Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

REVIEW: Primus, Puscifer, & A Perfect Circle Perform The True Sessanta Celebration for Maynard’s Official 60th Birthday at Talking Stick Resort Amphitheatre (4-16 & 17-2024)

StickyApril 19, 2024 Mark Greenawalt 1 Comment

PHOENIX — Not everyone can invite thousands of people to their birthday party, but that is exactly what Maynard James Keenan did for the “Sessanta” (Italian for “60”) concert held at Talking Stick Resort Amphitheatre. He turned the stage into a “house party”, complete with living room sofas on the drum risers, ping pong tables, and Rock ‘Em, Sock ‘Em Robots, too! When the party guests are musician friends, a jam is inevitable. Fans were treated to a revolving mix of Puscifer, A Perfect Circle, and special guests Primus.

Unlike the prototypical concert, there was no opening act and there was no headliner. This was a party of contemporaries taking turns at the helm and then joining together like alchemists creating something new. The comical video intro to the show promised Puscifer, Primus, A Perfect Circle, Primefer, A Primus Circle, A Pusifect Primcle, and A Prifmect Puscicle!

The focus was the music. The sound was fantastic, arguably better than usual for this venue. The musicianship was flawless and the songs showcased the songwriting prowess. However, at times, the visual experience was disconcerting. The video feed was continually ‘artsy-fartsy’ with overlays of two separate video feeds infused with motion and tilt. This was obviously intentional and maybe it was supposed to mess with your head and keep you focused on the live show instead of watching TV! The issue that led to watching the video screens, however, was because there was very little front lighting on the performers.

The light show in the background was a marvelous cacophony of color palettes and dynamic design, but the people in the lawn may not have even noticed Keenan’s black eye make-up on his shadowed face. Not to mention that the videographers did their damndest to keep from showing the reclusive Keenan on the ‘jumbotrons’ at all…presumably since they would be fired if they focused on him.

A Perfect Circle

A Perfect Circle kicked off the 30-song ride by delivering “The Package,” “Disillusioned,” and “The Contrarian.” Keenan chose a three-piece black suit and a buttoned-down white shirt from his diverse selection of guises to complement his sculpted blonde mohawk. This outfit was befitting the ‘most interesting man in the world’ and could easily transition from his day-job of running a successful winery to bringing a touch of class to his night on the stage. By his side since the inception of the band, a quarter century ago, was guitarist/composer Billy Howerdel, who still looks exactly the same after all these years. Plus he is still playing the Cinnamon Burst Gibson Les Paul that is part of the signature sound of the band.

Sessanta had a two-evening engagement in Phoenix. On Tuesday, Keenan was 59-years-old. On Wednesday, he was 60. His voice still sounds like it’s in its prime! Each stanza harkened back to the creepy “Sober” video by Tool, when much of the world was introduced to his iconic vocal sound in 1993. From the haunting ‘mello, dramatic’ melodies to the gritty howls of angst, there was no doubt that he’s still got game.

Primus

A Perfect Circle brought epic songs, but the beats per minute multiplied once the screens announced Primus. The elevated drum stage extended from stage left to stage right and all three drum sets were mic’d and ready to go. Primus kicked off their first set with “Those Damned Blue-Collar Tweekers,” followed by “Too Many Puppies,” “Sgt. Baker,” and “Follow The Fool.” There was definitely no time to go get a beer between bands.

It was most certainly Keenan’s night, but if there was a close second, Les Claypool nearly stole the show. His bass playing is a master class in technique, proficiency, and feel. There is something about this band that shouts that there are no fucks given for them trying to fit into the mold of any genre of music…and it works. Claypool’s voice and melodies are like a brilliant comedy and grinning at his delivery is contagious.

Puscifer

In the dark moments after the last Primus song, the musicians playing on center stage rotated once again. As the lights reignited, the sonic curtain was infused with synthesized textures and the continuous male/female vocal harmonies of Puscifer.

Carina Round brought a feminine aesthetic to the party dominated by the boys and she was amazing. When she wasn’t in flight across the stage, choreographed with Keenan’s moves, she was playing the pads of a Waldorf Iridium synth and morphing the sounds on the touchscreen. This short first set included “Galileo,” “Tiny Monsters,” and “Indigo Children.” Guitarist Mat Mitchell stayed on the left side of the stage with a reserved swagger and elevated the heavy moments with rock riffs and solos from his star-shaped Kiesel.

And So It Went…

The revolving cast of characters continued throughout the evening. Each band played three sets and included top songs from their catalogs such as “Jerry Was A Racecar Driver” from Primus, “The Remedy” from Puscifer, and “Weak And Powerless” from A Perfect Circle. Nobody seemed to ever go to the green room when they weren’t playing. “Back stage” were the two the couch areas next to the three drum sets, and musicians would either just hang out there, or from time to time play ping pong down stage while waiting for their turn in the limelight.

There was only one brief 10-minute intermission, and even that proved to be entertaining with a video of Keenan made up to look way older than 60 and dressed in a hospital gown while breathing through a nasal cannula. Throughout the intermission, his character would fall asleep in the green-screen hospital room only to be awoken by the countdown announcing each minute left of the break. You come to expect Keenan’s humor after naming his wine “Merkin” and his band Puscifer, but his dad jokes as this old man really made you roll your eyes. “What did the pirate say when he turned eighty?…Ay matey”, “Why are rock stars so cool?…They have lots of fans,” and many others. You can watch this character in the promotional videos for the concert for more corny humor.

Claypool was wearing a Pinnochio nose to compliment his familiar round glasses and derby cap as Primus wrapped up the preliminary rounds of music with the epicly plodding “Southbound Pachyderm.” Then Keenan came on stage to interject that this is what it’s like to be 60! The enthusiastic crowd cheered and wished him a happy birthday. The next three songs were introduced as the new material from the Sessanta E.P.P.P (presumably more humor derived from being an extended play (EP) of Primus, Puscifer, and [A] Perfect Circle (P.P.P). This EP was available exclusively online or at the merch booth. Many fans were carrying around their purchased copies.

Each of the songs were slow, starting with piano-driven “Kindred” by A Perfect Circle with deep lyrics about dealing with death. Next up was “No Angel” by Puscifer, which spotlighted Mitchell with tasty guitar accents and the angelic voicings of Round reverberating in the background. The Primus song, “Pablo’s Hippos” was electric, and the subwoofer synth parts seemed to be emanating from inside your head instead of from the speakers! Guitarist Larry LeLonde was shredding on a two-neck Gibson SG reminiscent of Jimmy Page and Keenan guested as the lead singer with a few harmonies in injections from Claypool. Claypool also made several appearances throughout the evening playing a beautiful upright bass while wearing a pig mask.

In addition to crew videographers positioned in the photo pit, some unusual camerawork sights included: the video camera attached to a massive jib arm sweeping across the stage, emphasizing the grandeur of the occasion throughout the night, and drone cameras buzzing almost playfully over the lawn crowd. This no-doubt assured everyone that the experience would be captured in high quality. A good thing too, since cameras were otherwise strictly forbidden for this show, as is customary at Keenan’s concerts. Those caught disobeying would be ejected from the concert and ‘turned into the special ingredient of Spam’ – Keenan’s humor shining once more. However, for this one last song, fans and press photographers alike were finally permitted to indulge their need to shoot. He articulated the rule that lights and flash must not be used, and he quipped to “consult a 9-year-old if you don’t know how to do that”.

The culmination of the two nights of celebration was the full cast hitting the stage together for a monumental version of Puscifer’s “Grand Canyon.” The melody took on modes of distant cultures and the three drummers amplified the tribal feel.

It was a great night of reminiscing with the eclectic mix of songs that abruptly came to an end, Keenan passing out fist bumps to everyone on stage who made his birthday party spectacular. We hope he will come back for “Settanta” when he turns 70!

April 16 Setlist | April 17 Setlist

Photo Gallery

Photographer: Rodrigo Izquierdo

Sessanta: Primus, Puscifer, A Perfect Circle – Talking Stick Resort Amphitheatre 4-16-24

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Photography © Reagle Photography
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Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

REVIEW: Unveiling the Power of Humanity – The Intimate Journey of Victoria Canal and Lucy Clearwater at Valley Bar (3-28-24)

StickyApril 1, 2024 Nate Wert Leave a comment

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In an era where the encroaching presence of AI threatens to overshadow human creativity, encountering a live performance that seamlessly blends storytelling with musical prowess feels like a breath of fresh air. Such was the experience at Valley Bar, where best friends Victoria Canal and Lucy Clearwater embarked on a joint tour, reminding audiences of the profound connection that human creativity fosters. Valley Bar, nestled beneath a building slowly transforming into the Cornish Pasty, sits at the corner of Monroe St and Central Ave, providing an intimate setting for the evening’s festivities. Clearwater kicked off the show, later smoothly transitioning into Canal’s performance as a member of her band.

Lucy Clearwater

Clearwater assumed the spotlight, strumming her acoustic guitar; later, she would accompany Canal on guitar, as well as showcase her skill on the violin. Clearwater’s multifaceted talent is evident; while many turned to baking sourdough or online tutorials during recent times, she delved into learning German, becoming not only fluent but also a singer in the language with her EP Augenlieder. With her upcoming EP April on the horizon, Clearwater captivated the audience with her ability to evoke nostalgia for experiences yet to unfold, effortlessly blending voice, lyrics, and anecdotes.

Clearwater is exceptionally talented: while the rest of the world learned how to bake sourdough or used YouTube tutorials to learn how to knit during the COVID-19 pandemic, she delved into learning German, becoming not only an excellent speaker, but also a singer in the language with her EP Augenlieder. Perhaps she was inspired by Canal, who although Spanish-American, was born in Munich, Germany. Clearwater is a California native who can claim something almost no one else in the world can: she was born in a cookie factory in Northern California, according to the bio on her website.

With her upcoming EP April on the horizon, Clearwater captivated the audience with her ability to evoke nostalgia for experiences yet to unfold, effortlessly blending voice, lyrics, and anecdotes. At one point, she asked if the audience was ready to go on an emotional rollercoaster with her, immediately apologizing as she recognized she had already started it before performing the first “angry song” she had ever written, “Reconciliation,” which is about her grandfather.

This show marked the eve of the release of “When You’re Down” as a single, set to debut the following day – March 29, 2024. The song served as a poignant response to the heartfelt tribute Canal had penned for her in “Chamomile”. Clearwater’s endearing vulnerability was palpable when she briefly stumbled over the lyrics of “When You’re Down,” only to be swiftly rescued by Canal from the side-stage. As she concluded her performance, Clearwater sealed the moment with a tender gesture, blowing a kiss to Canal, thereby emphasizing the profound bond they share.

Victoria Canal

A masterful storyteller in her own right, Canal possesses a voice that effortlessly communicates the essence of life through her music. With Clearwater added to the stage, alongside bassist James Quinlan, a synergy ignites. Canal charmingly engages with the crowd, who bask in the warmth of their bond.

Canal is well connected, name dropping Coldplay’s Chris Martin – explaining that he challenged her to write a song at a songwriting camp before removing his shirt in front of her and finishing his laps. He has hailed her “Swan Song” as “one of the best songs ever written” and even collaborated with her on a duet rendition. She has also worked with plenty of other artists and songwriters, such as the legendary Kylie Minogue, Gavin DeGraw, and Adele, and has put out an impressive body of work already.

Despite being born with a limb difference, she defies limitations, impressively playing both piano and guitar. In an interview with Gay Times, Canal said, “My limb difference is the least interesting thing about me.” This sentiment was evident in every song she performed, as each was preceded by a heartfelt backstory, inviting the audience into her world with candid vulnerability. Through her narrative and music, she fearlessly delves into topics such as body dysmorphia, gay culture, and the journey of embracing her authentic self in her sexual identity.

Together, Canal and Clearwater exuded a synergy that elevated their performance to unparalleled heights. As they interwove their narratives and melodies, it became evident that their friendship was not only the foundation of their tour but also a driving force behind their creative expression. As the evening drew to a close, it was clear that in the face of technological advancements, it is the human spirit, embodied by artists like Canal and Clearwater, that continues to illuminate the path forward.

Photo Galleries

Photographer: Katherine Amy Vega

View Separately on Flickr:
Victoria Canal | Lucy Clearwater

Victoria Canal & Lucy Clearwater – Valley Bar 3-28-24

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Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

Extreme Reemerge At The Top Of Their Game at The Van Buren (2-23-24)

StickyFebruary 27, 2024 Mark Greenawalt 1 Comment

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Phoenix, AZ — Living Colour could be described as a funk band infused with hard rock, and Extreme, a hard rock band infused with funk. The fusion of these two bands playing the intimate Van Buren venue was magical. The first couple of songs from each band solidified the notion that they were bands that comprised elite musicians with chemistry and executed every musical nuance with collaborative precision. This leg of the “Thicker Than Blood” world tour started with U.S. dates in January, and they’ve had night-after-night to perfect their performance before their arrival in Phoenix.

Both groups emerged on the scene in that bygone era known as the 80s, and their timing couldn’t be better for their resurgence among music lovers craving this nostalgia. It wasn’t just the classic songs that sparked interest in this show. Extreme is touring in support of their new album, SIX, released last June, which has been met with an unexpectedly warm reception. Even the band has been surprised at the response that has shot the album into the top ten in some countries (peaked at 67 in the U.S. so far), and given their music videos millions of views on YouTube.

Extreme's SIX black LP — **SIX** double vinyl

The music industry may have turned its back on guitar heroes, but the people have spoken. This was a sold out show. They came out en masse to see two of the finest guitarists on earth (and beyond): Vernon Reid of Living Colour, who sets the pace, and the great Nuno Bettencourt, who exceeds all speed limits.

Living Colour

Guitarist Vernon Reid was the first to grace the stage as he strolled out like a long-lost friend, greeting everyone with a smile and a wave, and wearing a Salvador Dali T-shirt and a scally cap hat. Next, singer Corey Glover sauntered onto the stage dressed to the nines, with colorful dreads for days. Next was bassist Doug Wimbish (also known for his Sugar Hill recordings), wearing his signature hat and primed to slap his signature Spector Euro 5-string bass. Noticeably absent was drummer Will Calhoun, but filling in for him was James ‘Biscuit’ Rouse, whose résumé includes stints with Usher, Pharrell, Chic, Stevie Wonder, and more. According to the Living Colour website, Calhoun had some previous commitments for a handful of dates, and this was one of them.

They opened their set with “Middle Man” from their 1988 debut Vivid, and “Leave It Alone” from their 1993 release Stain. Opening thoughts were that Glover’s voice was in top form and so very soulful, and that Reid can get a multitude of sounds from a pedal board that looks like the showroom of a music store. He then takes those sounds and turns them into sonic freight trains of blistering solos and iconic style.

A couple of cover songs landed in the set: The first was “Kick Out The Jams” by MC5, and it improved on the original. Glover’s voice gives more melody to the verses, but keeps the growl as needed for the payoff lines. Then, they performed a medley of hip hop songs from the Wimbish-led Sugar Hill label, including Melle Mel’s “White Lines (Don’t Do It)”, Sugar Hill Gang’s “Jump On It”, and Grandmaster Flash’s “The Message.”

Living Colour wrapped their set up with the Grammy Award-winning “Cult Of Personality,” their breakout hit from 1988 with the music video that introduced them to crossover audiences. It was fantastic to see them back on the stage, doing this song and the handful of other songs that defined their unique brand of fusion rock/funk. They’ve still got it.

Extreme

This band hits the stage with all cylinders firing. Extreme’s high-energy music is amplified by the incomparable showmanship of frontman Gary Cherone, who left no area of the stage untouched. He even climbed the amplifier stacks for higher vantage points, commanding attention with exceptional charisma. His voice seems to have not aged and continues to possess the range for soft, low ballads to the primal screams that teeter on the verge of breaking.

As they opened with “It (‘s A Monster)” and “Decadence Dance” from their double platinum album Pornograffitti, Cherone was dressed in a black snake-skin-pattern sports coat, donning sunglasses with an ‘X’ over the right lens, and sporting his signature headband. His bold look and remarkable stage presence evoked elements of the great Motown performers, and he even mixed in a couple of lines from Sam Cooke’s “Cupid” somewhere in the night.

Fans were anxious to see if guitarist Nuno Bettencourt could pull off the scorching guitar riffs that he had perfected in the studio, and they were not disappointed. He had set the bar pretty high, yet made it look effortless as his left hand (the one with the black fingernail polish) blurred across the high frets of his Washburn N4 guitar. When “Rise” was released (the first single from SIX), the news spread like wildfire that ‘you have to check out Nuno’s new guitar solo!’ …Did he nail it live? It is a resounding yes, but we had to wait until the encore to hear it. It was worth the wait.

Rick Beato (Everything Music Channel) interviewed Bettencourt on his podcast about the massive response and it’s a great interview.

Extreme was not resting on their laurels and playing all catalog hits. “#Rebel” was the first of six new songs to be sprinkled into the setlist. Cherone led the audience to sing-along with the angsty lyric “Hey, you got something to say? You talking to me as you’re walking away?”

Bassist Pat Badger and drummer Kevin Figueiredo may not have been the focal points of the limelight, but their contributions to the Extreme sound and their stellar musicianship did not go unnoticed. Plus, they both multitask with singing vocals while performing their instrumental duties and helping to build the wall of harmonies that elevate each chorus.

The four-part harmonies were spotlighted on the intro to the second song released from the new album, “Banshee,” when they covered Queen’s “Fat Bottomed Girls.” So cool. It’s clear that Queen had some influence on their individual musical journeys. They also included a bit of “We Will Rock You” during their performance of “Play With Me” that goes way back to their debut album. Check out their 20-minute Queen medley from the Freddie Mercury Tribute Concert for AIDS Awareness on April 20, 1992.

Another musical reference that percolated throughout the evening was the mighty Van Halen. To some, Gary Cherone is just a footnote to the historic singers of Van Halen that comprised Diamond Dave and Red Rocker Sammy Hagar. However, his one ill-fated album with the band did go gold, and he had the opportunity to work with the incredible Edward Van Halen. Bettencourt paid homage to Van Halen with a rendition of “Eruption” before transitioning into “Am I Ever Gonna Change.” Later, during the encore, he played the intro to “Woman In Love” and reverently pointed to the heavens, put his fist to his heart, and said, “Happy Birthday, King Edward!”

There were two acoustic moments during the performance. The first included the whole band doing renditions of the new “Other Side Of The Rainbow” and the classic “Hole Hearted.” Bettencourt put on his $7,000 cowboy hat and told the story about buying it in Nashville. Later in the evening, Bettencourt and Cherone did an even more stripped down acoustic montage that showcased their diverse songwriting skills.

As he took a seat with his acoustic guitar, Bettencourt gave a heartfelt thank you to Living Colour and praised the musicianship of guitarist Vernon Reid. He joked that when he realized that Reid would be going on before Extreme, he called Reid before the tour and asked him to ‘pull it back a little bit.’ He also spoke to all of the aspiring guitarists in the room with this motivational speech:

“Man, I just need to tell you one thing. Whether you’re doing this up here or in a fucking arena or a stadium or a club or whatever it is, that shit don’t mean anything. What matters is that you are playing this guitar. Whether it’s in your basement, whether it’s in a garage, whether it’s online, whether you’re a fucking great cover band… don’t worry about that shit if you’re doing it for the love of it. The success is playing this instrument right here! …This is like a super power, man. Nobody can fuck with you when you have this thing on, I’m telling you right now. And you can hit somebody hard with it if they do try to fuck with you. (smiles) Give it up for all the guitar players in the room keeping guitar alive, especially all you youngsters out there as well.” – Nuno Bettencourt

Then, he proceeded to give a master class on acoustic guitar prowess by playing the acoustic solo, “Midnight Express” from the Waiting For The Punchline album. Bettencourt then introduced the next song from the new album, called “Hurricane.” He discussed the universal experience of losing someone near and dear to us and mentioned that someone in the audience had lost their mother earlier that day. He dedicated the song to that audience member and anyone else trying to heal up from loss in their lives. The emotional lyrics culminate in the chorus, “My heart is in a hurricane, an eye of emptiness and pain, is this the storm before the calm?”

The mood subtly switched from somber to celebration as the familiar chords of “More Than Words” filled the room. This is the number 1 song that everyone knows, and everyone is singing along with their cell phones raised. Through these two songs, Cherone and Bettencourt traded lead vocal segments, but the magic was in their signature harmonies. Definitely a highlight of the show.

The high-velocity slingshot back into high gear with “Banshee” and the country-hoe-down-on-steroids, “Take Us Alive” that melted into yet another throwback to the Elvis hit “That’s Alright,” another song perfectly suited for Cherone’s persona. Guitar solos throughout the night satisfied the legions of Nuno followers, but the pinnacle show stopper was his blazing shredding on “Flight Of The Wounded Bumblebee” that seems like a million notes in just a minute and a half. This kid is ah-mazing!

The night was seemingly coming to a close as they launched into their signature song from the 80s, “Get The Funk Out.” This was the one that first thrust them into the world stage and heavy rotation on MTV. It was fantastic and the harmonies were fun, with a few expletives added for good measure. The only thing missing was the horn section. As the song ended, the cheers went up and the lights went down as they left the stage. Many assumed that that was the end of the show since it was their obvious show closer… But the house lights did not come on. Some fans started to trickle out of the venue, but the die-hard fans just cheered louder till eventually the quartet returned to the stage.

It is almost unheard of for a band to do new material during their encore. It’s a ballsy move, but boy did it ever pay off. The encore started with the Eddie Van Halen tribute mentioned above, and then continued with “Small Town Beautiful” infused at the outro chorus with the anthemic “Song For Love” from the Pornograffitti album. Had people still carried lighters, the room would have been aglow with their flickering flames. Ultimately, the show closed with rocker “Rise,” featuring the extraordinary guitar solo and the fist-pumping “EXTREME” groove that is absolutely infectious. No one would disagree that this was the perfect choice of an anthem to end the deluge of great music.

Witnessing bands genuinely expressing their gratitude towards their fans at the end of the night is always heartwarming. Extreme spent several minutes thanking the crowd and tossing out picks, sticks, and setlists, before finally lying down on the stage to take a selfie with all of us fans. Well played, Extreme, well played.

EXTREME Setlist
| LIVING COLOUR setlist

Photo Gallery

Photographer: Mark Greenawalt

Extreme & Living Colour – The Van Buren 2-23-24

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Photography © Mark Greenawalt.
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Kataklizmic Design, Reviews, Singles

Exploring Fire Sale: A Dive into Punk Rock’s Newest Supergroup and Their Evocative Singles

StickyFebruary 23, 2024 Ryan Novak Leave a comment

Shockingly, punk rock as a genre has few supergroups – its own Traveling Wilburys or The Highwaymen (or The Highwomen, for that matter) – but it finds one in Fire Sale. The five-piece group consists of Pedro Aida from ShotClock and The Iron Roses on vocals, Chris Swinney from The Ataris on lead guitar, Matt Riddle from Face To Face and No Use For A Name on bass guitar, Brad Edwards from Weaver Street on rhythm guitar, and Matt Morris from 41 Gorgeous Blocks on drums. The band has three previous EPs: Fire Sale in March of ‘21, A Fool’s Errand in November of ‘22, and Long Overdue in July of ‘23. Now, they are back with a new single “The Albatross,” which was released by Negative Progression Records on February 9.

Stream “The Albatross” here

Exploring “The Albatross”

While so much of punk is about youth, “The Albatross” is about the things you have to deal with as you get older. In this case, the concern revolves around the safety of one’s children. The world is an increasingly cruel place. Far too many kids who already feel like outcasts go to school every day, and instead of being greeted by love and acceptance, they are subjected to bullying from the kind of kids whose parents were bullies. This mentality is perpetuated throughout the generations. Struggling with fear, they find it difficult to maintain good grades and often resort to substance abuse as a means to numb their pain.

As I listened to the song, I couldn’t help but think of Nex Benedict. They were the nonbinary Oklahoma teen who died on February 8 – the day before this single was released – after being assaulted and beaten in the bathroom of their high school. If an albatross is a continuing problem that makes it impossible to achieve something, then violence against children is the albatross that threatens to pull down the next generation.

About The B-side: “I Remember Damage”

The B-side track is so good the single should be thought of as a double-A side single. “I Remember Damage” is no throw-away track. It begins not with a note but with a cracked voice of a woman saying “My memories are the same as yours…” The voice is haunting almost, like a faint radio transmission, pleading for someone, anyone, to listen. She fumbles through her message, struggling to articulate her thoughts while processing her emotions. It feels like a lonely plea for connection. The first notes of the song show the group members melodic-punk pedigree and has an early-80’s ska feel, like a recently unearthed outtake from the first Police album.

Within seconds, the song shifts into a high gear with driving power chords. “‘I come in peace,’ is what you said/we never seem to move on.” Was the woman’s voice the voice of the person Pedro Aida is referring to? Perhaps a relationship that should have never begun and yet persisted, dragging both people down with it, as if they were fated to destroy each other instead of moving on. “What do you say? What do you say?” hints at a relationship where there’s plenty of talking but not much listening.

Whether depicting a lingering, unhealthy relationship or the broader theme of feeling lost and damaged, the song resonates. The chorus of “We’re just damaged goods” could feel sad if it wasn’t sung with such a feeling of collectiveness: we are damaged, but we are not hopeless. Punk has always been about unity and that feeling of lost, wandering souls finding a place of acceptance, and that’s the heart of “I Remember Damage.”

Following the three EPs, and now the one-two punch of “The Albatross” and “I Remember Damage” single, I hope that Fire Sale has a full-length album in the works. For now, though, I’ll hit replay on “The Albatross” as soon as “I Remember Damage” fades out, and just enjoy the ride.

Fire Sale online:

Live Nation, News, Tours

Global Sensation Jennifer Lopez Announces “‘This Is Me…Now’ the Tour”

StickyFebruary 15, 2024 Katherine Amy Vega Leave a comment

Today, one of the most influential entertainers of our time, Jennifer Lopez, announced her highly anticipated return to the touring stage with “This Is Me…Now” The Tour. This marks her triumphant comeback to the touring scene after a five-year break, following the successful 2019 tour that grossed over $50 million and sold out venues across the country. The tour will feature Lopez performing her catalog of chart-breaking hits across her renowned discography as well as new songs from her album, This Is Me…Now.

This is Me…Now (Amazon Exclusive Vinyl) — **This is Me…Now** (Amazon Exclusive Vinyl)

Produced by Live Nation, the 30+ city tour kicks off on June 26 in Orlando, FL at Kia Center making stops across North America in Miami, Los Angeles, Toronto, her hometown of NYC, and more before wrapping up in Houston, TX on August 31 at Toyota Center.

“This Is Me…Now” the Tour comes on the heels of Lopez’s announcement of her forthcoming album This Is Me…Now and Amazon Original, This Is Me…Now: A Love Story, out on February 16th. Most recently, Lopez was featured in Dunkin Donuts’ Super Bowl LVIII commercial and dropped a new version of “Can’t Get Enough ft. Latto” which she performed on SNL.

Tickets Available Starting Tuesday, February 20 at 9 AM Local Time via Presales

***General Onsale Begins Friday, February 23 at 10 AM Local Time on* *LiveNation.com***

Tickets will be available starting with a JLo Fan Club presale beginning Tuesday, February 20 at 9 AM local time. Additional presales (details below) will run throughout the week ahead of the general onsale beginning Friday, February 23 at 10 AM Local Time at LiveNation.com.

CITI Presale

Citi is the official card of the “This Is Me…Now” the Tour. Citi cardmembers will have access to presale tickets for the U.S. dates beginning Tuesday, February 20 at 10 AM local time until Thursday, February 22 at 10 PM local time through the Citi Entertainment program. For complete presale details visit citientertainment.com.

Verizon Presale

Verizon will offer customers an exclusive presale for “This Is Me…Now” the Tour for applicable U.S. dates through Verizon Up. Customers will have access to purchase presale tickets for select shows beginning Tuesday, February 20 at 10 AM local time until Thursday, February 22 at 10 PM local time. For more details visit Verizon Up.

The release of This Is Me…Now, her first studio album in nearly a decade, is Jennifer Lopez’s story, in Jennifer Lopez’s words. The album serves as a rich tapestry of sounds and emotions, seamlessly blending elements of pop, R&B and hip hop influences to create a fusion of genres. Her lyrics delve into the highs and lows of life, love, and relationships with unflinching honesty and introspection as she unveils a genuine story of growth, resilience, hard work, and the transformative power of self love. Jennifer Lopez’s distinctive vocals intertwine flawlessly with captivating melodies, delivering a musical experience that is both commanding and deeply meaningful.

Written and recorded at her Los Angeles home in 2022 and 2023, Jennifer Lopez collaborated with a star-studded lineup of hit producers, including Rogét Chahayed, Angel Lopez, and Jeff “Gitty” Gitelman. Additional songwriter-producers were HitBoy, Tay Kieth, Yeti Beats, Carter Lang, Kim “Kaydence” Krysiuk, Jason Derulo, and Brandon Riester, who served as A&R for this project. The album can be preordered here

Streaming globally on Prime Video starting February 16th, This Is Me…Now: A Love Story is like nothing you’ve ever seen from Jennifer Lopez. Alongside director Dave Meyers, Jennifer has created a narrative-driven cinematic odyssey, steeped in mythological storytelling and personal healing. Dropping in tandem with her first studio album in a decade, this genre-bending Amazon original showcases her journey to love through her own eyes. With fantastical costumes, breathtaking choreography, and star-studded cameos, this panorama is an introspective retrospective of Jennifer’s resilient heart.

“Can’t Get Enough”, the first single from This Is Me…Now is available now on all platforms.

“This is Me…Now” The Tour dates:

Get Tickets

Wed Jun 26 | Orlando, FL | Kia Center
Fri Jun 28 | Miami, FL | Kaseya Center
Tue Jul 02 | Austin, TX | Moody Center
Wed Jul 03 | Edinburg, TX | Bert Ogden Arena*
Fri Jul 05 | San Antonio, TX | Frost Bank Center
Sat Jul 06 | Dallas, TX | American Airlines Center
Tue Jul 09 | Phoenix, AZ | Footprint Center
Thu Jul 11 | Los Angeles, CA | Kia Forum
Sat Jul 13 | Anaheim, CA | Honda Center
Tue Jul 16 | San Francisco, CA | Chase Center
Wed Jul 17 | Sacramento, CA | Golden 1 Center
Fri Jul 19 | Palm Springs, CA | Acrisure Arena
Sat Jul 20 | Las Vegas, NV | T-Mobile Arena*
Mon Jul 22 | Denver, CO | Ball Arena
Wed Jul 24 | Tulsa, OK | BOK Center
Fri Jul 26 | Rosemont, IL | Allstate Arena
Sat Jul 27 | Indianapolis, IN | Gainbridge Fieldhouse
Tue Jul 30 | Pittsburgh, PA | PPG Paints Arena
Wed Jul 31 | Detroit, MI | Little Caesars Arena
Fri Aug 02 | Toronto, ON | Scotiabank Arena*#
Mon Aug 05 | Montreal, QC | Bell Centre*#
Wed Aug 07 | Boston, MA | TD Garden
Fri Aug 09 | Belmont Park, NY | UBS Arena
Sat Aug 10 | Newark, NJ | Prudential Center
Tue Aug 13 | Philadelphia, PA | Wells Fargo Center
Wed Aug 14 | Washington, DC | Capital One Arena
Fri Aug 16 | New York, NY | Madison Square Garden
Tue Aug 20 | Cleveland, OH | Rocket Mortgage FieldHouse*
Thu Aug 22 | Nashville, TN | Bridgestone Arena
Sat Aug 24 | Raleigh, NC | PNC Arena
Sun Aug 25 | Atlanta, GA | State Farm Arena
Tue Aug 27 | Tampa, FL | Amalie Arena
Fri Aug 30 | New Orleans, LA | Smoothie King Center
Sat Aug 31 | Houston, TX | Toyota Center*

*Verizon Up Presale Not Applicable | #Citi Presale Not Applicable

Concerts, Kataklizmic Design, Media, News, Photo Galleries, Reviews

REVIEW: Tool‘s Epic Showmanship Takes Fans on a Sonic Odyssey for Night Two at Footprint Center (2-10-24)

StickyFebruary 12, 2024 Nate Wert Leave a comment

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PHOENIX — On an unexpectedly brisk February evening, amidst the peculiar backdrop of lightning streaking across the Arizona sky, an eager audience gathered to experience the second night of Tool in Phoenix, accompanied by special guests Elder, on their simply-named “Winter Tour.” It comes as no shock that Tool effortlessly filled their hometown venue for two consecutive nights. These performances were a delight for fans of progressive rock, as both bands firmly reside within this genre’s realm.

Elder

Elder’s journey began as a trio in 2006, in a quaint seaside town in Massachusetts before eventually relocating to Berlin, Germany. Evolving into the present-day roster of 4 members, lead vocalist and guitarist Nick DiSalvo stands as the sole remaining founding member. The group boasts an impressive discography, including, but not limited to, six full-length albums.

Comparisons abound between Elder and Tool, and while Elder tends to lean more toward the classifications of doom metal and stoner rock, there are undeniable similarities between the two groups. The 4-song, 40-minute set, which felt more like a mesmerizing jam session by a highly skilled and technically proficient ensemble, seemed to defy the passage of time. The band does not do very much that would be considered new, but what they do is done extremely well.

Even without the elaborate visual show that Tool brings to the table, Elder’s performance—accompanied only by their name on the screen behind them—was very enjoyable. It served as a compelling example of why you should show up early to witness the openers. In fact, DiSalvo thanked the crowd for coming early to see them. They are worth catching when they come to town, and one can only hope they will swing by again sooner than later.

Tool

Among the fans in the arena, there was a palpable sense of anticipation, steadily mounting as the clock ticked towards 8:30. Nearly every attendee had settled into their seats about 15 minutes before the lights dimmed, all eager for what was to come—and with good reason. The opening sequence offered a tantalizing glimpse of the extraordinary spectacle about to unfold before their eyes.

The lights dimmed, the crowd erupted into cheers, and a heartbeat from “Third Eye” began. As Tool’s widely-acclaimed drummer Danny Carey climbed behind the kit, a massive skull moved across the screen from right to left in an arc. A second pass gave the skull muscles and blank eyes, a third and final pass gave it skin, irises, and pupils. By this time, guitarist Adam Jones and bassist Justin Chancellor had walked out, taking up their places in front of Carey.

Tool sets the stage in an unconventional way: The bassist and guitarist stand in front of the elevated drummer, who has quite the legendary kit surrounding him. On each side, slightly set back, are platforms mostly shrouded in darkness. Behind Carey, there is a walkway, serving as the domain of vocalist Maynard James Keenan, who adamantly prefers not to be at the forefront of attention. He has been known to face away from the audience to immerse himself in the right mindset for certain songs, but he did not do so this evening.

As the notes for “Fear Inoculum” began, Keenan could be seen pacing in circles on the stage-right platform. Keenan rarely stops moving during the show, and can be seen frequently crouching down as if he is preparing for an unseen opponent he could employ his Brazilian Jiu-Jitsu skills against, given his black belt proficiency. He also rhythmically slaps his legs or pounds his chest to the beat when not singing. In essence, Keenan is a spectacle unto himself, captivating the audience with his dynamic presence.

There is an old adage that everyone knows by now: The only things certain in life are death and taxes. But nowadays, it seems almost incomplete without adding a third certainty: Maynard James Keenan’s disdain for all manner of cell phone usage at concerts. No matter which side you fall on the issue, there is no denying that as a concertgoer in these times, you are likely to partially watch the show through the lens of someone in front of you as they hold up their phone to record a video. Keenan has no problem letting you know how he feels about this, and in fact he insists that venues eject people who have their phones out. 30 or so people were reportedly kicked out during the prior night’s show for violating this rule, and at least 4 were spotted being escorted from the floor on this night.

After “Fear Inoculum” ended, Keenan addressed the ban on cell phones by laying into the culture of addiction to false connections, informing people if they could not put their phones away for 2 hours, they should seek help. His reasoning was that he—and the band—wanted everyone to be present in the moment as they were taking the crowd on a journey. With the exception of the few who discovered that yes, it was still chilly outside, and yes, security was dead serious about enforcement of the policy, the audience as a whole respected the artists’ wishes.

Keenan was not using hyperbole when discussing the journey to come. The show truly is a transformative experience, with visuals that sometimes evoke the sensation of a particularly intense trip on psychedelic mushrooms. A prime example occurred when the screen behind the band abruptly showcased towering, 40-foot-tall aliens peering out at the crowd. Overall, the visuals behind the band are absolutely incredible to see, and there is no denying that they immensely enhance the experience. It should also be noted that Jones is an accomplished makeup artist and set builder—including work on Jurassic Park—and as such, some of the visuals came from him.

Tool has a decent-sized body of work, with just over 50 songs in total, but the shows tend to have somewhat sparse setlists due to the length of their songs. This show was no exception, with just 11 songs, five of which came from 2019’s Fear Inoculum. There was a 12-minute intermission after the first 7 songs, where seemingly the entire arena made a mad dash to offload trash, visit concessions for some more food or drinks, and/or make a pitstop in the restroom.

For those who managed to return in time, they were treated to the sight of Carey—sporting a personalized Phoenix Suns jersey and basketball shorts—standing before a colossal gong. After gently massaging the gong’s surface with his drumsticks, Carey took a mallet, pointed back toward the crowd, and delivered a resounding strike. Following this striking display, he settled behind his drum kit and unleashed a multi-minute drum solo, captivating the audience as it was magnificently showcased on the towering screens behind the stage.

Carey’s drumming prowess is unparalleled, a true maestro behind the kit. It’s not only enthralling to watch but also a delight to listen to him weave his rhythmic magic.

Next up was Chancellor, who delivered a relatively swift bass solo. Despite its brevity, witnessing him coax sounds from the bass that seem impossible was incredibly impressive.

Lastly, but certainly not least, was Jones, who effortlessly shifts between styles, making it a bit more challenging to emulate him. However, witnessing someone defy “traditional” styles in such a remarkable manner is truly awe-inspiring. It’s a sheer pleasure to observe this trio craft music in ways that most can only dream of replicating.

There would be a total of 4 more songs, including “Flood,” which saw confetti dropping from the ceiling during the intro. Right before the final set, Keenan informed the crowd – almost resentfully – that since they had been good, they could film the final song. He also brought up the fact that he would be touring with A Perfect Circle and Puscifer, with a return to the valley in April. He then told the audience that they could take out their “stupid” phones, but warned that if they used their flash while taking photos or had their light on while filming, he would come down and “kick them in their vaginas.” As if on cue, someone immediately held up their phone with the light on, which drew Keenans’ wrath, as well as the attention of security.

What other song is better to close the show with than one of the most recognizable songs in rock, “Schism”? The opening notes may not be quite as recognizable as the riff, but almost any rock fan is immediately going to recognize those notes. It is fun to watch Tool live; every facet of the show is nothing short of entertaining, and the journey that Keenan promises to take the fans lives up to his word. As the final notes faded, Keenan left his perch for the first time, fist bumping each of his band mates before exiting the stage and allowing them to take the final bows they deserve. Keenan is an anti-star, if you will, and yet he certainly has the gravity of one.

Do yourself a favor and go see Tool next time they come to town. And if you are able, go see Puscifer and A Perfect Circle with Primus in Phoenix on April 16th or 17th (SOLD OUT) as well. Especially considering it will be Keenan’s 60th birthday celebration, we have every confidence they will not leave you disappointed. More Tool and Sessanta tour dates on Live Nation.

View Tool’s Phoenix Setlist (Feb. 10) on Setlist.fm

Photo Gallery

Photographer: Katherine Amy Vega

Tool & Elder – Footprint Center 2-10-24

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Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

Albums & EPs, Earshot Media, Films, News

AZ’s The Venomous Pinks Debut the Documentary ‘We Must Prevail: The Making of Vita Mors’

January 28, 2024 Katherine Amy Vega Leave a comment

Arizona femme punks The Venomous Pinks are debuting the new documentary, We Must Prevail: The Making of Vita Mors, which chronicles the creation of their latest album Vita Mors, out now on SBÄM Records.

The film was directed and edited by Alexander Thomas and filmed in Santa Ana, CA, at Maple Sounds Studios, with cameos by Brenna Red (The Last Gang), Linh Le (Bad Cop/Bad Cop), Cameron Webb (Alkaline Trio, Motorhead), Dan Palmer (Death By Stereo, Zebrahead), and Stefan Beham (SBÄM Records).

The Pinks had a busy 2023, touring relentlessly with the likes of T.S.O.L., Dead Kennedys, The Queers, Less Than Jake, The Toasters, and appearing on festival stages at Punk Rock Bowling and more. 2024 promises more of the same, as the band has already announced its first shows of the year, including an appearance at Camp Punksylvania in July.

Stream We Must Prevail: The Making of Vita Mors here:

“[The Venomous Pinks] might singlehandedly make you believe in the power of feminism, whoa-oh gang vocals, and punk pride to change the world. The songs can wax as melodic as the GoGo’s or roar as persuasively polemical as Bad Religion.”- Offshelf

Upcoming The Venomous Pinks Shows

3/22 – Santa Ana, CA @ Observatory w/ Mac Sabbath, DI
4/6 – Honolulu, HI @ Nextdoor
4/7 – Paia, HI @ Paia Bay Coffee and Bar
July 5-7 @ Camp Punksylvania – Gilbert, PA

“Mesa, AZ’s own The Venomous Pinks have more than earned their place amid punk’s most weird and riotous acts. This bare-bones punk jam blends heft, heart, and pop-punk vibes into a bona fide earworm.”- Phoenix New Times

Vita Mors is out now via SBÄM Records

Vita Mors was recorded, engineered and produced by Grammy winner Cameron Webb, who also worked with iconic bands like Motorhead, Social Distortion, Pennywise, NOFX, Alkaline Trio and many more. The Venomous Pinks set out to be the next big thing on that list.

Stream Vita Mors here

Vita Mors Vinyl

Vinyl currently available in Yellow/Purple and Purple Marble,
also on CD

Buy at SBÄM Records webstore
(US | EU | UK | AUD)

If members of Bikini Kill and TSOL musically collided in a Russ Myer movie, the soundtrack scoring the scene would be orchestrated by The Venomous Pinks.

Hailing from Mesa, Arizona the three-piece trio creates an unapologetically, uniquely addictive, in-your-face punk sound, that instantly makes the soul hurt so good, you can’t help but yearn for more.

The Venomous Pinks Online

Tweets by venomouspinks

Live Nation, News, Tours

Justin Timberlake Returns to the Global Stage with the ‘Forget Tomorrow’ World Tour

January 26, 2024 Katherine Amy Vega Leave a comment

Last night on The Tonight Show starring Jimmy Fallon, renowned musician, actor, and entertainer Justin Timberlake announced his first tour in 5 years with The Forget Tomorrow World Tour.

Produced by Live Nation, the first leg of his global outing will include 22-cities and kicks off on April 29 at Rogers Arena in Vancouver, BC making stops across North America in Seattle, WA; Los Angeles, CA; Atlanta, GA; Miami, FL; Chicago, IL; New York, NY; Boston, MA and more before wrapping up in Lexington, KY at Rupp Arena on July 9.

Additional dates including stops in Europe and the UK will be announced soon. See full ticketing and routing information below.

Get Tickets for All Tour Dates Here

About Timberlake’s New Album – Out March 15

'Everything I Thought It Was' album artwork — ‘Everything I Thought It Was’ album artwork

Fans can expect to hear songs from his forthcoming new album Everything I Thought It Was, his latest single “Selfish” out now, and everyone’s favorite hits. Written by Timberlake, Louis Bell (Taylor Swift, Post Malone), Cirkut (Maroon 5, The Weeknd), Theron Thomas, Amy Allen and produced by Timberlake, Louis Bell and Cirkut, “Selfish” is the first taste of solo music from Justin since his 2018 Man of the Woods record.

Justin’s sixth studio album Everything I Thought It Was is out March 15^th. Pre-order HERE. This weekend, Timberlake will return to Saturday Night Live as musical guest, making the TV debut of his newly released single “Selfish”.

Justin Timberlake 2024 North American Tour Dates

Mon Apr 29 – Vancouver, BC – Rogers Arena
Thu May 02 – Seattle, WA – Climate Pledge Arena
Mon May 06 – San Jose, CA – SAP Center at San Jose
Fri May 10 – Las Vegas, NV – T-Mobile Arena*
Tue May 14 – San Diego, CA – Pechanga Arena San Diego*
Fri May 17 – Inglewood, CA – Kia Forum
Tue May 21 – Phoenix, AZ – Footprint Center
Wed May 29 – San Antonio, TX – Frost Bank Center
Fri May 31 – Austin, TX – Moody Center
Tue Jun 04 – Fort Worth, TX – Dickies Arena
Thu Jun 06 – Tulsa, OK – BOK Center
Mon Jun 10 – Atlanta, GA – State Farm Arena
Wed Jun 12 – Raleigh, NC – PNC Arena
Fri Jun 14 – Tampa, FL – Amalie Arena
Sat Jun 15 – Miami, FL – Kaseya Center
Fri Jun 21 – Chicago, IL – United Center
Tue Jun 25 – New York, NY – Madison Square Garden
Sat Jun 29 – Boston, MA – TD Garden
Wed Jul 03 – Baltimore, MD – CFG Bank Arena
Thu Jul 04 – Hershey, PA – Hersheypark Stadium
Sun Jul 07 – Cleveland, OH – Rocket Mortgage FieldHouse*
Tue Jul 09 – Lexington, KY – Rupp Arena

*Verizon Up Presale Not Applicable

North America Tickets

GENERAL ONSALE BEGINS FRIDAY, FEBRUARY 2 AT 10AM LOCAL ON JUSTINTIMBERLAKE.COM

Tickets will be available starting with a fan club presale beginning on Monday, January 29. Existing Fan Club members will receive a unique code via email for access to purchase tickets. Additional presales including Verizon and Citi (details below) will run throughout the week. The general onsale begins Friday, February 2 at 10 am local time at JustinTimberlake.com.

TICKETS AVAILABLE WITH CITI AND VERIZON PRESALES STARTING TUESDAY, JANUARY 30

CITI PRESALE: Citi is the official card of the Forget Tomorrow World Tour. Citi cardmembers will have access to presale tickets for U.S. dates beginning Tuesday, January 30 at 10am local time until Thursday, February 1 at 5pm local time through the Citi Entertainment program. For complete presale details visit citientertainment.com.
VERIZON PRESALE: Verizon will offer customers presale access for the Justin Timberlake Forget Tomorrow World Tour for applicable U.S dates through Verizon Up. Customers will have access to purchase presale tickets for select shows beginning Tuesday, January 30 at 10am local time to Thursday, February 1 at 5pm local time. For more details visit Verizon Up.

VIP:

The tour will also offer a variety of VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include tickets in the exclusive VIP Stage Bar section with in-seat service throughout the night, specially designed VIP gift item, early entrance into the venue & more. For additional information, visit vipnation.com

Follow Justin Timberlake

Festivals, Live Nation, News

Usher, Janet Jackson, & Backstreet Boys to Headline ‘Lovers & Friends’ Festival 2024

January 26, 2024 Katherine Amy Vega Leave a comment

Additional Performances by Lil Wayne, Snoop Dogg, Gwen Stefani, Nas, Alicia Keys, Nelly Furtado, Ludacris, Mary J. Blige and many more…

USHER, Janet Jackson and Backstreet Boys will lead the third edition of Lovers & Friends, returning to the Las Vegas Festival Grounds on Saturday, May 4, 2024. The powerhouse lineup will treat fans to performances from Lil Wayne, Snoop Dogg, Gwen Stefani, Nas, Alicia Keys, Nelly Furtado, Ludacris, Mary J. Blige, Ciara, TLC, Timbaland and many more.

Special sets will include Lil Wayne, performing Tha Carter III in its entirety, and USHER performing Confessions, celebrating the album’s 20th anniversary. Sign up now for the festival SMS list at LoversAndFriendsFest.com to receive an access code for the presale that will begin Friday, January 26 at 10AM PT. A public on-sale will follow if any tickets remain.

GA, GA+, VIP, and VIP Cabana tickets will be available, with layaway payment plans starting at $19.99 down.

VIP packages include preferred viewing areas, charging stations, a dedicated entry lane at the festival entrance, air-conditioned restrooms and more.

VIP Cabanas are available with exclusive viewing areas, featuring VIP service including food vouchers and select complimentary beverages, expedited entry and more.

Lovers & Friends has partnered with Jampack to offer hotel and ticket packages with exclusive amenities, including discount rates on select Las Vegas hotels. For the full list of available tickets, packages, and the amenities included in each, visit LoversAndFriendsFest.com.

Follow along on social media to stay in the loop for all festival announcements:

Albums & EPs, Nettwerk, News, Tours

The Paper Kites to Kick off West Coast Tour This February In Support of New Album At the Roadhouse

January 23, 2024 Katherine Amy Vega Leave a comment

Australian indie-folk groundbreakers The Paper Kites make their way back to North America this February for the final leg of their tour in support of their latest acclaimed album, At The Roadhouse. The nearly sold-out headline tour starts on February 27th in Salt Lake City with stops in Denver, Phoenix, Pioneertown, Los Angeles, Portland, Seattle, Vancouver, and more. Full list of dates below.

Last fall, The Paper Kites set out on the first leg of their At The Roadhouse tour, selling out numerous dates, including Toronto’s 1,500-capacity Dan Forth Music Hall and Washington DC’s historic 1,200-capacity Howard Theatre, as well as their NYC, Austin, and Durham shows.

Watch the Band Perform “Till The Flame Turns Blue” LIVE

At The Roadhouse is the continuation of an odds-defying run for The Paper Kites that has seen them achieve accolades like a certified Platinum record in the US, over a billion streams and 8M monthly listeners on Spotify, and continuously-growing sold-out audiences across continents.

Removing themselves from the typical pageantry that accompanies accolades like that, the group found inspiration for this new album by relocating to the remote village of Campbells Creek – away from the pressures of daily life – where they joyfully filled The Roadhouse with music around the clock for weeks on end. While often creating new songs by day, performing them to a growing fan community at night, and recording right there the next morning – the resulting sixteen songs form a touching ode to what waits for us on the winding roads of love, loss, acceptance, and wanderlust.

The Paper Kites West Coast Tour Dates

Get Tickets Here

Feb 27 – Salt Lake City, UT @ UTMetro Music Hall – SOLD OUT
Feb 28 – Denver, CO @ Bluebird Theatre – SOLD OUT
Mar 1 – Phoenix, AZ @ Crescent Ballroom – SOLD OUT
Mar 2 – Pioneertown, CA @ Pappy & Harriet’s – SOLD OUT
Mar 3 – Pioneertown, CA @ Pappy & Harriet’s – SECOND DATE ADDED
Mar 4 – San Diego, CA @ The Observatory North Park – SOLD OUT
Mar 5 – Los Angeles, CA @ The Fonda Theatre – LOW TICKETS
Mar 6 – San Francisco, CA @ August Hall – SOLD OUT
Mar 8 – Portland, OR @ Wonder Ballroom – SOLD OUT
Mar 9 – Seattle, WA @ Neptune – SOLD OUT
Mar 10 – Vancouver, BC @ Vogue Theatre – LOW TICKETS
Mar 12 – Calgary, CA @ Bella Concert Hall – LOW TICKETS
Mar 13 – Edmonton, CA @ McDougall United Church – LOW TICKETS
Mar 15 – Winnipeg, CA @ Burton Cummings Theatre – LOW TICKETS
Mar 16 – Minneapolis, MN @ Fine Line Music Café– SOLD OUT
Mar 17 – Chicago, IL @ Thalia Hall – SOLD OUT

The Paper Kites have more upcoming tour dates in Canada, Europe, and Australia. View Full List of Tour Dates Here

At The Roadhouse

Listen to the Album Here

Tracklist

Midnight Moon
Till The Flame Turns Blue
Black & Thunder
Marietta
Rolling On Easy
Hurts So Good
Burn The Night Away
Good Nights Gone
June’s Stolen Car
Maria, It’s Time
Green Valleys
The Sweet Sound Of You
I Don’t Want To Go That Way
Pocket Full Of Rain
Mercy
Darkness At My Door

“anyone who steps into The Roadhouse — in person or via listening to the recording — can carry with them a light against the darkness” – No Depression

The Paper Kites are:

Sam Bentley (Lead Vocals, Guitars, Harmonica & Mandolin)
Christina Lacy (Backing Vocals, Pianos, Wurlitzer, Rhodes, Guitars)
David Powys (Backing Vocals, Guitars, Banjo)
Samuel Rasmussen (Bass)
Josh Bentley (Drums)

With The Roadhouse Band:

Hannah Cameron (Backing Vocals, Organs, Piano & Percussion)
Chris Panousakis (Backing Vocals, Guitars, Percussion)
Matt Dixon (Pedal Steel, Guitars)

A Perfect Circle

Primus

Puscifer

And So It Went…

Photo Gallery

Sessanta: Primus, Puscifer, A Perfect Circle – Talking Stick Resort Amphitheatre 4-16-24

Lucy Clearwater

Victoria Canal

Photo Galleries

View Separately on Flickr:Victoria Canal | Lucy Clearwater

Victoria Canal & Lucy Clearwater – Valley Bar 3-28-24

Living Colour

Extreme

Photo Gallery

Extreme & Living Colour – The Van Buren 2-23-24

Exploring “The Albatross”

About The B-side: “I Remember Damage”

Fire Sale online:

Tickets Available Starting Tuesday, February 20 at 9 AM Local Time via Presales

General Onsale Begins Friday, February 23 at 10 AM Local Time on LiveNation.com

CITI Presale

Verizon Presale

“This is Me…Now” The Tour dates:

Elder

Tool

Photo Gallery

Tool & Elder – Footprint Center 2-10-24

Stream We Must Prevail: The Making of Vita Mors here:

Upcoming The Venomous Pinks Shows

Vita Mors is out now via SBÄM Records

Vita Mors Vinyl

The Venomous Pinks Online

About Timberlake’s New Album – Out March 15

Justin Timberlake 2024 North American Tour Dates

North America Tickets

GENERAL ONSALE BEGINS FRIDAY, FEBRUARY 2 AT 10AM LOCAL ON JUSTINTIMBERLAKE.COM

TICKETS AVAILABLE WITH CITI AND VERIZON PRESALES STARTING TUESDAY, JANUARY 30

VIP:

Follow Justin Timberlake

Additional Performances by Lil Wayne, Snoop Dogg, Gwen Stefani, Nas, Alicia Keys, Nelly Furtado, Ludacris, Mary J. Blige and many more…

Follow along on social media to stay in the loop for all festival announcements:

Watch the Band Perform “Till The Flame Turns Blue” LIVE

The Paper Kites West Coast Tour Dates

At The Roadhouse

Tracklist

The Paper Kites are:

With The Roadhouse Band:

News & Reviews from the Fiery Mosh Pits of Arizona

View Separately on Flickr:
Victoria Canal | Lucy Clearwater

***General Onsale Begins Friday, February 23 at 10 AM Local Time on* *LiveNation.com***