsed after years on the road.
It’s a shame when really good songs have to be cut from the setlist to make way for the new, but ones that remain are the ones that bring the crowd to their feet. In the bottom of the ninth, it was time to bring out the closers: “I Miss The Misery,” “Freak Like Me,” and a personal favorite from the debut album, “I Get Off.” What a climax! And then an encore of thank yous, “Here’s To Us” and finally, America’s (dare I say the world’s) new rock anthem, “The Steeple.”
Lzzy Hale closed the night with a song reminding everyone that this was her church and these were her people: A healthy mix of genders, races, and ages with a common passion for great music.
Tempe, AZ – Co-headliners Less Than Jake and Bowling For Soup stopped at the Marquee Theatre in Tempe for the second to last show before a break in their “Back From The Attack” tour, which will resume on September 2nd in San Diego. This tour was a long time coming: Less Than Jake and Bowling For Soup had briefly toured together in 2019, and have appeared at multiple festivals together, but they had never jointly embarked on a major, cross-country tour. According to Bowling for Soup lead vocalist Jaret Reddick, there were discussions of a tour before the world shut down for COVID-19, but it did not solidify until after society began to open up again. Joining the two long-time, legendary punk bands on this stop were CLIFFDIVER, a Tulsa, Oklahoma band who have dubbed their own sub-genre: elevator emo pop. Rounding out the bill was Doll Skin, a punk-rock band from Phoenix, Arizona.
As the doors to the Marquee opened, relieving fans from the sweltering mid-summer heat, they were greeted by a table operated by staff from Punk Rock Saves Lives. Reddick is the chairman of the advisory committee, and is a major advocate of mental health. The group helps connect people who need mental health services to the right resources. They also help sign up potential bone marrow donors as well. Mental health was a bit of a theme throughout the night.
Doll Skin
Doll Skin took the stage at 7 p.m. and opened with the chords of “Don’t Cross My Path,” from their 2019 album Love Is Dead and We Killed Her. If you heard the first few notes, you would be excused for thinking that this was a bit of a slow song, showcasing the smooth voice of lead vocalist Sydney Dolezal. The song, however, builds up and then explodes in the second verse, immediately electrifying the atmosphere and waking up even the sleepiest member of the audience.
During a break between songs – while drummer Scoot and guitarist Tori switched places, giving bassist Tay a bit of a break as well – Dolezal introduced themself to the crowd, saying that they had come to their first show at the Marquee when they were 12. After finishing a cover of Fugazi’s “Waiting Room,” Dolezal thanked the crowd for their participation, stating there would be more, but they wanted to say something before the show moved on:
“This state, my home state, has a fucking governor who’s a douche. *chuckles* Duceeyyyyy. I think my existence as a trans person, and a queer person, should not be inherently political and inherently divisive. I’m going to be fucking mad about it until I can exist, and the younger, queer people that are coming out to me and came before me can exist and live their lives.”
They finished by expressing their love for the community and dedicated “Eat Shit” to the people who prevent others from living their lives. The set was short – only 7 songs – but every aspect was memorable, from the impassioned speech Dolezal gave, to Dolezal jumping off stage during “Control Freak” and joining the mosh pit, while singing the entire time. As the band left the stage, Dolezal led the enthusiastic crowd in chants of “Doll Skin!” before wishing everyone goodnight.
This year has marked a lot of firsts for CLIFFDIVER. One is their debut album, Exercise Your Demons and another was experiencing the ridiculous heat that comes with an Arizona summer. Conversely, this is the first time that Arizona has been exposed to this lively emo band. The band is made up of co-lead vocalists Briana Wright and Joey Duffy, bassist Tyler Rogers, saxophonist Dony Nickles, guitarist/back-up vocalists Matt Ehler and Gilbert Erickson, and drummer Eliot Cooper.
While their song titles may catch your attention first – “Not All Those Who Wander Are Lost but Can Anyone Help Me Get Out of This IKEA?” seemed to be one of the crowd favorites – the sheer amount of talent these 7 possess should hold your focus. Wright and Duffy combined for a jaw dropping cover of Creed’s “Arms Wide Open” and “Higher” mid-set, much to the delight of those witnessing.
The music of CLIFFDIVER is a beautiful mix of open, honest, and devastating lyrics, set to music that makes you want to dance and yet make you think that you should call your therapist tomorrow morning. Between songs, the pair spoke about various topics, with Duffy discussing his bi-polar disorder and his sobriety, which recently reached 14 months. As the band and the crowd fed off each other’s energy, it was quite apparent that CLIFFDIVER was an experience, and that everyone involved would leave the Marquee just a bit better for having been there.
Less Than Jake started life as a band 30 years ago, and hasn’t slowed down since. Starting the show off with 1996’s “Automatic,” Less Than Jake made it very clear that they were in town to give everyone one hell of a show. Indefatigable frontman and guitarist Chris DeMakes is a fast-talking, fun-loving ska-punk legend who – along with the rest of the band – has a single-minded desire to make sure you leave the building feeling like you had one of the best nights of your life. The band is rounded out by co-lead vocalist and bassist Roger Lima, trombonist Buddy Schaub, saxophonist JR Wasilewski, and drummer Matt Yonker.
There was a sort of controlled chaos that erupted from the stage, where DeMakes and Lima – with the rest of the band joining in at various points – interacted with the crowd between songs, bantering with the crowd and with each other. DeMakes gleefully reminded everyone who was over 35 that it would indeed hurt in the morning, an observation that resulted in knowing nods from those who have long since left that milestone behind, and cheers from those who were much closer to that age and likely did not realize what lay ahead for them. Less Than Jake made sure that there would be plenty of opportunities to feel it in the morning, mixing up the old with the new, even pulling an older, lesser played song out – 1996’s “Rock-N-Roll Pizzeria” from their album Losing Streak – and throwing it into the mix with “Lie To Me,” from their newest album Silver Linings. There was a bit of something for everyone, and for every age as well.
At one point, DeMakes pulled two younger kids onto the stage as well as one of the fans who was fanning herself, because as he said “you’re using more energy fanning yourself,” and asked Nick – their roadie – to fan her. Nick did so for the start of “History of a Boring Town,” which DeMakes dedicated to Flagstaff, which is a fair assessment of said town. Another new song was “The High Cost of Low Living,” a song DeMakes promised would be a banger. It is indeed, and it featured the return – albeit short lived – of their 90s mascot Skullman, who disappeared as quickly as he showed up. It’s never easy saying goodbye to a band like Less Than Jake, but there is no doubt they will return soon, as they expressed their love for Tempe and their fans.
Bowling For Soup set is a bit unorthodox: They played 11 songs, and they spoke to the audience for about the same amount of time as they sang. Where Less Than Jake has mastered controlling the flow of energy in the building with their in between songs chats, Bowling For Soup has mastered the art of turning a set into equal parts comedy and music. Both methods work, and work well, but expecting Bowling For Soup to follow the stereotypical punk-rock structure would be to ignore most of their body of work. After all, Reddick is far more than just the lead vocalist; he is the voice of Chuck E Cheese, the chairman of the advisory committee for Punk Rock Saves Lives, and a country music artist. Is it not punk to defy expectations, even if those expectations are that the show – and the band – will be closer to what one considers traditional punk?
Nothing about the band and the music they play – brilliantly – is within the conventional norms, and that makes their show all that much more fun. Reddick is joined onstage by guitarist Chris Burney, drummer Gary Wiseman, and Rob Felicetti on bass – all three performing back-up vocal duties as well. Favorites like “Punk Rock 101” and “1985” were played between a dad joke contest – won by Wiseman with “There were two windmills on a windmill farm, and on this particular day there was no wind. One windmill, trying to start a conversation, asked the other what kind of music they listened to. The second windmill replied ‘You know what? I’m a huge metal fan.’” – and a magic show where Reddick made a “bird” (read: his middle finger) appear from Burney’s kilt.
In addition, there was a rain of guitar picks from both Reddick and Burney, so much so that their roadie had to make multiple trips just to refill the microphone stand holding their picks. A few of those picks were even flicked at the photographers in the pit, who Reddick jokingly called the paparazzi.
Bowling For Soup released a new album this year called Pop Drunk Snot Bread, which was reportedly first intended to be a recording session to make a few singles, but in the end the band decided to make it an album to spend even more time together. Unsurprisingly, the songs off this new album are fantastic, and the band treated the crowd to one: “I Wanna Be Brad Pitt,” a song about, and this may be a bit surprising, Brad Pitt. The music video is predictably hilarious, and watching it live is a treat unto itself. Reddick discussed mental health as well, sharing a bit about his own struggles over the years and what Punk Rock Saves Lives means to him and what it does for the community.
Punk is often thought of as a music genre, when in reality it is, or has become, a culture and community with some really good music that comes along for the ride. The flier handed out at the table had a quote on it from Joe Strummer: “Punk Rock means exemplary manners to your fellow human beings.” This, without a doubt, is a statement that all four of the bands lived up to on this night, and during every show.
PHOENIX — Jonny Hawkins’ vocal acrobatics were absolutely mesmerizing. It’s hard to believe the Nothing More frontman wasn’t even singing at age 21 as he sat just beyond the limelight as the band’s drummer. His voice evolved from gravel enriched screams as they opened with “Turn It Up”, to technically precise softness in the opening verse of “Go To War”. And, oh yes, he made his presence known early in the show as he rose up to ride The Scorpion Tail that not only looks dangerous but also contributes to the sound as Hawkins jammed the throttles that processed the guitar like a whammy bar.
The audience were the loyal followers in response to the shouts in “Christ Copyright” and the musicians were Hawkins’ disciples like in the last supper painting. Mark Vollelunga (guitar, vocals), Daniel Oliver (bass, vocals), and Ben Anderson (drums) were all superstars in their own right, but the focus seemed to always come back to center stage where the charismatic singer, with the muscle tone of an MMA fighter, held court.
For this show, Hawkins’ ever-morphing body paint design for the evening resembled a red sash on a field of black that faded out asymmetrically across his torso. What it symbolized remained a mystery along with the question of how the paint stayed on all night through the sweat and stage antics.
The 13-song setlist included a balanced mix of selections from 2017’s Grammy nominated The Stories We Tell Ourselves and the previous release from 2013, simply entitled Nothing More. Fans were treated to two new songs from 2022, the opener “Turn It Up Like (Stand In Fire)” and the brilliant lyrical voyage of “Tired of Winning” with an embedded speech from Alan Watts on the eternal now.
Phoenix was one of the last stops on this 27-gig tour before they head back to San Antonio where their origin story began and there was no sign of fatigue or phoned-in performances. The energy was at full tilt all night long. Even when the heavy sounds took a respite, heavy emotional lyrics filled in on “Fade In / Fade Out”, the perfect soundtrack for Father’s Day weekend.
The sound was a little ‘boomy’ in the venue, but you could still tell that the orchestration was stellar. There were tracks that they played along to, but they seemed incidental to provide storyboarding for intros and to provide expansive soundscapes. Vollelunga’s contribution to the sound of Nothing More is a key to their originality. His showmanship was on full display, but not as a showy shredder, more as a song smith with attitude sporting a drop-tuned Aristide guitar through Marshall cabinets.
As the lights went down for the final song, a techno ambiance resonated as if from the rafters above. A haunting melody was being voiced with vocoder harmonies and the fans came alive knowing the lyrics to “This Is The Time”. The momentum was building as recollections of Hawkins carrying the stone in the music video came to mind and then the room exploded with excitement as the band kicked into high gear. Hands raised, the minions were jumping in time and responding with shouts when the mic was aimed their way. Eventually Hawkins mounted The Scorpion Tail as a bookend to the show and left the crowd wanting more when the house lights capped the performance.
Labelmates at Better Noise Records, Eva Under Fire, opened up the night with a little sliver of the front of the stage. They brought the classic sound and lineup that brought arena rock to the forefront: dueling guitars (Rob Ryberg and Chris Slapnik) mixed with a thumping bass (Edward Joseph) and pounding drums (Corey Newsom) in support of a charismatic singer.
Eva (aka Amanda Lyberg) delivered the vocal goods with perfect intonation and high energy from start to finish. Their set included original grooves that felt instantly familiar.
It will be interesting to see where their trajectory leads them with their formulaic songwriting that sounds like mainstream rock hits. This tour is giving them a platform to show the world that they are more than a bar band. Standout songs were “Heroin(e)” that Eva wrote about her father’s drug overdose and their latest release, “Unstoppable”, that has all the swagger of a Carrie Underwood hit in a metal multiverse.
Eva, with her blue mane, led the audience in synchronous bouncing to the infectious beat of “Blow” that they recorded with Spencer Charnas of Ice Nine Kills. They wrapped their 8-song stint on stage with a cover of Journey’s “Separate Ways”…BTW, their recording and video of this song is good, but it was fantastic live, sans keyboards and vocal harmonies. The band treated fans to a meet-and-greet after the show at the merch table.
Atreyu
Next up, Atreyu visited the valley again after the “day gig” in April at UFest. It was cool to see the lights in the speaker stacks this time that couldn’t be seen in daylight at Ak-Chin Pavilion. Story has it that their bus had caught fire earlier in the day and although nobody was injured, they did lose some material possessions up in smoke. That sure didn’t appear to dampen their spirits during the show. From the first note, the audience was in the palms of their hands.
Atreyu balances a heavy in-your-face metal aesthetic with a fun party atmosphere. Brandon Saller, another former drummer turned lead vocalist, is a class act entertainer and when he asked us to raise our fists, we obeyed. At one point he came off stage to mingle with fans and sing on top of the bar.
When asked, many of the attendees indicated that they were first timers, but when the catchy chorus rang out it seemed like everybody was a longtime fan as they screamed along with the lyrics. Speaking of screaming, Atreyu has another vocal secret weapon on the band with bassist Marc “Porter” McKnight who has mastered the art of unclean vocals! Long hair is typical in heavy metal, but McKnight’s long hair sprouts from his chin instead of his bald head and it suits him well.
There was a scattering of harmony vocals throughout the set, but during a break in the song “Save Us”, Atreyu again raised the bar with some impressive three-part vocal harmonies, and then guitarists Dan Jacobs and Travis Miguel carried forth the torch ignited by Hall of Fame inductees Judas Priest with harmony guitar solos too.
It is difficult to define the musical style of Atreyu as they weave through fast heavy hitters like opener “Baptize” (the title track of their latest album release), to the anthemic “Warrior” that trudges forward, and then to the fun shuffle of the song “Falling Down” from 2008’s Lead Sails Paper Anchor.
Before ending the night, Saller had a Freddie Mercury “Ay-oh” moment with the crowd that started with simple melodies and ended up bringing smiles to faces as he sang Whitney Houston’s “I Wanna Dance With Somebody” and Salt-N-Peppa’s “Push It”.
There’s nothing better than a little cowbell to end a great set and Atreyu pulled another fun one from the archive with “Blow” that originally featured Josh Todd (Buckcherry). Saller had some sentimental last words: “We are more than just a band, we’re a family.” And with that we were welcomed into the family as they took their last bows.
PHOENIX — Tori Amos’ show at Orpheum Theater on her “Ocean to Ocean Tour”, with support from Companion, was a sold out event. In this grand structure of a venue, a ceiling painted like the sky and lit with starlight, the audience seemed to recognize we were in the presence of herstory, and everything was absolutely glowing.
Amos is an institution. Amos has never been the pop princess, the sexy body image icon. She is a voice. She’s a siren, she’s a chanteuse—she’s been the one reminding us since the 90’s that a voice in itself is powerful. More than Pride month, more than the LGBTQIA+ crowd – a lot of patchouli, if you know what I mean – this night was about storytelling, and the tools a woman can use to tell a full story: a voice, a piano.
The opener was a duo called Companion, composed of identical twins Sophia and Jo Babb. These sisters were soft-spoken, funny. Denim-clad from Oklahoma City, they emphasized how grateful they were opening for Tori Amos and that this was their first tour. The pair were charming, and, as my fellow photojournalist comments, had great “candor” with their audience. I’d characterize their sound as slow, melodic, and sleepy—bedtime music—though we, the audience, learned quite a bit about their lives in the short opening act. While I’d be tempted to say Companion held us in the palms of their hands, maybe we just felt held.
Jo offered a “Sapphic love song about longing” and then Sophia talked of fate and meeting her husband. Later, they told the crowd about losing their father at the age of 13 and sang a song about grief, which they described as the “Final boss we had to kill to get to the next stage.” Sophia relates that she wrote this for their mom.
Above all, Companion supplied great storytelling; their final song “Labyrinth” was about things getting better. The opening set was sleepy and slow, but in the way of great storytelling, was in no rush, like we have our whole lives to tell it. On Companion’s Instagram they said they write “songs to feel to” and this is mostly accurate. Sometimes we have to slow down to feel, and the duo raised immaculate harmonies in the way of twin lore.
Tori Amos
Amos appeared amid a swirling red background and an eager crowd standing through the opening two songs. She opened with “Juárez” from 1999’s To Venus and Back. At the song’s fade, the red-swirling background faded purple, then pink, into her second song: “Bouncing Off Clouds.”
Amos has mastered the power stance, like her thigh width is directly related to the intensity. This is beyond manspreading; she positively writhes at the altar of the Bösendorfer (her longtime piano). At times bent over her piano, she almost appeared crone-like, though we will never say this of Tori, but it is undeniable this woman was casting a spell.
While the night featured only one full cover, “House of the Rising Son,” she used multiple covers as interludes during her songs, including The Doors’ “Riders on the Storm,” worked in with “Father’s Song” from 2007’s American Doll Posse. However, it was in the song preceding that, “Bliss” from To Venus and Back, when she incorporated Kate Bush’s “Running Up That Hill.” When the audience exploded to their feet for the beloved song that is now more than 3 decades old, it was a delight, and it fueled a glorious, vibrant performance.
Following the show, I rewatched her 2014 performance of this song from a stop in Kansas City. Maybe this has been propelled by recently being brought to a whole new generation via its use in season 4 of Netflix’s Stranger Things, but her rendition of it has evolved. It now has a thunderous, pounding rhythm that was a true highlight to the show. Can one call a cover superior to the original? Like, legally? ‘Cause I think that’s what I’m doing.
I’d say if the show had a sub-theme to the main one of impeccable female-centric storytelling, it would be a perceptible attention to the zeitgeist of change. For her 8th song she played “Winter” from her breakout album Little Earthquakes, which holds the lyric “things are gonna change so fast.” With all that we’ve been through the past two years, the pandemic, all now together worshiping in this beautiful room at the foot of a goddess and her piano, I kept thinking about our lives as vectors for change. I sat next to a woman who brought her son and had driven down from Sedona. She was so clearly excited to be there, her son more hesitant. He too, like the rest of us, can’t see the change that’s ahead of us.
Amos has changed, too; halfway through the show, she had a false start and had to ask a member of her road crew for her glasses. Still, she was definitely feeling the love from her audience. Positively radiant in her salmon-colored jumpsuit, Tori rounded out the show by ending on another classic (a personal favorite) from Little Earthquakes, “Cornflake Girl,” to inspire the third standing ovation of the evening. Her vibratos on the line, “You bet your life it is” echoed throughout the Orpheum.
What’s almost more endearing at every Tori Amos show are all of the superfans, the ones who know every word. This crowd, undeniably hers, was visibly and audibly present this night, too, drawing Tori out for an encore. The lighting was immersive, evoking the feeling of being drawn into a fourth dimension in pinks and blues. It all felt so rich, so special, like all of her stans got to celebrate Amos – her voice clear as a bell and her piano chords striking just the right spaces in our hearts – nearing the end of her “Ocean to Ocean Tour” together, like some kind of deal with God.
