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REVIEW: Postmodern Jukebox Welcomes the 20s with Glamour and Jazz in Mesa 4-17-19

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Mesa, AZ — The 2020s are eight months away, and what better way to usher in a new decade than by paying homage to the former that gave us one of America’s greatest musical art forms: jazz. 

Scott Bradlee’s Postmodern Jukebox (PMJ) is an expert at evoking nostalgia with the musical styles of bygone eras with contemporary artists’ songs. PMJ brought a party filled with glamour, gin, and jazz to the Ikeda Theater at Mesa Arts Center on Wednesday night with their “Welcome to the Twenties 2.0 world tour.

Vocalist Robyn Adele Anderson opened the night with a 1920s take on “I’m So Fancy,” originally performed by pop artist Iggy Azalea. She was accompanied by tap dancer Matthew Shields who tapped in time to the beat and showcased his fancy footwork.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Robyn Adele Anderson (Vocalist) & Matthew Shields (Tap Dancer), Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

Master of Ceremonies and vocalist Dani Armstrong was a sight to behold in her black and gold art deco dress and magenta hair. Armstrong wiggled her way around the stage with a sensuality and naughty coyness as she performed a jaunty rendition of “Oops, I Did it Again” by Britney Spears, accompanied by jazzy trombone and saucy clarinet.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dani Armstrong (Vocalist, Master of Ceremonies), Postmodern Jukebox
Photography: Rodrigo Izquierdo © All Rights Reserved

She introduced the six-piece band comprised of Jesse Elder on piano; Adam Kubota, one of the original members of PMJ, on upright and electric bass; Dave Tedeschi on drums; Jacob Scensney on trombone; Mike Chisnall on guitar and banjo; and Chloe Feoranzo performing on woodwinds.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Woodwindist, Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

PMJ introduced some new faces and fresh voices on this tour. Ryan Quinn, who was a contestant on the The Voice, performed Guns N’ Roses “Sweet Child O’ Mine” in a low and soulful baritone voice, emphasizing the lyrics, “Where do we go? Where do we go now?

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Ryan Quinn (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

And newcomer David Simmons Jr. was PMJ’s 2018 talent search contest winner, performing on his very first tour with the group. He entered the stage smartly outfitted in a silver vest and jacket and punchy red bow-tie, performing a jazzy “Something Only We Know” by Keane. For this piece, Kubota swapped his upright bass for an electric bass, Chisnall traded his banjo for an electric guitar, and Feoranzo traded her clarinet for the saxophone.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
David Simmons Jr. (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Armstrong once again took the stage after changing into a sensual black and red gown to perform Lady Gaga’s “Bad Romance” as a punchy, swing-time jazz number, including scat lyrics and a wailing trombone.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dani Armstrong (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Shields came out to tap dance for the number, keeping time during a break in the song and showcasing his skills. Armstrong and Shields’ flirtatious antics brought heat to this already sexy song.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Matthew Shields (Tap Dancer), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The show moved quickly and seamlessly, keeping the audience enamored with the energy, vocals, and music of the performers, despite the simple lighting and lack of any modern special effects.

Every song was a treat with unexpected hilarity. Anderson walked out on the stage in a white floral swing dress, with Quinn and Simmons in tow. She sang lead vocals, covering Outkast’s “Hey Ya!” with Quinn and Simmons singing back up. The gentlemen’s animated antics and girlish falsetto when responding to Anderson’s, “Hey Ladies!?” had the crowd laughing.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Vocalists: Ryan Quinn, Robyn Adele Anderson, & David Simmons Jr., Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

Afterwards, Simmons treated the audience to a slowed-down version of Jimmy Eat World’s “The Middle,” transforming the song into Motown soul, with his vocals akin to that of The Four Tops.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
David Simmons Jr. (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Right before the intermission, five musicians commanded the audience’s rapt attention by leaving their posts and coming front and center with their instruments. They started playing an acoustic set and Anderson sashayed across the stage in a slinky satin leopard mini dress. She began singing Meghan Trainor’s “All About that Bass,” and was joined by Armstrong’s powerhouse vocals for the chorus, including some yodeling as she worked the stage in her tiger striped wiggle dress.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Robyn Adele Anderson (Vocalist), Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

During this set, Feoranzo stepped out from behind her clarinet and approached the microphone, surprising the audience with her perfectly pitched vocals in addition to her multifaceted musical talent. It was empowering to watch a talented trio of women representing a variety of shapes and sizes.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Woodwindist, Vocalist) & Matthew Shields (Tap Dancer), Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

The men created comic relief with Shields tapping to the beat and Quinn putting his arms around his chest, spinning his fingers to mimic twirling tassel pasties. The audience was clapping along and reeling with laughter. It was a great way to conclude the first half of the 120-minute performance.

Kubota talked about the raw beginnings of PMJ: how it all started in Scott Bradlee’s basement apartment in Queens, and how they were paid in falafel. It was the brainchild of Bradlee to put these musical reconstructions on YouTube in 2009, so people with “really, really, really fantastic taste would watch and share and come out to see the shows.

PMJ knows how to cater to their audience with references to modern pop culture. After the intermission, Elder brought the audience back to focus by playing the Game of Thrones theme song on the piano with force and bravado.

As the audience quieted, Armstrong commanded their attention, floating across the stage in a stunning black and white gown, then lifting the top layer of the skirt like wings above her head. She opened the second act with a dark, operatic rendition of Sia’s “Chandelier.” Armstrong’s vocal range for this set was mind-blowing. The audience gave her a standing ovation.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Ryan Quinn (Vocalist) & Jesse Elder (Piano) with band members – Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

Now, it was Quinn’s turn once again to transport the audience through time. His ability to mold with the group’s aesthetic so effortlessly couldn’t have been more perfect. He performed a Sinatra-esque rendition with scat vocals of “Lean On” by Major Lazer & DJ Snake. As he left the stage, Armstrong instructed the audience to, “blow a kiss to seven feet of gorgeous!

As the audience watched Quinn leave, Simmons took the stage quietly, now donning a navy three-piece suit. Anderson emerged in a sparkling silver gown and black opera gloves. They performed a flawless, intimate duet of “Say Something,” originally performed by A Great Big World & Christina Aguilera. The way they looked into each other’s eyes as they sang made it feel as if, for a moment, they were the only ones in the theater.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dave Tedeschi (Drums) & Vocalists: David Simmons Jr. & Robyn Adele Anderson, Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

Their performance tugged at the heartstrings, and to bring the energy back to the show, Shields tap-danced out to center stage and announced, “It’s-a me!”, imitating the character Mario from Nintendo. He then tapped out the Super Mario Bros. theme, accompanied by Elder on the piano.

Exhausted halfway through his tap set, Shields walked back to the piano, chugged the rest of his beer as Elder played the power up jingle, and miraculously, he was back! Shields finished out the tap sequence to the music played at the end of a Super Mario level, finishing with a mimicked jump on a flagpole as Mario would do at the end of a level.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Clarinet), Jacob Scensney (Trombone), & Matthew Shields (Tap) – Postmodern Jukebox
Photography:
Rodrigo Izquierdo © All Rights Reserved

Anderson came out in a black and blue brocade strapless gown and her elbow length opera gloves. Her soft, sensual voice tantalized as she sang, “…Never gonna dance again the way I danced with you,” from the song “Careless Whisper,” originally performed by the late George Michael. Feoranzo stepped forward and performed a stunning sax solo, paying homage to the original, but expanding on the song’s film noir vibes.

“The decade before the 1920s was full of conflict and upheaval. But without that, we wouldn’t have gotten all the great art, dancing to hot jazz, and drinking bootleg gin!” Armstrong exclaimed.

Feoranzo closed out the show as the last solo vocalist, performing “No Surprises” by Radiohead, with her clear, angelic voice. She was joined in gentle accompaniment by the piano, guitar, upright bass, and drums, and then stepped in to play her clarinet.

The 11-person ensemble wrapped up the show with everyone on stage singing a medley of songs blending from one right into another, starting with The Postal Service’s “Such Great Heights,” then Haddaway’s “What is Love?” and finishing with The Isley Brothers’ “Shout!”

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

It was a free-for-all on the stage: Shields was tap-dancing his heart out, Elder cartwheeled across the stage then somersaulted back to his piano for the finale, the musicians moved freely, and the crowd got on their feet to dance to this final number. 

Kubota said this is the group’s third time playing out in Mesa and that they can’t wait to be back. And gauging the audience’s turnout and participation, it can be confidently said that they will always be welcome, with their nostalgic take on modern pop and high energy performance that emulates the vaudevillian lounge acts of bygone times.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

To usher in the 2020s, Postmodern Jukebox will circumnavigate the globe on their 2019 “Welcome to the Twenties 2.0” tour. 

Photo Album

Photos by Rodrigo Izquierdo

Postmodern Jukebox – Mesa Arts Center 4-17-19

Flickr Album Gallery Powered By: WP Frank

Photography © Reagle Photography
All Rights Reserved

REVIEW: The Return of Queensrÿche On “The Verdict” World Tour at Marquee Theater 3-26-19

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Tempe, AZ — There are very few rock bands that are truly unique, but Queensrÿche has blazed their own trail since their inception in 1980. The media has tried to pigeon-hole their signature style as progressive, hard rock, or even lump them into the derogatory hair-metal category from the 80’s. They stayed true to their sound, and legions of fans showed loyalty even after the heyday of MTV airing the videos that delivered their music to the masses. Fair-weather fans started to fade away once the radio stopped playing their songs, and even some of those who passionately believed that Operation: Mindcrime was one of the greatest albums of all time may not have “checked-in” since the Empire CD was released.

This month, Queensrÿche released their new fifteenth studio album entitled The Verdict and brought the world tour to the Marquee Theatre to show both the die-hard fans and the fans who have been on hiatus that although they never really left, they are back!

Openers

The evening started early with two local bands. It’s very commendable for a headliner to pay-it-forward and give new and upcoming acts such an opportunity.

Shadow Guilt - Photo Credit: Rodrigo Izquierdo
Shadow Guilt
| Photography:
Rodrigo Izquierdo © All Rights Reserved
Photo Gallery

Shadow Guilt

First up was Shadow Guilt, a four-piece band from Gilbert, Arizona. The crowd may not have expected a local act to amount to much, but they immediately commanded the stage and proved that they could hang. The songs were reminiscent of early Metallica and singer/guitarist Bryan Reid had a professional presence with a voice that soared from thrash to screamo.

Shadow Guilt - Photo Credit: Mark Greenawalt
Bryan Reid (Guitarist, Vocalist), Shadow Guilt
| Photography:
Mark Greenawalt © All Rights Reserved
Photo Gallery

Shadow Guilt Photo Gallery

Sectas

The second Arizona band was Sectas, a three-piece that again surprised everyone with a big wall of sound and driving songs. Christian Lee is a weapon on guitar and sings with controlled mayhem while shredding.

Sectas - Photo Credit: Rodrigo Izquierdo
Christian Lee (Guitarist, Vocalist), Sectas
| Photography:
Rodrigo Izquierdo © All Rights Reserved
Photo Gallery

Drummer Brian Regalado was entertaining to watch and seemed to have had the most fun out of any of the musicians all night. He poured his heart into each song until the last one, which was unfortunately cut short due to time constraints.

Sectas - Photo Credit: Mark Greenawalt
Brian Regalado (Drummer), Sectas
| Photography:
Mark Greenawalt © All Rights Reserved
Photo Gallery

Sectas Photo Gallery

Fates Warning

The third opening act was no stranger to Queensrÿche fans. Fates Warning also launched into progressive rock in the early 80’s and followed a similar trajectory. Their set began with “From the Rooftops” from their latest album, Theories of Flight — released in 2016.

Fates Warning - Photo Credit: Rodrigo Izquierdo
Ray Alder ( Vocalist), Fates Warning
| Photography:
Rodrigo Izquierdo © All Rights Reserved
Photo Gallery

The stage lights had apparently tripped a breaker, and singer Ray Adler said, “How about a little light up here?” into the dark crowd as the band continued to play. An unanticipated moment occurred when a sea of cellphones rose and illuminated the stage until the stage lights reengaged.

Marquee Theatre Crowd - Photo Credit: Rodrigo Izquierdo
Crowd at Marquee Theatre lights up the room for Fates Warning | Photography: Rodrigo Izquierdo © All Rights Reserved

Original guitarist Jim Matheos was joined by the new guitar virtuoso Michael Abdow as they dove back in time to 1991’s “Life In Still Water” from the Parallels album and rekindled the audience participation. The band was rounded out with the longtime rhythm section of Joey Vera (bass) and Bobby Jarzombek (drums). One of the highlights of the 10-song set was watching Vera’s emphatic expressions and stage antics in contrast to the somber delivery from the other band members who poured the energy into surgically precise musicianship.

Fates Warning - Photo Credit: Rodrigo Izquierdo
Joey Vera ( Bassist), Fates Warning
| Photography:
Rodrigo Izquierdo © All Rights Reserved
Photo Gallery

Fates Warning played two more from the new album (“Seven Stars” and “The Light And Shade Of Things”), but went back to the classic Parallels album again to close the set with “The Eleventh Hour,” followed by “Point Of View”. It was a solid outing and they thanked Queensrÿche for the opportunity and Arizona for the support.

Fates Warning Photo Gallery

Queensrÿche

It’s only been a couple of months since Queensrÿche was in town in an opening role on the Scorpions “Crazy World Tour”, and Burning Hot Events was there to review that show as well (click here). That night, they performed a 9-song set with the reduced light show and sound afforded to all opening acts, but this night would be different. This time they were the headliner.

Queensryche - Photo Credit: Rodrigo Izquierdo
Queensrÿche
| Photography
: Rodrigo Izquierdo © All Rights Reserved

Cast for the Evening

  • Michael Wilton – lead guitar (1980–present)
  • Eddie Jackson – bass, backing vocals (1980–present)
  • Parker Lundgren – rhythm guitar, backing vocals (2009–present)
  • Todd La Torre – lead vocals (2012–present), drums (2018 in studio)
  • Casey Grillo – drums (2017–present)

Before getting into the blow-by-blow, we might as well address the elephant in the room which is the band lineup. This is Queensrÿche led by frontman Todd La Torre, who has firmly planted his flag in the history of the band since 2012 and has now sang on three studio albums. He isn’t Geoff Tate, but he convincingly sings the entire Queensrÿche catalog with respect and command. Fans who can’t accept this change should give a listen to The Verdict to find out that they might be missing out. Guitarist Parker Lundgren, replacing the original guitarist and creative songwriter Chris DeGarmo, seems to be an easier pill to swallow since DeGarmo left willfully around the turn of the century, but this has also upset some purists. The one that may be the strangest now is that original drummer Scott Rockenfield is still the official drummer in the band, but he has been M.I.A. since the 2017 birth of his son. To add further confusion to this story, singer Todd La Torre played drums on the new album and kicked ass capturing the Queensrÿche sound and feel. Casey Grillo, the drummer from the band Kamelot, is the touring drummer, but not the official drummer for the band. It may sound like a dysfunctional family, but original guitarist Michael Wilton and bassist Eddie Jackson are the patriarch glue that is holding it all together to build a strong new regime.

OK, can we move on into the review finally?…

As the house lights were extinguished, the video screens on stage were ignited. Death, wearing a crimson hooded robe, was bidding the crowd to come forward. He was the “life”-size animation of the character on the new album cover. The anticipation continued to rise with more animated video while the intro music was playing the instrumental soundscape of “Launder the Conscience”. As the song faded, the video screens ushered in the spinning Tri-Ryche logo, and the fans were instantly connected to the hive mind.

Grillo was firmly planted on the drum throne when the band floated in from the wings to center stage. The cheers from the crowd had topped out, and then they were drowned out after a single hit to the snare drum took the night from zero-to-60 in seconds flat with the opening riff for “Blood of the Levant”. The guitarists took to their perches on opposite sides of the stage: Lundgren on the left wearing sleeves of tattoos and a leather vest, playing the white Orbit FX; Wilton on the right wearing a black leather jacket and playing the skull and crossbones limited edition ESP. Jackson joined Lundgen on the left wearing an unassuming black tee and playing a black custom 5-string Mike Lull bass. The sound was full of energy but the expressions and lack of stage antics announced that this band was here to deliver the perfect sonic backdrop for the main event and the freak of nature known as Todd La Torre.

Queensryche - Photo Credit: Mark Greenawalt
Todd La Torre (Vocalist), Queensrÿche
| Photography
: Mark Greenawalt © All Rights Reserved

Out of the gate, La Torre was like a raging bull exploring the stage, bracing for attack, and then allowing that Queensrÿche sound to emanate from his soul. If there was any doubt when you walked in, there was no doubt now that this band has reached a new pinnacle and the chemistry was working. This was a strong opening song and there was no need for comparisons… This was the lineup that played the song on the album (well, except for Grillo, since La Torre did the drums on the album). La Torre even took a few moments during the middle-8 to play some percussion and give a glimpse of his prowess with drumsticks.

Queensryche - Photo Credit: Mark Greenawalt
Michael Wilton (Lead Guitarist), Queensrÿche
Photography
: Mark Greenawalt © All Rights Reserved

The setlist was an interesting mix of songs from all eras of the band’s history, but there was some emphasis on songs from The Verdict. “You can’t create new classics,” said La Torre, “if you don’t play the new shit, right?

Their second song from The Verdict was “Man the Machine” but before that they inserted two songs for the die-hard fans with “I Am I” from Promised Land and way back to 1984 for “NM 156” from The Warning. “Condition Hüman” is a beautifully crafted song and the performance was moving, but a look around the crowd told the story that very few knew the songs from this 2015 album.

Before the wind could completely leave the crowd’s sails, Michael “Whip” Wilton took center stage and laid into “Queen of the Reich,” and suddenly the fists were in the air.  (Author’s Note – I still have my vinyl copy of this EP and this song still gives me chills.) This would be the proving grounds for La Torre with the elder statesman in the Queensrÿche army. Can he hit that note, hold it, turn on the vibrato, and own it? Yes, he did.

Queensryche - Photo Credit: Mark Greenawalt
Todd La Torre (Vocalist), Queensrÿche
| Photography
: Mark Greenawalt © All Rights Reserved

The follow up song was something completely different, and one that everyone knew from the first three notes. It was the iconic ballad “Silent Lucidity,” written by founding member Chris DeGarmo. This was one of the few songs that didn’t shy away from using backing tracks in lieu of bringing an orchestral ensemble.

The next set of four songs seemed like the breath in before the big finale.  All good songs, but lesser known to the masses. La Torre introduced “Open Road” as one of the first songs he wrote with the band, and that was followed by two more from The Verdict; “Propaganda Fashion” and “Light-Years.” Then it was back to 1986 for “Screaming in Digital” from Rage For Order.

Queensryche - Photo Credit: Rodrigo Izquierdo
Parker Lundgren (Guitarist, Vocalist), Queensrÿche
| Photography
: Rodrigo Izquierdo © All Rights Reserved

Those old enough to remember the song “Take Hold of the Flame” when it was in rotation can probably remember where they were when they first heard it. It’s that kind of song. The best way to hear the flanged guitars on the intro is to listen with headphones, but a close second way is to hear the duo of Wilton and Lundgren play it live.  Journey found the needle in a haystack when Arnel Pineda replaced the “irreplaceable” Steve Perry, and Queensrÿche followed suit when they found Todd La Torre to replace Geoff Tate.

Setlist

  1. (Intro Tape) Launder the Conscience (The Verdict, 2019, Wilton/La Torre/Lundgren)
  2. Blood of the Levant (The Verdict, 2019, Wilton/La Torre/Jackson)
  3. I Am I (Promised Land, 1994, DeGarmo/Tate)
  4. NM 156 (The Warning, 1984, DeGarmo/Tate/Wilton)
  5. Man the Machine (The Verdict, 2019, Wilton/La Torre/Jackson)
  6. Condition Hüman (Condition Hüman, 2015, Wilton/Jackson/Lundgren/
    LaTorre)
  7. Queen of the Reich (Queensrÿche EP, 1984, DeGarmo)
  8. Silent Lucidity (Empire, 1990, DeGarmo)
  9. Open Road (Queensrÿche, 2013, Rockenfield/La Torre/Wilton)
  10. Propaganda Fashion (The Verdict, 2019, Jackson)
  11. Light-years (The Verdict, 2019, Jackson)
  12. Screaming in Digital (Rage For Order, 1986, DeGarmo/Tate/Wilton)
  13. Take Hold of the Flame (The Warning, 1984, DeGarmo/Tate)
  14. Eyes of a Stranger (with Anarchy-X outro) (Operation: Mindcrime, 1988, DeGarmo/Tate)

    – Encore –
  15. Jet City Woman (Empire, 1990, DeGarmo/Tate)
  16. Empire (Empire, 1990, Tate/Wilton)

It’s important to mention the incredible songwriting talent that DeGarmo and Tate contributed to the legacy of Queensrÿche. “Take Hold of the Flame” is a perfect example, but perhaps some of their best collaborations can be heard on the Operation: Mindcrime album. Tate is now the only one that can perform this album in its entirety after the legal battle, but it is surprising that the the setlist only included one song from this album. They ended the set with the classic that brings back memories of the music video that documented the album’s concept – “Eyes of a Stranger”. It. Was. Awesome.

Queensryche - Photo Credit: Mark Greenawalt
Eddie Jackson (Bassist), Queensrÿche
Photography
: Mark Greenawalt © All Rights Reserved

Eddie Jackson was flawless all evening, but it seemed he quite often slipped into the shadows and let the limelight fall on his bandmates. However, as the band returned to the stage for the encore, Jackson laid claim to center stage and delivered the legendary bass intro to “Jet City Woman” from the 1990 Empire album and the crowd went nuts (another gift from the DeGarmo and Tate songwriting team). La Torre returned to the stage sporting sunglasses and led the audience in the sing-along to this song which is ingrained in our collective memory.

Alas, it was time for the final song of the evening which would be the title track from the Empire album. This song featured Wilton on lead guitar and left fans satiated.  The music industry has changed so much but through the years Queensrÿche has followed their muse and continued creating great music. The night was not only a trip down memory lane to get reacquainted with the songs of our youth, but also an invitation to reconnect with an old “friend” who is thriving with a new album and an incredibly talented line up. Check out The Verdict and find out what your verdict is!

Cast for the Evening

  • Michael Wilton – lead guitar (1980–present)
  • Eddie Jackson – bass, backing vocals (1980–present)
  • Parker Lundgren – rhythm guitar, backing vocals (2009–present)
  • Todd La Torre – lead vocals (2012–present), drums (2018 in studio)
  • Casey Grillo – drums (2017–present)

Setlist

  1. (Intro Tape) Launder the Conscience (The Verdict, 2019, Wilton/La Torre/Lundgren)
  2. Blood of the Levant (The Verdict, 2019, Wilton/La Torre/Jackson)
  3. I Am I (Promised Land, 1994, DeGarmo/Tate)
  4. NM 156 (The Warning, 1984, DeGarmo/Tate/Wilton)
  5. Man the Machine (The Verdict, 2019, Wilton/La Torre/Jackson)
  6. Condition Hüman (Condition Hüman, 2015, Wilton/Jackson/Lundgren/LaTorre)
  7. Queen of the Reich (Queensrÿche EP, 1984, DeGarmo)
  8. Silent Lucidity (Empire, 1990, DeGarmo)
  9. Open Road (Queensrÿche, 2013, Rockenfield/La Torre/Wilton)
  10. Propaganda Fashion (The Verdict, 2019, Jackson)
  11. Light-years (The Verdict, 2019, Jackson)
  12. Screaming in Digital (Rage For Order, 1986, DeGarmo/Tate/Wilton)
  13. Take Hold of the Flame (The Warning, 1984, DeGarmo/Tate)
  14. Eyes of a Stranger (with Anarchy-X outro) (Operation: Mindcrime, 1988, DeGarmo/Tate)

    – Encore –
  15. Jet City Woman (Empire, 1990, DeGarmo/Tate)
  16. Empire (Empire, 1990, Tate/Wilton)

Photo Galleries

Photographers: Mark Greenawalt & Rodrigo Izquierdo (Reagle Photography)

Openers: Shadow Guilt | Sectas | Fates Warning

Queensrÿche – Marquee Theatre 3-26-19

Flickr Album Gallery Powered By: WP Frank

Photography © Mark Greenawalt & Reagle Photography, Respectively.
All Rights Reserved

Featured (top) photo by Mark Greenawalt

 

LP Shakes Up Phoenix with Sold Out Crowd at The Van Buren 3-6-19

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PHOENIX — Long-time American songwriter Laura Pergolizzi, also known as LP, brought raw energy and charisma to Phoenix. Originally booked at the Crescent Ballroom, LP sold out the 550 capacity room, forcing the show to move to The Van Buren’s 1800 capacity venue. The bold move proved beneficial as LP sold out the Van Buren, with fans still hoping to score tickets at the box office before the show.

LP may be news to the majority, but she has been gracing the music industry with her songwriting since the late 90’s, writing songs for artists like the Backstreet Boys and Christina Aguilera. Her hard work and consistency paid off big time when she released her first studio album, Heart Shaped Scar, in 2001.

It was clear within the first few moments of the show why LP and her band have fans scrambling for tickets, and promoters moving her show to venues three times the size originally booked. The simple explanation: she’s a star. She has a commanding presence, and the moment she lets that first note slip between her lips, you’re sold. In that moment, you know you’re watching someone born to be on stage.

LP - Photo Credit: Andrea Stoica
LP
| Photography:
Andrea Stoica © All Rights Reserved.
 

Taking her time to walk out on the stage, lights dimmed as the band came out, the music began with a slow build creating tension in each eager audience member waiting to see LP and hear her bold voice. The intensity of the crowd matched the tension built from the music until the moment LP came out, and then it’s on. Beginning the show with “Dreamcatcher,” the first track off her latest album, Heart to Mouth, she quickly captured attention from all in attendance.

She gracefully glided across the stage, singing with her incredible range and compelling the crowd to move with her. The music flowed into an explosion of sound and dance. Her writing has an incredible balance of emotion and freedom from your former lover, while at times you can feel her broken heart as if it were yours.

It may take seeing the show live to understand the passion each song has to offer. The show takes each person through a story of heartbreak and raw, pure feelings with songs such as, “I Gave You the Great Unknown,” and her second hit single “Recovery. ” Her lyrics ask honest questions like, “Did you let me go?“, and make real statements like, “I can’t stop sleeping in your clothes.” Her powerful voice soars through the crowd, piercing through each member of the audience. The dynamic vocals are accompanied by a slight quiver in her voice that drives home that heartbreak.  

LP - Photo Credit: Andrea Stoica
LP
| Photography:
Andrea Stoica © All Rights Reserved.


LP not only has the songs to remind you of the love you lost, but she has the ability to get you dancing to the same heartbreak. Along with her great presence is a solid, passionate, and exhilarating band. The dynamism and musicianship they bring to the show support LP with a humility that reflects that they believe in the music they are playing and know they are in the right place.

LP - Photo Credit: Andrea Stoica
LP
| Photography:
Andrea Stoica © All Rights Reserved.


If there is one takeaway for LP when she leaves the Valley, it’s that Phoenix wants her back, and it would be no surprise to see her in an arena when she returns. This is a show made for everyone: the broken-hearted, the healed, the happy, the lonely, the dancer, the dreamer  — LP has something for you.

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Photographer: Andrea Stoica

LP – The Van Buren 3-6-19

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REVIEW: Styx Rocking In The Round, Their First Night at Celebrity Theatre (1-11-19)

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PHOENIX — Celebrity Theatre was a fitting venue for the return of Styx to the Valley for a two night engagement on January 11th and 12th. Located at 32nd Street and Fillmore, the legendary theatre in the round has hosted the cream of music royalty since it first opened as the Phoenix Star Theatre in 1964. The unique circular, rotating stage and intimate atmosphere have made the Celebrity a staple music hall in Phoenix for nearly six decades. Not one seat in the venue is more than 70 feet from the stage.

The show on January 11th started a little late, most likely a result of the parking delays. The line of cars snaking southbound down the right lane of 32nd street moved at a snail’s pace leading up to the entrance. Folks of all stripes were milling around the theater, ordering drinks and chatting excitedly under the catwalk above the stage. Others lingered outside, chain smoking or vaping, listening for a sign to run back inside for the start of the concert.

From their humble Chicago beginnings in the early 1970’s, to their outlandish high production theatrical arena shows of the 80’s, Styx has been a familiar voice on the radio for generations, with a career spanning over half a century. As the first band to have four triple platinum albums in a row, they are an integral part of the soundtrack of many people’s lives. Their importance to rock music as a whole has been unfairly marginalized for years, and in the words of Julian ‘Frankenstein’ McGrath from Big Daddy (1999), only catching “a bad rap because most critics are cynical assholes.”

The current lineup includes veteran Tommy Shaw on lead guitar, with founding members James “J.Y.” Young and Chuck Panozzo on guitar and bass respectively, with Chuck performing on a more limited basis. Chuck’s twin brother and co-founding member of Styx, John Panozzo, originally played drums, but sadly died of cirrhosis of the liver in 1996. Since then, Todd Sucherman has been the band’s drummer. Playing backing guitar, bass, and vocals is Ricky Phillips of Bad English and The Babys, who joined the band in 2003. Vocalist and keyboard virtuoso Lawrence Gowan is a high-energy showman, but you would have to be in order to replace estranged former frontman Dennis DeYoung, as he did in 1999. A band with a history as rich as Styx merits such a historic venue as Celebrity Theatre.

The house lights suddenly dimmed, eliciting hoots and cheers from the audience. As soon as the spotlights kicked on, the band flew right into “Gone Gone Gone from their latest album The Mission, released in mid-2017. From the first frenzied notes played on the dueling guitars, the crowd was on their feet. Fans young and old danced in the aisles while others rushed to their seats, full beers in hand. The song does not sound at all unlike the old Styx — high-energy and fun.

Not a moment after the first tune ended, the iconic organ riff of “Blue Collar Man” sternly commanded the grateful crowd’s attention.  Each band member’s precision assured the crowd that Styx had not lost a step from their golden age.

Lawrence Gowan (Vocalist) and Ricky Phillips (Bassist), Styx
Photography: Mark Greenawalt © All Rights Reserved.

Next was their hit “The Grand Illusion”, the title track from their 1977 album. Every flawless note rang out true to the recording, and there is a perfectly reasonable explanation for that: Styx is a band that is perpetually on tour. According to the band themselves, they only take occasional breaks for short periods. Anybody touring that frequently is going to perform their catalogue masterfully.

After performing “Fooling Yourself,” Gowan spoke: “What a wonderful way to ring in the new year!” Standing at the foot of the stage, he remarked, “My, you’re all so close,” as he addressed the theater’s intimate layout.

The spotlight settled on him at the keyboard as and an iconic piano riff pierced the crowd, igniting their collective nostalgia. “Lady” is one of those songs that everyone imagines will be playing in the background when they lay their eyes on their soulmate for the first time. Again, it’s eerie how well Gowan embodies Dennis DeYoung, both vocally and instrumentally. It was not the first song the whole theater sang in unison, nor would it be the last.

Lawrence Gowan (Vocalist, Keyboardist), Styx
Photography: Mark Greenawalt © All Rights Reserved.

When Shaw approached the mic, he explained the origins of their 16th album, The Mission, before introducing “Radio Silence” for the waiting ears of all in attendance. The opening synth has that instantly recognizable Styx DNA. That this was not a radio single is baffling. In fact, Shaw himself has expressed frustration with the neglect that great classic rock bands experience in the new age of the music industry. It is almost prophetic of the band that you cannot hear a song called “Radio Silence” on the radio. It is a fantastic track and deserves more attention.

The next tune was off of 1975’s Equinox. “Lorelei” seems like one of those songs that everyone knows but has no idea what it is called or who sings it, like an old friend you ate lunch with at work, but never learned their name. Young absolutely nails the lead vocals in place of DeYoung’s  studio recording. Another striking revelation was that the bands harmonies were pristine. These are men in their early to late sixties, the oldest being founding member Panozzo at seventy years old.

Ricky Phillips (Bassist), Styx
Photography: Mark Greenawalt © All Rights Reserved.

Shortly after “Lorelei”, Shaw recalled a conversation he had with Young in 1975, and explained how he came to join the band. Taking Young up on his offer to come to Chicago, Shaw brought a song he had been working on. It was a great song, but “it wasn’t a Styx song” according to Young, who Shaw calls “The Godfather of Styx”. From that story, the audience learned how “Crystal Ball” was written, and Shaw was only too happy to demonstrate how beautiful his two-tone sunburst Fender 12-string acoustic sounds. With impeccable timing, a roadie hopped up onto the stage to hand over a Les Paul for the solo before swapping the Jumbo back for the outro.

As expected, the band played a couple more hits with “Light Up” and “Man in the Wilderness” before closing out the first half of the show with another anthem from the Paradise Theater album, “Rockin’ the Paradise.” It wasn’t long before the house lights came back up for a short intermission, when Young promised another hour of music after they returned.

The second half of the show kicked off with another Young-led hit from The Grand Illusion, “Miss America.” Styx is currently rehearsing for a special show in Las Vegas where they will play the entire The Mission album from start to finish. Fans attending this show were treated to a sampling of what is to come when they debuted six of those songs in order from the second half of the album. The suite of songs began with “Time May Bend” and continued through “The Outpost” and this night was the first time they had ever been performed live. They even welcomed the album’s producer and co-writer, Will Evankovich on stage to contribute to the instrumentation and vocals.

Tommy Shaw (Guitarist, Vocalist), Styx
Photography: Mark Greenawalt © All Rights Reserved.

Eventually a roadie produced Shaw’s vintage Fender Electric XII and it’s a dead giveaway to the guitar-savvy fans that “Suite Madame Blue” was coming, and it was impeccably played from start to finish. Immediately after, the fans were finally treated to what many were waiting for… “Too Much Time On My Hands” (watch the Paul Rudd and Jimmy Fallon shot-for-shot remake) from 1981’s Paradise Theater. The maniacal keyboard part of the song is indicative of the genius that Dennis DeYoung endowed upon the group; however, this does not imply they are lacking anything from his departure. This band is so well-oiled that his absence is hardly noticeable.

As the applause died down, most of the band left the stage, but Gowan remained and took the spotlight to turn the venue into a “piano bar” with a pair of fantastic covers. The first was a phenomenally accurate rendition of Elton John’s “Rocket Man” for the appreciative audience. The second cover was a beautiful recitation of the intricate operatic section of Queen’s “Bohemian Rhapsody”, and the entire crowd once again sang along to every word. They are truly a fortunate group to have stumbled across such a talented frontman. Gowan alone should be a major factor for anyone even considering going to a Styx show. He alone is absolutely worth the cost of admission.

Still alone on stage, Gowen started into the piano intro to possibly their most famous hit, Come Sail Away, which was also featured on The Grand Illusion. The band shuffled back out to bring it home and it seemed to be the perfect crescendo to end the show with, guitars blazing and fans jumping up and down. As the last note is struck from the guitars, and the last cymbal smashed, the band removed their straps and handed off their instruments to the roadies while they made their way off the stage before turning around amid the raucous applause and walking right back out for an encore.

To thunderous applause, they opened back up with “Mr. Roboto,” the drum fills echoing throughout the small space with noticeably fewer audience members, many of whom ran out to their vehicles when they believed the show was over. This is a big deal for one simple reason: They had never performed this song on stage with the full band before this tour. Previously, Dennis DeYoung had always sung a version of it with pre-recorded tracks. Once he left, the band abandoned it for the following decades. The fact that they are playing it as an encore now is kind of ironic.

James “J.Y.” Young (Guitarist), Styx
Photography: Mark Greenawalt © All Rights Reserved.

The fitting final number of the evening was the signature rocker song “Renegade”, Shaw’s self-penned hit from 1979’s Pieces of Eight.

“Oh, mama, I’m in fear for my life from the long arm of the law…”

The acapella opening lines beckoned the crowd once more to accompany the band, offering a fitting and crowd-unifying conclusion to a consistently powerful and nostalgic evening with a gargantuan pillar of classic rock. As any great performers are wont to do, Styx left the Phoenix audience delighted and fulfilled, yet eager for more. Fans might have had their thirst satiated if they bought tickets to the show the following night at the same venue. And if the rock gods will it, perhaps Arizona will be graced with a future performance from the legendary American musical mainstay.

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Photographer: Mark Greenawalt

Styx – Celebrity Theatre 1-11-19

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REVIEW: Puddles Pity Party Treats the Crowd Like Royals in Mesa (12-7-18)

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PHOENIX — Many of us have been invited to a pity party and more than likely, we have no desire to attend. When Puddles the sad clown hosts one, however, I recommend you RSVP and make it a priority on your calendar.

I was one such lucky attendee amidst several thousand others that packed the Ikeda Theater at Mesa Arts Center. Not knowing what to expect of the next 110 intermission-free minutes aside from a sweet serenade from the 6’8” baritone crooner in a clown costume, I kept my mind, ears, and eyes open.

Three minutes before the show was set to begin, the house lights were still up as people shuffled to their seats. There appeared to be commotion on the mezzanine level as several audience members looked up to see the unmistakable giant, cuddly clown making his way through the sea of people giving hugs, handshakes, and posing for photos. He effortlessly hurdled the chairs and made a concerted effort to greet as many of his party “guests” as he could, before making his way down to the ground level where he popped through the back doors and dashed to and fro, greeting attendees as he made his way up to the stage.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

Puddles Pity Party is anything but predictable, and after enthusiastically giving high fives to some of the folks in the front rows, he hoisted himself up onto the stage and awkwardly rolled to his feet despite the fact that there was an accessibility staircase not 10 feet to his left. It was at this moment I realized that things were going to be shaken up into a concoction of splendor and entertainment that would take all of us on a wild adventure of fellowship and laughter.

The festivities began with Puddles amusingly popping a whopping amount of gum into his mouth and loudly chewing as he read an AARP magazine featuring Kevin Costner.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

Much like other aspects of the show, these pieces may have seemed trivial at the time, but became integral parts of his act. Perpetually animated and childlike in his movement at times, Puddles — brought to life by Mike Geier — scoots about the stage on his stool and takes his sweet time getting to center stage to watch a montage of his trials and tribulations while appearing on America’s Got Talent. The sad clown with the golden voice sang his rendition of R.E.M.’s “Losing My Religion”, only to be abruptly stopped by a loud buzzer and a giant red X like the one he received while performing for the show. Despite this, Puddles pressed on.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

The irony was not lost in respect to a silent comic entertainer who uses only his vocal ability to belt out emotional tunes; however, the heartfelt depth of his singing left the partygoers absolutely stunned. Puddles performed “The Sound of Silence” to a video of ASL translator, Zoey Stormes, signing a moving performance. Though he is a sad clown who expresses tremendous variety of emotion, from melancholy, to gratitude, to wonderment, it’s virtually impossible to be sad while in his presence. Laughter and words of encouragement from the crowd consistently permeated the silence.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

Puddles has several obsessions that attendees learn throughout their time with him, two of which are Kevin Costner and coffee. Never have I attended a party that entailed a coffee break, but there is a first time for everything. In fact, Puddles Pity Party contained many firsts, which takes the Vaudevillian style act from being a show to a full-fledged experience. I lost count of how many times Puddles left his wad of gum behind on his suitcase of goodies and plucked it back up to resume chewing. Additionally, I lost count of how many times he rolled himself off the stage to interact with the audience and bring a new friend up to be a part of the show. Attendees were swept away, transformed into an environment where excitement is found in the simple and absurd.

It was when I oddly caught “the feels” from hilarious snippets of robots falling over to the sound of Puddles’ emotional rendition of Coldplay’s “Fix You” that I realized the power and magnitude of this king-sized clown’s voice. No love song directed at a cup of coffee will ever feel so pure and heartfelt as it did in that theater.

Partygoers were just as much a part of the show, and were brought into Puddles’ world of make-believe. One woman transformed into a wolf that Puddles waltzed with. A gentleman enthusiastically sang the karaoke version of “All By Myself”. Another got to be a rocket scientist, and yet another got to stuff his face with cupcakes while being reminded that the word “stressed” spelled backwards is “desserts”. Puddles even had one of the party attendees summon Kevin Costner, albeit after a failed attempt that accidentally summoned Kevin Bacon.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party with concertgoer
Photography:
Rodrigo Izquierdo © All Rights Reserved

Other celebrities were attending in spirit, as it was impossible to miss the homages to Axl Rose, Freddie Mercury, and the King himself, Elvis Presley. Puddles’ prowess as an accomplished musician was made apparent through performing on his cardboard guitar that asserts “Do Good Work”, to his various beats on both real and video game drum sets, to his unique song mashups.

Geier, affectionately known as “Big Mike”, who has run a burlesque performance troupe out of Atlanta and also performs with the Kingsized Jazz Trio, has the performer gene coursing through his veins. Traveling with Puddles Pity Party, he has made audiences giggle and laugh warmly all over the world while wearing his endearing heart on his ruffled sleeve.

All you would have to do is go on YouTube and search “Puddles” to encounter countless videos of the sad clown with the golden voice. One of his most captivating being his rendition of Sia’s “Chandelier”, which partnered with Scott Bradlee’s Postmodern Jukebox and also performed on America’s Got Talent to agape jaws and an uproarious standing ovation.

The party on Friday was no exception and the crowd had their phones out to record video of his most notable serenade, as is encouraged. This did not stop Puddles from giving his adoring fans the up-close and personal show they were hoping for, as he grabbed one phone to sing to it and place it in the hand of another individual while picking up their phone and passing it on until there were multitudes of attendees who had incredible footage of Puddles and the cell phone of their fellow party-goer. The laughter that ensued afterward while people scrambled to find each rightful owner was memorable. If anyone can bring people closer together with their fellow man, it’s most definitely Puddles the sad clown.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

If you have the opportunity to attend a pity party put on by Puddles, I highly encourage it. How a sad clown can make everyone in a room light up with laughter is a special kind of magic that can only be felt and seen by experiencing it firsthand.

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Photographer: Rodrigo Izquierdo

Puddles Pity Party – Mesa Arts Center 12-7-18

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Photography © Reagle Photography
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REVIEW: Minus The Bear, Tera Melos Give Tempe Fans A Lesson In Math Rock (12-7-18)

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Tempe, AZ —  At face value, thinking about a period of seventeen years does seem like a long stretch of time. Contrarily, Minus the Bear frontman, Jake Snider, has a different take on the idea because about halfway through the set on their farewell tour at the Marquee Theatre last night, Snider gave the audience some insight into their seventeen year-long career as a band, “Seventeen years feels like almost no time has passed. We appreciate all of you for being here. We’ve got the best fans of anyone.

Minus the Bear - Photo Credit: Mark Greenawalt
Jake Snider (Vocalist), Minus the Bear
Photography:
Mark Greenawalt © All Rights Reserved

This served as a beautiful footnote at the end of the influential band’s creative streak consisting of 6 studio albums and 12 EPs, as well as countless national and international tours. They’ve been highly influential in the math rock genre and are largely considered pioneers of the style, their beginnings predating many noteworthy math rock bands like This Town Needs Guns and Chon.

They clearly expressed their gratitude to the audience, and the feeling was undeniably mutual as the sounds of cheering and clapping rarely died down over the course of the evening. Every crowd has its black sheep though, demonstrated towards the end of the show as one inebriated concert-goer threw a full can of beer at bassist Cory Murchy. To the relief of many, the band didn’t hold the rudeness of one person against the rest of the audience as Snider calmy chimed in over the mic “Please don’t throw your f*ucking beer can at us. Thanks, we love you guys.

Tera Melos

The unforgettable night began with an excellent introduction of the complex music to come thanks to the opening act, Tera Melos. The Sacramento, California-based band pummelled the audience with a frenetic 40 minute set that never once let up in energy.

Tera Melos - Photo Credit: Mark Greenawalt
Tera Melos
Photography:
Mark Greenawalt © All Rights Reserved

It all began when Nick Reinhart, the guitarist/vocalist/keyboardist of the band, gave the other members a quick, nearly imperceptible glance, and then they were off with their first song, “Don’t Say I Know”. The band continued their set without uttering a word or letting out a breath between songs while only occasionally looking at each other for brief acknowledgement of what was coming next. This was astounding because of the technicality and otherworldly sounds emanating from Reinhart’s guitar; it takes incredible musicianship to even follow what’s going on as a listener, let alone a Tera Melos band member.

Tera Melos - Photo Credit: Mark Greenawalt
Nick Reinhart (Vocalist, Guitarist, Keyboardist), Tera Melos
Photography:
Mark Greenawalt © All Rights Reserved

Interspersed between songs were spastic, electronic guitar lines that could often be described as computer beeping in 5/4 time. Some of these sounded reminiscent of dubstep while others bordered more along EDM territory. It was surprising to many fans in attendance that it was coming from a guitar, as well as those more familiar with the band as you’d frequently hear someone new shouting “What?!” or “How?!” from around the room as Reinhart stomped on a new combination of guitar FX pedals.

Tera Melos - Photo Credit: Mark Greenawalt
Tera Melos’ FX pedals
Photography:
Mark Greenawalt © All Rights Reserved

Another highlight of their incredible set was “Slimed”, with Reinhart screaming “Something about my face, always makes me sick!” as the band followed along perfectly without missing a note. On these merits alone, Tera Melos is not, nor will they ever be, a band to be missed.

Minus the Bear

After fans had about 20 minutes to recover between sets from the mind blowing experience of Tera Melos, Minus the Bear picked up right where the opening act left off.

Minus the Bear - Photo Credit: Mark Greenawalt
Minus the Bear
Photography:
Mark Greenawalt © All Rights Reserved

The band’s embrace of classics like “Pachuca Sunrise”, “The Fix”, and “The Game Needed Me” from their second album Menos Del Oso scattered throughout the set among more recent favorites, such as “Last Kiss” from their final 2017 release, VOIDS served as an anachronistic tribute to their incredible evolution as a band over time. It was a nice touch and always kept you guessing as what was to come next. The band’s sound was also finely tuned to the venue’s sound system, a huge relief considering anything less would have proven unacceptable for a band so musically polished themselves.

Minus the Bear - Photo Credit: Mark Greenawalt
Dave Knudson (Guitarist), Minus the Bear
Photography:
Mark Greenawalt © All Rights Reserved

Guitarist Dave Knudson was a finger-tapping machine, only taking both his hands off the guitar neck to kneel down and adjust knobs on his plethora of FX pedals. If Knudson and Reinhart were to face off in a gladiator-esque guitar FX duel, it would be impossible to tell who would come out on top. Knudson and keyboardist Alex Rose were the icing on the cake of the intricately layered music, as bassist Murchy and touring drummer Joshua Sparks provided a solid backbone for the songs to breathe new life into the hearts of many listeners.

Minus the Bear - Photo Credit: Mark Greenawalt
Alex Rose (Keyboardist), Minus the Bear
Photography:
Mark Greenawalt © All Rights Reserved

While farewell tours will always carry bittersweet connotations, this inspiring show served as a proper send-off for some of math rock’s founding fathers with the grateful support of an up-and-coming math rock band. It’s hard to picture it going any better than it did, and many fans stayed until the very end of the show, absorbing every beautiful moment. The legacy of Minus the Bear will live on through not only their own music, but in the hearts and minds of fans worldwide and other math rock bands reinventing the sound that was so new only seventeen short years ago.

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Minus The Bear & Tera Melos – Marquee Theatre 12-7-18

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Photos: THE FAIM Takes the Stage by Storm at Crescent Ballroom (12-7-18)

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PHOENIX — Hailing from Perth, Australia, The Faim dropped into Crescent Ballroom on headliner Hands Like Houses’ “U.S. Tour 2018”. With a whopping 5-band line-up (including Arlington, The Faim, Devour the Day, Emarosa, and Hands Like Houses), Phoenix was treated to an explosive set of just 30 minutes, which left the crowd hungry for more! On the dimly-lit stage, the band brought an unanticipated level of energy and a performance undoubtably worthy of headlining at an even bigger venue.
 

Burning Hot Events has had The Faim on our radar since they dropped their debut single and total earworm “Saints Of The Sinners” in February of this year. We had the pleasure of interviewing lead vocalist Josh Raven in March: INTERVIEW: Next Big Aussie Band The Faim Talks About Their Rapid Rise & Inspiring Musical Journey

With a big sound and big backing, it was entirely evident that The Faim will be going far, and doing it fast. At the time of our interview, it was still unknown when the band would grace Arizona with their presence. Since then, The Faim has released multiple songs and music videos, their Summer is a Curse EP (released September 7th), toured the states, and are embarking on a world tour in 2019. Current tour dates can be found on their website.

Following the performance, I met with Raven to praise him for his unreal, 200% stage presence, to which he humbly and graciously replied that he’s just happy to be doing what he loves.

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by Katherine Amy Vega

The Faim – Crescent Ballroom 12-7-18

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REVIEW: Justin Courtney Pierre Gets Intimate With Fans at Valley Bar (11-30-18)

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PHOENIX — Justin Courtney Pierre returned to Arizona for an intimate underground show at the historic Valley Bar Friday night, revitalizing fans with a colloquial performance of his latest solo-album In The Drink. Since Motion City Soundtrack’s “So Long, Farewell Tour” in 2016, it had been unclear when and if Pierre would continue making music in the future.

Post-MCS I just really wanted to focus on the art,” Pierre told Billboard during a recent interview, “so, I built a team of people around me that I can utilize for all the other stuff – the production, the business. What’s nice about this is I don’t have to ask anybody for permission or get four people to agree on whatever we’re doing. I can just do my ideas whether they’re stupid or not, for better or for worse. I thought, ‘OK, so if this is the only record I ever do, great. I’m just gonna do it exactly the way I want it.’

In The Drink album cover

Produced by Motion City Soundtrack bandmate Joshua Cain, In The Drink is heavily influenced by the sound of the 90’s, classic guitar and, as Pierre puts it, (in direct reference to noted inspirations Swervedriver, Polara, Guided By Voices, and Frank Black’s “Teenager of the Year”) “a lot of movement going on”.

During a coinciding interview with boutique pedal company ZVex, Pierre went on to explain the experimental nature of his work which he revealed, lead him to his newfound love affair with the ZVex Fuzz Factory 7, as well as the ZVex Effects Vertical Vexter ’59 Sound, which he utilized throughout Friday night’s performance. When it comes to guitar, this singer-songwriter prefers a more improvisonal approach – toying with different combinations until his fancy footwork yields a sound he likes.

Photography: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

Pierre’s tourmates for his latest solo album include old friend and master of effects – guitarist Thomas Rehbein, sensational vocalist and guitarist Lydia Liza, emotive bassist Shannon Burns, and relentless drummer David Jarnstrom.

David Jarnstrom - Photo Credit: Katherine Amy Vega
David Jarnstrom (Drummer)
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

I’m listening to Flaming Lips in my headphones to drown out all this other bullshit”, Pierre joked before jamming out the opening notes to “I Don’t Know Why She Ran Away”, following opening tracks “Undone” and “Anchor”. “Just kidding!”, he laughed – noting that the night’s opener had been unable to make it due to an undisclosed transportation issue. As a result of that last minute change, the night became increasingly conversational. Fans shouted back and forth as Pierre responded between tracks from on-stage, speaking on everything from his struggles with alcohol, to new “dadhood”, and even his strong distaste for Burger King. Pierre casually guided the audience through an evening of impromptu storytelling between each new track from In The Drink, but not without some nostalgic surprises along the way.

Shannon Burns - Photo Credit: Katherine Amy Vega
Shannon Burns (Bassist)
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

Preceding the Farewell Continental portion of the evening, a tribute to Pierre and Rehbein’s passion project since 2008, “My Girl Margo” off a “special upcoming EP” got fans jumping for more. With the night’s energy at its peak, “Total Devastation” had diehard JCP fans weak in the knees.

Justin Courtney Pierre - Photo Credit: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

Next up was a new Farewell Continental song that’s not yet been recorded. “It’s called ‘Tossing and Turning’”, Pierre told fans, “It’s a motif I’ve used before and I’m aware of that,” he laughed, “And I like to remind people, it’s supposed to sound like this.” Farewell Continental takes the undeniably esoteric undertones of In The Drink one step further, culminating a uniquely chaotic blend of power-pop-meets-classic-rock. The band finished out a lively performance of “Do You Wanna Tangle” also by Farewell Continental, before abruptly leaving the stage where only Pierre was left to tame the spotlight.

Justin Courtney Pierre - Photo Credit: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

Without question, the moment we’d been waiting for since 2016 had finally arrived; it was time for a little Motion City Soundtrack. Pierre explained that since the band had chosen not to continue making music two years prior, he’d decided to play only MCS  songs which he’d “brought to the party” so to speak. Members of the crowd shouted out track after track in hopes of hearing their longtime favorites. Pierre responded by teasing onlookers with a candid rendition of “Stand Too Close” before breaking for a quick story – “The Caffeine Story” he called it: “Listen, listen. I haven’t had a drink of alcohol in over nine years, and a few years after that I quit caffeine. And now I have nothing.

As fans applauded, “Atonia” began rumbling out from the speakers. Fans sang along loudly as Pierre pieced together a nostalgic solo tribute session including “When You’re Around” and “LG FUAD”, to which the entire bar sang aloud. “Okay, now I am going to invite the band back to the stage,” Pierre announced before launching into a cover of Guided By Voices’ “Motor Away” which he credited as one of his favorite songs to date. “Some of these guys just heard it for the first time today,” he told fans as they hooted and hollered at Pierre to “do it again!

Lydia Liza - Photo Credit: Katherine Amy Vega
Lydia Liza (Guitarist, Vocalist) & Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

The evening closed out with “Shoulder the Weight”, “In the Drink”, and “Goodnight Hiroyuki” – the last three tracks off of Pierre’s latest solo expressional, sending fans off with a phantasmal intermingling of sludgy, otherworldly tones. Rehbein could be seen sliding his guitar back and forth against everything from the guard rail to the speakers and even Liza’s guitar while her robust, angelic voice offered a sweet contrast to the whirlwind of instrumental experimentation unfolding on stage. “This is it. I love you all, except Kevin!”, Pierre exclaimed.

Thomas Rehbein - Photo Credit: Katherine Amy Vega
Thomas Rehbein (Guitarist)
Photography:
Katherine Amy Vega © Kataklizmic Design
All Rights Reserved

Following a staggering twenty track setlist, fans continued to swarm the stage in hopes of one more. Band members could be seen handing out copies of the setlist, and even notes from practice sessions to outstretched hands eager to claim their prize. Following the performance, Pierre stayed true to his reputation of being the down-to-earth artist we’ve all come to love and hung out to greet and take photos with anyone and everyone who chose to stick around. Although he was lacking in words (as he announced that he would not be speaking, in order to protect his voice), Pierre’s charismatic demeanor radiated off of him as fan after fan stepped up to meet the man of the hour.

After two years of wondering, Pierre took us back to the driving spirit and endearing authenticity behind what made Motion City Soundtrack great. It’s that permeating willingness – to care and connect with his fans, to tell the stories that need to be told, and if there’s one thing for sure, it’s that we absolutely cannot wait to see what this performer is up to next.

PHOTO ALBUM

by Katherine Amy Vega

Justin Courtney Pierre – Valley Bar 11-30-18

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REVIEW: A Perfect Circle Finishes North American Tour “On a High Note” in Phoenix (11-20-18)

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PHOENIX — A Perfect Circle ended “on a high note” for the last date on the third leg of their headlining North American tour, to the city that frontman Maynard James Keenan thanked for being the “marijuana-stinking cherry” on top. Dark electronic duo Night Club and trip hop artist Tricky supported the band starting from October 20th, leading up to this night at Comerica Theatre. A PerfeBetct Circle delivered a performance that repeatedly went from smoldering to bellowing, and took the transfixed audience on an escape of commiseration through hard rock.

This year, A Perfect Circle released Eat the Elephant, which is their first album release in fourteen years, and their fourth studio album. Today, A Perfect Circle released a limited-edition 7” vinyl single featuring the latest single, “So Long, And Thanks for All the Fish”. Included on the release is a B-side, a cover of AC/DC’s “Dog Eat Dog”. It is available exclusively from the Record Store Day Black Friday event at select brick-and-mortar record stores.

The tone of their performance in Phoenix was first set with a dark stage as they invisibly began the instrumentals of the title-track of their latest album, “Eat the Elephant”.  Anyone who has previously experienced A Perfect Circle live may have come to expect a giant white sheet shrouding the stage front leading up to, and remaining through the entirety of, the first song, before dramatically dropping to the floor. However, the sheet was absent this time around. Each band member was gradually backlit by just a bit of light, one-by-one, until all appeared as nearly pure-black silhouettes.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Jeff Friedl (Drummer), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

A Perfect Circle - Photo Credit: Katherine Amy Vega
Greg Edwards (Touring Keyboardist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

Blue and white rays of light and rising smoke backed them, in front of a curtain displaying their logo, and they were surrounded by white panels that would feature visuals catered to each song throughout the night.

A Perfect Circle - Photo Credit: Katherine Amy Vega
A Perfect Circle at Comerica Theatre
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

True to character, Keenan remained even less visible than his bandmates for the entire performance, on a platform in the back of the stage. Sometimes he blended in with the darkness and visuals so well that one might question whether he had left the platform, seeing that he remained stationed upon a second glance.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Maynard James Keenan (Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

When A Perfect Circle performed at Comerica Theatre in April of 2017, Keenan offered a few encouraging words. This time around, he almost seemed to be out of supportive messages.

Perhaps referencing the “despicable false claim”, in his words, made against Keenan earlier this year, he said, “Crazy, crazy, crazy, insane times we’re living in, wouldn’t you say? Insanity… People all mad at each other over a fuckin’ internet thing. It’s stupid… I’ve heard it said love is the answer… but because of all of the marijuana, I can’t remember the question.

However, substantial sentiments and motivational speeches may not be necessary every time, considering the volumes that the messages in their music speak, and how emotionally evoking the dynamics of the music are. As usual, A Perfect Circle performed with nearly album-quality sound. Often, elements of the songs that may go unheard when listening to recordings were clearly audible during this performance, bringing new life to the music and a deeper appreciation for the composition. Furthermore, hearing lyrics to new songs for the first time live, versus via studio recording, can cement a different impression of the song as the concert experience packs in the emotion emanating from the artist.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Maynard James Keenan (Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

Eight of the songs performed this night were from Eat the Elephant. Lyrics that really strike a chord in relation to the status quo, religion, and the political climate are contained in their songs, such as the following from “The Doomed” from the new album:

What of the pious, the pure of heart, the peaceful?
What of the meek, the mourning, and the merciful?
What of the righteous? What of the charitable?
What of the truthful, the dutiful, the decent?

Doomed are the poor
Doomed are the peaceful
Doomed are the meek
Doomed are the merciful

For the word is now death
And the word is now without light
The new beatitude:
“Fuck the doomed, you’re on your own”

The lighting and visuals on the screens became increasingly dramatic, matching the intensity of the music throughout the night. They designed a setlist that felt narrative, which crescendoed and climaxed. Along with that, the colors shifted from cool and neutral, to bold and loud red, white, and black. Behind the band, the all-seeing eye displayed where their logo once appeared. The audience was united in a cathartic experience, as they let go and got lost in A Perfect Circle’s trademark indignation and disdain.

One fan in the audience was overheard saying, “I forgot how hard these guys rock!” and with unrestrained, unabashed love and respect for the band, he yelled louder than all around him.

“We’re gonna end on a high note here in Arizona. Off to Europe for about 3 weeks. So thank you very much for being the cherry on top. A marijuana-stinking cherry.”Maynard James Keenan

Before going into “Dog Eat Dog”, a tribute to the late Malcom Young of AC/DC, Keenan took a moment to introduce the band members. It was interesting to note the many other music projects all band members are a part of, emphasizing how much of a supergroup A Perfect Circle is. 

“Our rhythm section: from Beta Machine, Ashes Divide, Eagles of Death Metal, and Puscifer — Mr. Matt McJunkins, Mr. Jeff Friedl.” McJunkins (Bassist) is also a former touring member of Thirty Seconds to Mars.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Jeff Friedl (Drummer), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

He continued, “Guitar & keyboards: from Autolux and Failure, Mr. Greg Edwards.” Edwards is filling in for James Iha, who is currently touring with Smashing Pumpkins. He was also a member of Lusk and Replicants in the past.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Matt McJunkins (Bassist) & Greg Edwards (Touring Keyboardist),
A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

“My partner-in-crime: Mr. Billy Howerdel,” he concluded. Howerdel (Lead Guitarist, Keyboardist, and Backup Vocalist) is also frontman of Ashes Divide.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Billy Howerdel (Guitarist, Keyboardist, Backup Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

Of course Keenan is also a member of multiple bands on top of A Perfect Circle, including Tool and Puscifer.

Some find the media policies for A Perfect Circle’s shows to be pretentious or mistreating to fans. Like a performance in a symphony hall, the band sends the message that it is a faux pas to raise up a phone in the air during theirs. Others feel that it not only preserves an important atmosphere that keeps integrity to the music and sets their performances to a different level than other rock concerts, but also actually appreciates their fans because the band wants to connect with them like they did in the days before smartphones. There were some in the crowd that could be overheard during the show actually expressing appreciation for the absence of cell phones in the air throughout the concert. The impression was that most, if not all, in attendance left satisfied and delighted.

Following the climax of the performance with four ferocious songs, A Perfect Circle closed out the concert with “Delicious” from the new album. It had the fitting mood of the falling action of the storyline, lyrically segueing into a resolution of sorts:

How inconvenient and unexpected and harrowing for you,
as consequences tend to be
For the rest of us,
so delicious to witness your dread.
Poetic justice consummate.

During these times, it is interesting to see swathes of artists such as A Perfect Circle, Cake, Otep, Eminem, Taylor Swift, and many more, using their platforms to speak out against or oppose President Donald Trump and the Republican Party. While some feel that entertainers should “stay in their lane” in topics such as these, it is undeniable that they historically have significant ability to influence the public, for better or for worse. With the success of their world tour, and the large attendance of a concert on a Tuesday night, it is evident that there are a significant number of people that aren’t repelled by their political leanings. In the current political climate, A Perfect Circle’s brooding music serves as an outlet, a beacon of intellect and sanity, and a unifier for like-minded fans that are equally frustrated, angry, and despairing.

While it would be unlikely that Keenan and his band would skip playing his home-state, Arizonans were undoubtedly grateful that they had the opportunity to experience A Perfect Circle live after getting some fresh music from them. Keenan stated in a June 2018 interview that “there should be” more albums in the future. Though Eat the Elephant has proven worth the wait, hopefully it will not be another fourteen years before the next release. Hopefully fans can be treated to another tour in support of the next release, or at least more Arizona shows.

Considering the solid quality and atmosphere of their live performance, the sizable setlist, the supportive experience, and love of their intense music, any fan that may hesitate to make the investment in a concert ticket can rest assured this one is worth it. A Perfect Circle’s show in Phoenix was not a buzzkill.

REVIEW: No Throw-Aways With Garbage at Marquee Theatre (10-7-18)

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Tempe, AZ — On Sunday night, Garbage played at the Marquee Theatre as part of the “20 Years Paranoid” tour celebrating the 20th anniversary of the release of their Version 2.0 album. Opening for them was Rituals of Mine, a Los Angeles-based duo previously known as Sister Crayon.

At the start of the show, it wasn’t clear that Ritual of Mine’s self-described electronic/downtempo R&B sound would appeal to the packed house of late-to-middle-age Gen Xers. But as Terra Lopez sang “To Show You Violence,” the mood in the theater shifted from one of silent, reserved judgement to silent awe. Her indisputably powerful and clear voice resounded throughout the theatre to the applause of a crowd won over.

Rituals of Mine - Photo Credit: Rodrigo Izquierdo
Rituals of Mine |
Photography:
Rodrigo Izquierdo © All Rights Reserved

Rituals of Mine recently collaborated with Tricky and The Glitch Mob, and the duo is now working on their sophomore LP. They will also accompany Garbage throughout the entire U.S. anniversary tour. “This is a dream for us,” Lopez told the crowd. While Rituals of Mine isn’t a new act, the tour along with their recent collaborations could expose the group to a much wider audience.

Rituals of Mine - Photo Credit: Rodrigo Izquierdo
Terra Lopez (Vocalist), Rituals of Mine |
Photography:
Rodrigo Izquierdo © All Rights Reserved

It is a privilege to share our stage with them,” Garbage frontwoman Shirley Manson said later during the show, “cause not all musicians are good people, you know what I’m saying?

When Garbage finally took the stage, they opened with “Afterglow,” followed by “Deadwood,” and “Temptation Waits”. To the delight of the audience, Depeche Mode’s “Personal Jesus” was mixed in midway through “Wicked Ways.” By the time “Special” began to play, the crowd was fully amped.

Garbage - Photo Credit: Rodrigo Izquierdo
Garbage |
Photography:
Rodrigo Izquierdo © All Rights Reserved

This is an incredible surprise for us… We never ever know what we’re getting, and it is always extraordinary and it’s fun,” a breathless Shirley Manson told the screaming crowd. “We’re here to celebrate a record that was immensely influential for us as people. It took us all over the world.

Version 2.0, the band’s sophomore album released in 1998, was immensely successful, quickly gaining Platinum status in the U.S. and selling more than four million copies worldwide. It received two Grammy nominations, including “Album of the Year” and “Best Rock Album”. And in 1999, the single “Special,” was nominated for “Best Rock Performance by a Duo or Group With Vocal”.

Garbage has often credited Version 2.0 with solidifying their place in 90s rock music. In June, they reissued a special edition of the album that included 10 B-sides, several of which they played during their show at the Marquee, including “Lick the Pavement” and their cover of Big Star’s “Thirteen.” The group also has plans to record a new album for release in 2019.

One of Garbage’s last visits to the Valley was during a show at the Arizona State Fair to promote Strange Little Birds. Maybe it was the venue — the Veterans Memorial Coliseum has seen better days — or maybe it was just the changing state of affairs in the world at that time, but Manson seemed drained, world-weary and even a little sad. They delivered a powerful performance, but you couldn’t help leaving with the impression that maybe they weren’t coming back.  

By contrast, Garbage was more alive than ever on stage at the Marquee. Manson seemed to have a renewed energy and vigor that made you forget you were singing along to songs that are now 20 years old.

Garbage - Photo Credit: Rodrigo Izquierdo
Shirley Manson (Vocalist), Garbage |
Photography:
Rodrigo Izquierdo © All Rights Reserved

During “Push It,” nearly the entire front of the house was jumping up and down with Manson and screaming the chorus. The stage was backlit with playful rainbow hues for “When I Grow Up.” Then, at the end of “Can’t Seem to Make You Mine,” Manson joined Duke Erikson at the keyboard to play glissandos back and forth across the keys.

Despite what they will tell you, this is not a celebration of nostalgia,” Manson told concert-goers early in the evening. “It is a moment in which to collect you all in one space and feed off that mental energy that you just provided for us.

But there was something undeniably nostalgic about the sound clips from familiar old movies interspersed between each song. Before “Hammering in My Head,” a clip of Rutger Hauer’s iconic monologue from the final scene of Bladerunner played: “I’ve seen things you people wouldn’t believe. … All those moments will be lost in time, like tears in rain. Time to die.” And before “Medication” they played a clip of HAL 9000 repeating: “Take a stress pill and think things over.”

Garbage - Photo Credit: Rodrigo Izquierdo
Shirley Manson (Vocalist), Garbage |
Photography:
Rodrigo Izquierdo © All Rights Reserved

Perhaps the most poignant messages of the night came after Garbage returned for their encore. “No life is very easy,” Manson told concertgoers. “Remember that today’s just a day. Tomorrow will be better. And if tomorrow isn’t better, maybe the day after that might be,” Manson said before dedicating “The Trick Is to Keep Breathing” to any fans who might be struggling.

They followed it with one of the band’s latest singles, “No Horses,” which Manson took some time to speak about.

We must focus on the things that are precious. Not the things that are of the most financial value, but the things that are truly truly precious that make our world beautiful, that make us want to live, that make us want to breath and thrive. And this is what this song is about, Manson said.

It is about the fact that we must never fuck up our planet and our beasts and our animals and the things that don’t make money and that, above all else, human beings are our biggest and most important resource.

Garbage - Photo Credit: Rodrigo Izquierdo
Shirley Manson (Vocalist), Garbage |
Photography:
Rodrigo Izquierdo © All Rights Reserved

Garbage closed the show on a high note with “Cherry Lips (Go Baby Go),” a song that Manson called their ode to the LGBQT community, which she has been a very vocal supporter of over the years.

It’s good to be free, and it’s good to be a nonconformist.
So this one goes out to you.

Photo Album

Photographer: Rodrigo Izquierdo

Garbage & Rituals Of Mine – Marquee Theatre 10-7-18

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