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Los Angeles, CA – Dance Gavin Dance frontman, Tilian (Pearson), has announced a new batch of summer headline tour dates for 2019. Tilian will be heading back out on the road in support of his latest album, The Skeptic (Sept. 2018 via Rise Records), which hit the #1 spot on Billboard’s Alternative New Artist chart and racked up 1.5 million total streams in just its first week alone.
“On his new album, the singer affirms that no matter how many years go by, a true artist can always find a new frontier, not just to explore, but to conquer. –Alternative Press
The 23-date trek kicks off in Denver on Friday, July 26 and wraps in Sacramento on Thursday, August 22. The run also hits major cities including Philadelphia, Atlanta, and Los Angeles. Landon Tewers (The Plot in You), Brent Walsh (I the Mighty), and RIVALS are confirmed to open for Tilian and will provide support on all dates. Tickets go on sale to the general public on Friday, 5/24 at 11am local time and can be purchased HERE. VIP tickets also just became available to fans and are available at the same link. Don’t miss seeing Tilian live – a full list of shows can be found below.
“There’s no need for skepticism when it comes to the talents of Tilian Pearson.” –The Noise / Live Nation
Tilian Tour Dates:
7/26 – Denver, CO @ The Marquis 7/27 – Des Moines, IA @ Vaudeville Mews 7/28 – Joliet, IL @ The Forge 7/30 – Grand Rapids, MI @ The Stache 7/31 – Lakewood, OH @ The Foundry 8/1 – Buffalo, NY @ Rec Room 8/2 – Somerville, MA @ ONCE 8/3 – Brooklyn, NY @ Knitting Factory 8/4 – Asbury Park, NJ @ House of Independence 8/6 – Philadelphia, PA @ Voltage Lounge 8/7 – Richmond, VA @ Canal Club 8/8 – Greensboro, NC @ Blind Tiger 8/9 – Atlanta, GA @ Masquerade 8/10 – Orlando, FL @ The Abbey 8/11 – Jacksonville, FL @ 1904 Music Hall 8/13 – Lake Park, FL @ Kelsey Theatre 8/14 – Tampa, FL @ Orpheum 8/16 – Dallas, TX @ Trees 8/17 – Houston, TX @ Secret Group 8/18 – San Antonio, TX @ Paper Tiger 8/20 – Phoenix, AZ @ Pub Rock 8/21 – Los Angeles, CA @ The Troubadour 8/22 – Sacramento, CA @ Holy Diver
Scottsdale, AZ — It’s a sad truth that some of the best musicians are no longer with us; they found their way to rock ‘n roll heaven. However, they did leave a hell of a legacy in music. Hollywood Vampires is a band formed by Alice Cooper, Joe Perry of Aerosmith, and Johnny Depp in 2015 to pay tribute to the musicians that are no longer with us from the 1970s. Hollywood Vampires is a brainchild from Cooper, who used to hang out in the Rainbow Bar in Hollywood, California in the 1970s. That’s where Cooper and the original Hollywood Vampires followed their mission statement: drink until no one could stand up. Some of the members to this motley crew of drinkers were Keith Moon of The Who, John Lennon and Ringo Starr of The Beatles, Micky Dolenz of The Monkees, and Elton John.
On a strangely cool night — perhaps the undead bring a chill to the air — Hollywood Vampires came to Talking Stick Resort to play some classic rock by the pool. Co-Op warmed up the crowd — a band formed by Alice Cooper’s son Dash Cooper, who is on lead vocals.
Their backdrop was a skull logo with a red left eye that changed to green for certain songs. As they began to play their second song, Cooper shouted, “Let me hear you howl!” It was fitting as they played under a full moon. The crowd wasn’t too loud, and Cooper once again spoke, trying to liven everyone up, “You’re going to need to be louder to wake the undead. We’re from right here in Phoenix!” One of their final songs was called “Silent Skies,” which Cooper said was a tribute song for a friend of his who committed suicide, and he encouraged the crowd to remember that there’s always help out there.
All the lights went off as a spooky recorded voice-over said, “Listen to them, the children of the night!” Cooper came out, first armed with his cane and mic. Perry and Depp followed with their guitars. The rest of the touring band filled the stage around them: Tommy Henriksen on rhythm and lead guitar, keyboards, and backing vocals; Glen Sobel on drums; Chris Wyse on bass; and Buck Johnson on keyboards, rhythm and lead guitar, and backing vocals.
Before addressing the nearly sold-out crowd, Hollywood Vampires played “I Want My Now,” “Raise the Dead,” and “As Bad As I Am.” Before going into a tribute song combo with “Five to One / Break On Through (to the Other Side)” Cooper said, “We’re the Vampires. Paying tribute to our friends who are gone, The Doors.”
As the rift to “The Jack” by AC/DC filled the air, Cooper said, “We lost Malcolm from AC/DC.” As Cooper sang, he did his stage antics with his cane, walking hunched over going back and forth. As he walked he’d slowly pull jack playing cards from his jacket and would show the crowd the card for a few moments before throwing the card at eager fans.
Perry took the mic, saying to fans, “How are you all doing? It’s time for a ballad. This song is by a good friend of mine who died a long time ago, Johnny Thunders.” Perry sings Thunders’ song “You Can’t Put Your Arms Around a Memory.” As the song plays, pictures of Thunders flashed on the backdrop mixed in with Hollywood Vampires’ logo changing in colors.
Cooper took back the mic, singing “My Dead Drunk Friends,” as pictures of Cooper’s fallen buddies, including musical icons such as Jimi Hendrix and Jim Morrison, took turns coming across the backdrop, showing how happy they were to be on stage in their prime. Before singing the next song, “Baba O’Riley” by The Who, Cooper said, “There wouldn’t be the Vampires without Keith Moon.”
Depp paid tribute to David Bowie by singing the song, “Heroes” as images of Bowie appeared on the backdrop.
“It’s a fact most of the vampires have died, but one is still around,” said Cooper. The crowd cheered as they played Cooper’s “I’m Eighteen.” As Cooper sang the next song, “People Who Died” by The Jim Carroll Band, and people in the crowd raised their drinks into the air and sang along with the chorus line, “For the people who died, died.” The logo of the Hollywood Vampires would flash on the backdrop with gravestones inscribed with the names of fallen musicians.
The last song of the night was Cooper’s iconic “School’s Out” as the band played giant red and white balloons with the band’s logo on them were tossed into the crowd like beach balls. People hit them up into the air as others grabbed balloons to keep as souvenirs, and one person even fished their balloon out of the pool. Cooper wrapped up the show by introducing each member of the band. Cooper commented that Perry is one of the best guitar players that he knows.
He put his hand on Depp’s shoulder and said, “You know him by many names, many characters, and now you know him as a guitar player.” Cooper talked about himself last, mentioning how he’s from Arizona and graduated from Cortez High School in Phoenix. The crowd cheered one last time before the lights went out and the Hollywood Vampires took to the night sky.
To see music legends Alice Cooper and Joe Perry together in a band with Johnny Depp is something no one at Talking Stick Resort is going to forget. As fans wandered about the property to the parking lot, went back up to their hotel room, or tried their hand at the slot machines in the casino they all had one thing in common: they knew they were never going to forget seeing Hollywood Vampires. The energy of the band as they jammed their songs and paid tribute to fallen musicians will live on inside them. That night was legendary.
The Los Angeles based band called Highland consists of a drummer from Fargo, a guitarist from Santa Clarita, and a vocalist from San Diego. They all have a deep love for pop-punk, metal, and alternative music, which brought them together via Craigslist.
Highland made their music industry debut in October with a cover of Mason Ramsey’s “Famous”, where they successfully transformed a viral country tune into a hardcore banger. Their track gained momentum, and was recognized by major Spotify playlists, racking them up with more than 75K streams on their first ever release.
After taking some time to write and record, Highland is here with their single, “Growing Up”. Their powerful drums, clean vocals, and stellar guitar get you addicted to their sound. They have a ton of music in the works, as they are ready to deliver only the best to their fans. Stream it HERE.
PHOENIX — One word continuously comes to mind when one thinks of metal music: catharsis. According to Google dictionary, catharsis can be defined as “the process of releasing, and thereby providing relief from, strong or repressed emotions.” Look around the audience at any metal show and you will see catharsis taking place in many forms. Maybe it’s the down-tuned, insanely heavy guitars palm-muting and blasting you with power chords, or the syncopated rhythms of the double bass drums beating fan’s ears into submission. Whatever it is about the music, metal brings people together and serves as a one-stop shop for the release of myriad types of emotions; happiness, anger, sadness, etc.
There’s a sort of camaraderie between fans at metal shows as people bond over their love for the music and in some cases, their equally great love for alcohol. The evidence supporting that love for metal is alive and well could not have been greater last night at the Ak-Chin Pavilion in Phoenix as heavy metal forefathers, Slayer took the stage in front of about 22,000 in attendance after several intense opening sets from Lamb Of God, Amon Amarth, and Cannibal Corpse.
Picture this: flamethrowers perfectly synced to the frequent stops of the music with heat you can feel on your face from the audience, a giant, banner adorned the back wall of the stage replete with a devious-looking Baphomet among other satanic imagery, bright strobe and giant spot lights occasionally resembling double helix shapes. These were only a few of the visual treats fans were given Thursday night as some stared silently in awe, while others rarely stopped screaming their favorite lyrics to take a breath. Slayer has been around a very long time and yet despite their collective ages, their energy has not wavered in the slightest. From the opening speed metal riffs of the first song, “Repentless”, to the final onslaught of songs culminating in “Angel Of Death”, Slayer proved that they’re still masters of their metal domain.
Vocalist and bassist, Tom Araya has always had a distinct vocal style; it’s not singing but it’s not your average metal-scream either. It’s visceral, primal shouting from a man who otherwise comes off very kind and cordial on stage during the quieter moments in between songs. He’s a living legend, as are the other members; longtime guitarist Kerry King, recent stand-in guitarist and Exodus alumni Gary Holt, and drummer Paul Bostaph. Last night at Ak-Chin Pavilion, these four, with their powers combined, recreated some of the heaviest music ever written. King and Holt’s blisteringly fast riffs caused fans to headbang themselves into a state of whiplash, while Bostaph’s drumming undoubtedly caused plenty of heart arrhythmia from the sheer force with which he hits the many pieces of his instrument of choice.
Watching Slayer is a musical experience of course but also one you can feel; physically and metaphorically speaking. Their lyrics are some of the most brutally honest words shrieked into microphones worldwide. For example, “World Painted Blood” (the 3rd song into their set) contains the lines “Gomorrah’s dream to live in sin, has reached its critical mass, man himself has become God, and laughs at his destruction…”, which gives an unrepentant glimpse into what’s on the band’s minds. Death, destruction, the unstoppable collapse of humanity due to its own ignorance; the band frequently come off as messengers of the impending doom that will surely befall humanity should we choose to ignore it. This serves for a powerful concert experience that’s not to be missed should you ever get the chance to see them perform.
It’s worth mentioning that the supporting bands all brought the energy to critically high levels long before Slayer even took the stage.
Florida death metal legends Cannibal Corpse started off the evening with incredible stage presence and easily one of the best renditions of “Hammer Smashed Face” played to date.
Next, Swedish natives Amon Amarth brought along their trademark viking theme, with the drummer sitting atop a replica of a viking ship complete with glowing red eyes. Their unique take on metal and lead vocalist, Johan Hegg’s friendly demeanor, was warmly received by fans.
Finally, Lamb of God stole the show with an insanely heavy set despite a few technical difficulties with the wireless guitar rigs. The other band members never missed a beat and effectively carried on regardless of any technical glitches entirely out of their control.
These are the marks of great live performance and each band, in their own unique ways, served as the perfect appetizers to temporarily appease everyone’s metal palate.
Other high points of the night included one of Slayers more ambitious songs, “Seasons In The Abyss” as well as other brutal numbers like “Mandatory Suicide”, “Hate Worldwide,” “Disciple”, “Temptation”, and “World Painted Blood”. Slayer saved most of the classics like “Raining Blood”, “Hell Awaits”, and “South Of Heaven” for the very end of the night, which made for an extremely captivating finale to a great show on their “Final World Tour”.
Local 98KUPD FM afternoon announcer, Fitz Madrid, prefaced Slayer taking the stage by announcing their imminent arrival as well as commenting on how he first saw the band in 1991 and that he considered it one of the best concerts he’d ever seen. That’s saying a lot coming from a person who has frequently attended many shows because of his line of work and love for music. Slayer’s music left a powerful impression on Fitz after witnessing what they could do live. That impact surely carried itself over to just about everyone else in attendance at Ak-Chin Pavilion last night, many of whom will one day describe their experience of this show as equally life-changing.
Los Angeles – All Souls, the Los Angeles based band who released their “gritty” (New Noise) and “epic” (Revolver) self-titled debut album in 2018, have been tapped to support Tool on their upcoming U.S. tour. Watch their video for “Never Know” from their debut album HERE.
Meg Castellanos (bass/vocals) said of All Souls being offered the coveted slot: “When one of the most epic bands in the history of music asks you to tour with them what do you say? We couldn’t be more thrilled. We are incredibly honored to be chosen… our heads are still spinning!”
The live pairing isn’t the first time the All Souls’ band members have crossed paths with Tool, having had Tool drummer Danny Carey play on the track “Sadist/Servant,” which appeared on All Soul’s nine-song album.
All Souls/Tool Tour Dates:
May 7 Birmingham, AL Legacy Arena at the BCC May 8 Louisville, KY KFC Yum! Center May 10 Hampton, VA Hampton Coliseum May 13 St. Louis, MO Enterprise Center May 14 Kansas City, MO Spring Center May 16 Lincoln, NE Pinnacle Bank Arena May 17 Des Moines, IA Wells Fargo Arena
All Souls Is:
Antonio Aguilar (vocals/guitar) Meg Castellanos (bass/vocals) Erik Trammell (guitar) Tony Tornay (drums)
PHOENIX — With Our Arms To The Sun, the Phoenix-based band whose 2017 album, Orenda, was included on Loudwire’s 25 Best Metal Albums of that year, have launched a Kickstarter campaign to fund the band’s fifth album, The Mogollon Monster.
“This album is a perfect representation of our creative journey so far,” says singer/guitar player Josh Breckenridge. “Our hope that our genuine love for making music and art will rally our fans to come together to help us spread the word about the new album and the Kickstarter campaign.”
Free Download of New Song, “Rebirth,” Available Now
With Our Arms To The Sun is also giving fans a preview of what’s to come on The Mogollon Monster, offering a free download of new song “Rebirth” via their website.
Kickstarter Offerings
The Kickstarter campaign features a collection of collectible and rare items including an original oil painting from Chet Zar, a Schecter guitar, various versions of the Zar-created album artwork and music and merchandise bundles.
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.
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.
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.
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?”
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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!”
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.
Los Angeles, CA — Soulful pop singer-songwriter, Spencer Sutherland, has released the official music video for his single, “Wallpaper.” The new offering just premiered exclusively on Idolator and can be viewed HERE.
“The ‘Wallpaper’ music video is really saying ‘whatever’ to all the stress in life,” says Spencer. “The video is basically showing how easily your brain can play tricks on you, and then there’s a little twist at the end. I love poking fun at ‘serious’ things because life is not that serious!”
“Wallpaper” appears on Spencer’s debut EP, NONE of this has been about you, which was released last month via BMG. The five-track effort is an introspective journey that spotlights his signature tone and falsetto, reminiscent of the 60s with stripped-down 80s-inspired production. Listeners can hear traces of his major influences on the record, ranging from Marvin Gaye and Bruno Mars, to Prince, Elvis, and The Temptations. Spencer’s honest and relatable approach to lyrics, in tandem with his powerful live performances, culminate in what is being lauded as a fresh new sound in pop.
NONE of this has been about you Track Listing:
1. Sweater 2. Freaking Out 3. NONE of this has been about you 4. Wallpaper 5. It May Sound Strange
Spencer kicked off 2019 with a bang and is an artist on the rise, to say the least. After inking his first major record deal, he unveiled his infectious lead single, “Sweater,” which scored impressive Apple Music playlisting including Breaking Pop (Global), Best of The Week (#2 spot), Hot Tracks (#1 Pop spot), Top Songs–Pop, and Beats of the Week. The smooth and lush title track from his debut EP also landed on Apple’s The A-List: Pop (Global), Pure Pop 50, and Breaking Pop (Global). Additionally, Spencer racked up his first New Music Friday playlisting on Spotify with “Freaking Out,” his vulnerable and vibrant latest song.
Spencer played his first ever sold out headline shows earlier this year in New York City and Cincinnati and is currently on the road supporting Jack & Jack on a massive tour across North America. The trek stops in Orlando this evening and hits major cities including Atlanta, New York, Boston, Toronto, Chicago, and more.
“I’m so excited to be on tour with Jack & Jack,” says Spencer. “I have so much respect for them, and the shows have been crazy. 2019 is turning out to be an amazing year!”
A full list of dates can be found below, with tickets available to purchase HERE.
Spencer Sutherland Tour Dates (supporting Jack & Jack):
April 18 – Orlando, FL @ The Plaza Live April 19 – Atlanta, GA @ Buckhead Theatre April 20 – Nashville, TN @ The Cowan April 21 – Charlotte, NC @ The Underground April 23 – Silver Spring, MD @ The Fillmore April 24 – Philadelphia, PA @ Theatre of Living Arts April 25 – New York, NY @ Irving Plaza April 26 – New York, NY @ Irving Plaza April 27 – Boston, MA @ Paradise Rock Club April 29 – Toronto, ON @ Phoenix Concert Theatre April 30 – Cleveland, OH @ House of Blues May 1 – Detroit, MI @ Saint Andrew’s Hall May 3 – Chicago, IL @ House of Blues May 4 – Minneapolis, MN @ The Cabooze Plaza May 5 – Omaha, NE @ Sokol Auditorium
Spencer will be releasing his sophomore EP later this year and is currently working on his full-length debut album. Stay tuned for more news to come.
About Spencer Sutherland
Based in Los Angeles by-way-of Ohio, Spencer Sutherland began to garner mainstream recognition in 2017 with his single, “Selfish,” which was heard on multiple Apple Music Pop Playlists, Sirius XM-Venus, Spotify, Pandora, and iHeartRadio stations. This led to iHeartRadio’s Elvis Duran selecting Spencer as The Today Show’s ‘Artist of the Month,’ followed by him earning a spot among the Top 5 finalists for iHeartRadio + Macy’s Rising Star competition. He was also the first American to compete on the X Factor UK and landed as one of the top 12 finalists on the show.
Bradley Palermo, a solo folk/punk artist in Los Angeles, is debuting his first full length album, Volume 1, on Friday, April 19. The record is a result of a successful crowdfunding campaign late last year, followed by a recently completed international tour. Comprised of previously released singles, the songs were reworked and remastered to create the cohesive Volume 1. Being no stranger to life on the road and the various trials of life, Volume 1 captures an autobiographical letter written to anyone who has experienced life, death, love, and loss.
Before setting out on his solo folk career, Palermo spent 15 years fronting the bands The Sudden Passion and Femme Fatality. He grew up in St. Louis, MO playing in local indie bands. All the while he was developing an affinity for the alt-country bands that were emerging from the region at the time. Palermo draws inspiration from Americana acts like Son Volt and The Bottle Rockets, and folk-punk troubadours such as Chuck Ragan and David Dondero (both of whom he’s now shared the stage with). His influences and past come together in the raw and honest Volume 1.
Stream
Tracklist:
Tombstones I Like things That Kill All My Friends (Have Died) 2nd Wind The Long Way Deep Valley Blues Lost In August The High Cost of Free Living Trouble To Find Hollywood, Hollywood
Tombstones
As the first track on Volume 1, “Tombstones” starts with a synth riff that would make Femme Fatality fans grin with a sense of familiarity. The track is driven by a powerful, classic acoustic guitar rhythm that instantly tells you that you’re in for a catchy song. Palermo sings of living as an artist on the road, away from the draining and lifeless corporate existence. Palermo sings in the chorus, “I’ve done the 9 to 6, pulling out my hair, carving up my wrist… I think it’s safe to say I’ve done gone and made my escape.” Displaying Americana at it’s finest, Tombstones would make the perfect bonfire summer sing-along about free living.
I Like Things That Kill
Following “Tombstones” is another catchy acoustic rhythm along with a steel guitar carrying the melody. Palermo sings the song title to implant into your head, “I like things that kill”. This song turns out to be a country/folk love song with a hint of a punk chorus. Reminiscing, he starts the first verse and ends the song with the same lines, “All the things I loved are all the things I’ve quit. I miss you like I miss whiskey, cocaine and cigarettes…”, driving the listener into the building chorus with, “I like things that waste me, eradicate me, honey, I like things that kill… I like things that kill”. Building a scene of a love addiction for a lover long gone, the track pings familiar emotions and imagery that nearly any listener can relate and sing to, making it a brilliantly written piece.
All My Friends (Have Died)
As the song title alludes to, this track is a somber reminder of all the people who have left this earth. In this country/Americana track, Palermo describes the things his friends supposedly used to do, along with specific names and situations of unfortunate fates. This track brings the pain and haunting hole that is created when someone you know passes: “My friends don’t pick up the phone or text me back when I say ‘What’s up?’… Even though I’m up here singing, I feel a little dead inside, cause all of my friends have died.” After the second chorus, Palermo wistfully yells, “And I fucking miss ’em, man!”, followed by a perfectly placed electric guitar solo to represent those memories in a celebration of what once was. He finished out the song by repeating the first verse and ending it all with a cymbal tap fading out.
2nd Wind
“2nd Wind” comes in to perk you up from “All My Friends (Have Died)”. The addition of harmonica in the instrument arsenal is introduced in a tale of a refreshing new romance in the time of personal turmoil. Palermo sings, “There ain’t no use in hiding it, I was out running all common sense. No one gets that drunk on accident.” He continues to tell the tale of meeting a woman that saved him: “And in this City of Angels, she was the only one I’ve met. Call me a holy roller cause I am born again.” “2nd Wind” ends leaving the listener ready for a new emotional start, which is exactly what we all need from time to time.
The Long Way
“The Long Way” describes Palermo’s painful first marriage, his move to LA, and other catalyzing events that brought him to where he is now. The track introduces a grittier tone, and has breathy falsetto backing vocals that bring out strong emotional ties to the lyrical content. The bridge absolutely shines, bringing a climax of both emotion and unexpected production value, turning the featured lower frequency instruments that are too often ignored or omitted in the genre into stars. The bass and a low-programmed synth add another depth of seriousness that speaks volumes along Palermo’s raspy cries. “The Long Way” is a unique turn in the album that keeps the listener’s engagement.
Deep Valley Blues
Ever the catchy writer, Palermo’s “Deep Valley Blues” would be a successful radio single. Short and fun, it captures the feeling of old folk/country/blues that is the heart of Volume 1. Touching on the differences between Los Angeles (San Fernando Valley area) and his hometown of St. Louis, Palermo paints a picture of homesickness in the most concise way. “Deep Valley Blues” is destined to be a popular live show sing-along. “I’ve got them… deep valley blues. It’s gonna take me too much time to make my way home you, and you know it ain’t the distance, honey, it’s the altitude… I’ve got them… deep valley blues…”
Lost In August
In a track that could easily be sung by Ben Gibbard (Death Cab For Cutie/The Postal Service), the album takes another turn in a light and romantic way. In true indie/folk fashion, “Lost In August” kicks off with a ukulele and accordion-driven rhythm. The composition creates a dreamy and nostalgic backdrop to Palermo’s toned-down vocals. The lyrics and tone show the versatility of Palermo’s songwriting skills, as he lets atmosphere take the place of country-harsh vocals and to-the-point lyrics. A delightful change of pace that’s sure to grasp listeners of overlapping rock/indie/folk genres.
The High Cost of Free Living
The synth makes another appearance in the folk piece, “The High Cost of Free Living”. A straightforward song with a country baseline. Palermo makes use of multiple instruments and harmonies to keep the listener engaged through lyrics of alcoholism and the drawbacks of trying to live as an artist. Although it’s not the strongest song lyrically on the album, it keeps on par with being a catchy sing-along like earlier tracks.
Trouble to Find
“Trouble to Find” starts out with an interesting bass riff seemingly taken from the brainwaves of Brian Ritchie (The Violent Femmes). Palermo brings us through a folk song about dealing with toxic personalities and mental illness. This track circles us back around to the tone of the first half of the album. He paints the imagery of an adversary and tries to rationalize the situation, familiar to what many people might think and say in that kind of situation. However, the song ends right when the listener feels like there might be more waiting to be told. It feels a little incomplete, despite the great storytelling.
Hollywood, Hollywood
The last track on Volume 1, “Hollywood, Hollywood” completes the journey of Palermo’s folk tale, reiterating how Hollywood isn’t all it’s cracked up to be, but you just make the best of it. It gives the feeling that everyone is trying to be someone, trying to act busy, having superficial relationships, etc. Although it is also a short track, it ends the album saying that the journey is over and he is here now, trying to find his way. It’s a perfect ending to his story.
Final Thoughts
Bradley Palermo’s Volume 1 is nearly a perfect folk album. Featuring a variety of influences, emotions, and incredibly candid lyrics, the album is easy to listen to and connect with, especially for artists. None of the tracks are boring, and they display incredibly strong songwriting ability. The album plays like a story Palermo might tell you himself at a bar over some drinks. Engaging, intimate, and memorable, Volume 1 would be a great introductory piece to new listeners of the folk genre.
4/24 Los Angeles, CA @ Satellite (album release show) # 4/30 Victorville, CA @ Kennedy’s Pub * 5/01 Las Vegas, NV @ The Dive Bar * 5/02 Reno, NV @ Pignic Pub * 5/03 Willits, CA @ Shanachie Pub * 5/04 San Francisco, CA @ The Plough & The Stars * 5/05 Bakersfield, CA @ El Conquistador Music Experience (album release show) * 5/07 Canoga Park, CA @ Scotland Yard Pub * % 5/08 Santa Ana, CA @ Beatnik Bandito Music Emporium (album release show) * 5/09 Lancaster, CA @ The Britisher * 5/10 San Diego, CA @ Rosie O’Grady’s (album release show) * 5/11 Tucson, AZ @ Saint Charles Tavern * 5/12 Tempe, AZ @ Yucca Tap * 5/13 Yuma, AZ @ Littlewood Art Co-Op * 5/14 Flagstaff, AZ @ The Hive * 5/24 Las Vegas, NV @ Citrus ^ 7/24 Cottage Grove, OR @ Brewstation % 7/25 Seattle, WA @ Skylark % 7/26 Tacoma, WA @ The Valley % 7/27 Bremerton, WA @ Hi-Fidelity Lounge % 7/28 Portland, OR @ Hawthorne Hideaway %
^= Punk Rock Bowling club show with Amigo The Devil, Bridge City Sinners, and Pinata Protest #= supporting Typesetter *= w/ Tim Holehosue %= w/ Sim Williams
Mesa, AZ — A high-rising band from down under, The Faim, is a prime example of confidence, enthusiasm, and love of the art of music and performance. Supporting headliner Andy Black on his “The Ghost Of North America” tour, alongside fellow opener KULICK, they treated fans to a performance far beyond even the most optimistic of fans’ expectations.
A young crowd, anxious and eager to see their music idols, lined the sidewalk into the alleyway entrance of The Nile Theater. Colored hair, ripped jeans, leather jackets, name-brand shoes, and fancy accessories dotted the scene, much like an amalgam of hipster and classic punk, creating a unique fashion style that may eventually define this generation, like big hair and shoulder pads defined the 80’s. This fusion of fashion is likely in part a byproduct of the union of fans of a variety of artists that were involved in this night and everything leading up to it.
Two days prior to the show, Black Veil Brides’ frontman Andy Biersack released The Ghost of Ohio — the sophomore album from his solo music project under the moniker Andy Black. A concept record, The Ghost of Ohio is meant to serve as the soundtrack for his comic book by the same name, according to Alternative Press. Andy Black and The Faim share megaproducer John Feldman (lead singer of Goldfinger), who has a massive arsenal of rock and pop artist veterans that he’s worked with, and has been able to mix them into a cocktail of contribution to recordings for these two acts. By bringing top music industry talent together, Feldman is taking the best parts of early 2000s rock and infusing it into a new generation of sound that will richly benefit from their prowess and the vitality of these artists’ spirits.
Jacob Kulick, also known as KULICK, came out to a screaming crowd of fans that did not know what they were in for. KULICK set the bar high for what was about to follow: clear vocals and clean-sounding instruments, akin to a Bad Religion show, accompanied by contagious energy, great stage presence, and command of the crowd — a polished performance and band dynamic that makes you want to see them again. KULICK performed 8 songs: “Crawling”, “Hole in My Head”, “City”, “Hydroplane”, “Scatterbrain”, “Colors”, and “Ghost”; closing his set with humor and natural crowd engagement. This was only his second time touring, but with a performance like this, it would appear that many more will follow and he will continue to enrich audiences with his energy and sound.
The Faim’s explosive energy became evident within a few seconds of their opening song, “Saints Of The Sinners”. With the never-ending energy and stage presence you’d normally see from a ska band or Mick Jagger, The Faim dominated the stage and slowly began to command a crowd that once again did not know what hit them. They played “My Heart Needs to Breathe”, as if they have been performing for many years.
Sam Tye (guitar) and Stephen Beerkens (bass, keyboard) played on each other’s moves, and Raven engaged each member, including drummer and percussionist Linden Marissen, like Bruce Dickinson does with Nicko McBrain. Marissen himself exudes a type of energy and control of the drums that demonstrates his dedication to his craft; breaking a drumstick mid-song, and grabbing a new one so quickly that most people did not even notice. A fan later came to the merchandise table to have the broken stick autographed, which Marissen gratefully obliged.
The third song was a special gift to the audience: the still unreleased song “Beautiful Drama”. Lead singer Josh Raven’s enthusiasm was evident, not merely singing the words, but performing the song from his heart and leaving it all on the stage, like this was his own Live Aid performance.
“Saints Of The Sinners”
“My Heart Needs To Breathe”
“Beautiful Drama” (Unreleased)
“When It Comes”
“Infamous”
“Midland Line”
“Fire”
“A Million Stars”
“I Can Feel You”
“Make Believe”
“Summer Is A Curse”
“Amelie”
This wasn’t just a concert, it was a musical experience, as made evident once Raven decided to join the crowd while continuing to sing, engaging everyone on the floor either by high fives, hugs, or just direct eye contact. The energy never ceased or diminished, even as he helped a crowd surfer back to safety without breaking performance. He made sure to thank the crowd for making them all feel so welcomed on their first visit to this city, and the crowd went crazy. Raven’s closing words were, “look out for yourself, look out for each other, and have a wonderful evening!”
When the lights went down once again, Andy Black began to sing to a sea of screaming fans that, to his obvious and evident delight, could sing along every word of each song he played. It was a night of endless energy and flawless performances that lifted the caliber of the show above and beyond.
Featured photo (top) by Katherine Amy Vega
News & Reviews from the Fiery Mosh Pits of Arizona
