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PHOENIX — A Perfect Circle ended “on a high note” for the last date on the third leg of their headlining North American tour, to the city that frontman Maynard James Keenan thanked for being the “marijuana-stinking cherry” on top. Dark electronic duo Night Club and trip hop artist Tricky supported the band starting from October 20th, leading up to this night at Comerica Theatre. A PerfeBetct Circle delivered a performance that repeatedly went from smoldering to bellowing, and took the transfixed audience on an escape of commiseration through hard rock.
This year, A Perfect Circle released Eat the Elephant, which is their first album release in fourteen years, and their fourth studio album. Today, A Perfect Circle released a limited-edition 7” vinyl single featuring the latest single, “So Long, And Thanks for All the Fish”. Included on the release is a B-side, a cover of AC/DC’s “Dog Eat Dog”. It is available exclusively from the Record Store Day Black Friday event at select brick-and-mortar record stores.
The tone of their performance in Phoenix was first set with a dark stage as they invisibly began the instrumentals of the title-track of their latest album, “Eat the Elephant”. Anyone who has previously experienced A Perfect Circle live may have come to expect a giant white sheet shrouding the stage front leading up to, and remaining through the entirety of, the first song, before dramatically dropping to the floor. However, the sheet was absent this time around. Each band member was gradually backlit by just a bit of light, one-by-one, until all appeared as nearly pure-black silhouettes.
Blue and white rays of light and rising smoke backed them, in front of a curtain displaying their logo, and they were surrounded by white panels that would feature visuals catered to each song throughout the night.
True to character, Keenan remained even less visible than his bandmates for the entire performance, on a platform in the back of the stage. Sometimes he blended in with the darkness and visuals so well that one might question whether he had left the platform, seeing that he remained stationed upon a second glance.
When A Perfect Circle performed at Comerica Theatre in April of 2017, Keenan offered a few encouraging words. This time around, he almost seemed to be out of supportive messages.
Perhaps referencing the “despicable false claim”, in his words, made against Keenan earlier this year, he said, “Crazy, crazy, crazy, insane times we’re living in, wouldn’t you say? Insanity… People all mad at each other over a fuckin’ internet thing. It’s stupid… I’ve heard it said love is the answer… but because of all of the marijuana, I can’t remember the question.”
However, substantial sentiments and motivational speeches may not be necessary every time, considering the volumes that the messages in their music speak, and how emotionally evoking the dynamics of the music are. As usual, A Perfect Circle performed with nearly album-quality sound. Often, elements of the songs that may go unheard when listening to recordings were clearly audible during this performance, bringing new life to the music and a deeper appreciation for the composition. Furthermore, hearing lyrics to new songs for the first time live, versus via studio recording, can cement a different impression of the song as the concert experience packs in the emotion emanating from the artist.
Eight of the songs performed this night were from Eat the Elephant. Lyrics that really strike a chord in relation to the status quo, religion, and the political climate are contained in their songs, such as the following from “The Doomed” from the new album:
What of the pious, the pure of heart, the peaceful? What of the meek, the mourning, and the merciful? What of the righteous? What of the charitable? What of the truthful, the dutiful, the decent?
Doomed are the poor Doomed are the peaceful Doomed are the meek Doomed are the merciful
For the word is now death And the word is now without light The new beatitude: “Fuck the doomed, you’re on your own”
The lighting and visuals on the screens became increasingly dramatic, matching the intensity of the music throughout the night. They designed a setlist that felt narrative, which crescendoed and climaxed. Along with that, the colors shifted from cool and neutral, to bold and loud red, white, and black. Behind the band, the all-seeing eye displayed where their logo once appeared. The audience was united in a cathartic experience, as they let go and got lost in A Perfect Circle’s trademark indignation and disdain.
One fan in the audience was overheard saying, “I forgot how hard these guys rock!” and with unrestrained, unabashed love and respect for the band, he yelled louder than all around him.
“We’re gonna end on a high note here in Arizona. Off to Europe for about 3 weeks. So thank you very much for being the cherry on top. A marijuana-stinking cherry.” — Maynard James Keenan
Before going into “Dog Eat Dog”, a tribute to the late Malcom Young of AC/DC, Keenan took a moment to introduce the band members. It was interesting to note the many other music projects all band members are a part of, emphasizing how much of a supergroup A Perfect Circle is.
“Our rhythm section: from Beta Machine, Ashes Divide, Eagles of Death Metal, and Puscifer — Mr. Matt McJunkins, Mr. Jeff Friedl.” McJunkins (Bassist) is also a former touring member of Thirty Seconds to Mars.
He continued, “Guitar & keyboards: from Autolux and Failure, Mr. Greg Edwards.” Edwards is filling in for James Iha, who is currently touring with Smashing Pumpkins. He was also a member of Lusk and Replicants in the past.
Of course Keenan is also a member of multiple bands on top of A Perfect Circle, including Tool and Puscifer.
Some find the media policies for A Perfect Circle’s shows to be pretentious or mistreating to fans. Like a performance in a symphony hall, the band sends the message that it is a faux pas to raise up a phone in the air during theirs. Others feel that it not only preserves an important atmosphere that keeps integrity to the music and sets their performances to a different level than other rock concerts, but also actually appreciates their fans because the band wants to connect with them like they did in the days before smartphones. There were some in the crowd that could be overheard during the show actually expressing appreciation for the absence of cell phones in the air throughout the concert. The impression was that most, if not all, in attendance left satisfied and delighted.
Following the climax of the performance with four ferocious songs, A Perfect Circle closed out the concert with “Delicious” from the new album. It had the fitting mood of the falling action of the storyline, lyrically segueing into a resolution of sorts:
How inconvenient and unexpected and harrowing for you, as consequences tend to be For the rest of us, so delicious to witness your dread. Poetic justice consummate.
During these times, it is interesting to see swathes of artists such as A Perfect Circle, Cake, Otep, Eminem, Taylor Swift, and many more, using their platforms to speak out against or oppose President Donald Trump and the Republican Party. While some feel that entertainers should “stay in their lane” in topics such as these, it is undeniable that they historically have significant ability to influence the public, for better or for worse. With the success of their world tour, and the large attendance of a concert on a Tuesday night, it is evident that there are a significant number of people that aren’t repelled by their political leanings. In the current political climate, A Perfect Circle’s brooding music serves as an outlet, a beacon of intellect and sanity, and a unifier for like-minded fans that are equally frustrated, angry, and despairing.
While it would be unlikely that Keenan and his band would skip playing his home-state, Arizonans were undoubtedly grateful that they had the opportunity to experience A Perfect Circle live after getting some fresh music from them. Keenan stated in a June 2018 interview that “there should be” more albums in the future. Though Eat the Elephant has proven worth the wait, hopefully it will not be another fourteen years before the next release. Hopefully fans can be treated to another tour in support of the next release, or at least more Arizona shows.
Considering the solid quality and atmosphere of their live performance, the sizable setlist, the supportive experience, and love of their intense music, any fan that may hesitate to make the investment in a concert ticket can rest assured this one is worth it. A Perfect Circle’s show in Phoenix was not a buzzkill.
Los Angeles, CA — Canadian rock quintet, The Glorious Sons, have announced an extensive U.S. headline tour for 2019! The trek runs from February through March and sees the JUNO-award winning band returning to key cities including Brooklyn, Philadelphia, Atlanta, Nashville, Chicago, Los Angeles, San Francisco, and Seattle. LA-based newcomers, LIILY, will also provide direct support for the shows. Tickets go on sale to the public this Friday, November 16th and will be available to purchase HERE.
Before the end of the year, The Glorious Sons will once again join The Struts on tour for a short leg of dates in Chicago, Des Moines, and Lawrence. The five-piece is also confirmed for notable radio holiday festivals in Pittsburgh, Charlotte, and Washington, D.C., sharing the stage with the likes of Bastille, Andrew McMahon in the Wilderness, and Meg Myers. A full itinerary of shows can be found below.
The Glorious Sons are having a massively successful year with their smash single, “S.O.S.”(Sawed Off Shotgun), which is skyrocketing on a global scale. The track is climbing the Spotify Viral 50 charts, hitting #36 globally and #15 in the U.S. “S.O.S.” also just cracked the top 10 on the U.S. Active Rock radio charts and has racked up over 3.5 million streams and 105k Shazams. Furthermore, it was added to Spotify’s marquee Rock This playlist in the #1 position last week and is prominently featured on their other top-performing playlists including Rock Hard, Totally Alt, New Noise, Rockin’ Vibes, and more. In other impressive news, the song recently held the #1 position on Apple Music’s influential playlist, “The New Rock,” in the U.S., Canada, Australia, and New Zealand.
Stream and download “S.O.S” on all digital retailers HERE, and watch frontman Brett Emmons’ accompanying ‘Open Letter’ video HERE:
Listen to the 2017 album release Young Beauties and Fools:
11/16/18 – Prince Albert, SK @ EA Rawlson Centre ^
11/17/18 – Winnipeg, MB @ Burton Cummings Theatre ^
11/19/18 – Thunder Bay, ON @ Community Auditorium ^
11/22/18 – Toronto, ON @ Scotiabank Arena ^
11/23/18 – Chicago, IL @ House Of Blues *
11/24/18 – Chicago, IL @ House of Blues *
11/26/18 – Des Moines, IA @ Wooly’s *
11/27/18 – Lawrence, KS @ The Granada *
12/1/18 – Pittsburgh, PA @ Stage AE (105.9 The X’s Kick-Ass Christmas) *
12/3/18 – Charlotte, NC @ The Fillmore (106.5 The End Festivus) # %
12/4/18 – Washington, D.C. @ The Anthem (DC 101 Office Party) # ^^ %
2/12/19 – Cambridge, MA @ The Sinclair ^
2/14/19 – Brooklyn, NY @ Rough Trade ^
2/15/19 – Philadelphia, PA @ Johnny Brenda’s ^
2/16/19 – Harrisburg, PA @ Club XL Live ^
2/17/19 – Buffalo, NY @ Town Ballroom ^
2/20/19 – Atlanta, GA @ Vinyl ^
2/21/19 – Nashville, TN @ Basement East ^
2/24/19 – Detroit, MI @ St. Andrew’s Hall ^
2/25/19 – Madison, WI @ High Noon Saloon ^
2/27/19 – St. Paul, MN @ Turf Club ^
2/28/19 – Chicago, IL @ Schubas Tavern ^
3/2/19 – Kansas City, MO @ The Record Bar ^
3/4/19 – Colorado Springs, CO @ The Black Sheep ^
3/5/19 – Denver, CO @ Globe Hall ^
3/7/19 – Phoenix, AZ @ Valley Bar ^
3/8/19 – San Diego, CA @ Voodoo Room at House of Blues ^
3/9/19 – Los Angeles, CA @ The Roxy Theatre ^
3/10/19 – San Francisco, CA @ Rickshaw Stop ^
3/11/19 – Sacramento, CA @ Holy Diver ^
3/13/19 – Seattle, WA @ Tractor Tavern ^
^ Headline
* w/ The Struts # w/ Bastille % w/ Meg Myers ^^ w/ Andrew McMahon in the Wilderness
The Glorious Sons Is:
Vocals, guitar, harmonica: Brett Emmons
Guitar, vocals: Jay Emmons
Guitar, vocals: Chris Koster
Drums, vocals: Adam Paquette
Bass: Chris Huot
Tempe, AZ — Underoath, touring in support of their latest release Erase Me, brought remarkable energy to Marquee Theatre. When asked about one of the opening bands, The Plot in You, local fan and concertgoer, Curtis said, “I’ve never seen a band play so hard,” which is an apt description for every band that took the stage on this night. In addition to The Plot in You, Underoath’s supporting acts on the “Erase Me Tour” include Dance Gavin Dance and Crown the Empire.
We love Tempe. We love that this tour is just getting started. We love that it’s not cold here. We’ve had lots of coffee so we’re in a great mood all around. See you tonight Tempe 🙌🏽🙌🏽 pic.twitter.com/mEZnptkmQ6
Dance Gavin Dance stunned the audience with one of the most polished, musically proficient, and engaging sets of the night. It wouldn’t be a stretch of the imagination to say that they stole the show with their absolutely commanding presence on the Marquee stage. Lead clean-vocalist Tilian Pearson and unclean vocalist John Mess made an excellent team, trading off between Pearson’s angelic high notes and Mess’ primal, guttural screams. Their body language couldn’t be more different and yet it’s so complimentary to the other performer that it comes off as a natural contrast. Pearson dances across the stage with a snake-like charm, moving his body in fluid motions reminiscent of Michael Jackson while Mess stands firm like a monument, tightly focused on the crowd and his microphone and he delivers his powerful vocals.
Guitarist Will Swan was an indisputable highlight in a band full of unrelentingly talented musicians. His hands move so fast as to seemingly blur at times and aside from throwing his head back and forth in bobble-head like fashion to the music, he stands completely still. For a performer to remain almost entirely stationary while still bringing so much energy to the band’s sound is truly an incredible feat. His effortless transitions between finger tapping on “Chucky Vs. The Giant Tortoise” to speedy flurries of dissonant power-chords hint at a subtle mastery of his instrument.
Before leaving the stage, Pearson thanked the crowd for being so welcoming and quickly added “you guys are f*cking crazy!”. This was apparent being in the crowd and witnessing what some concert-goers were capable of without getting thrown out of the show, although this was nothing compared to what came next.
As stagehands went to work striking the other band’s props and equipment, people marveled at the visual spectacle coming to life before their eyes. The drums and keyboards sat atop a giant riser on stage-right and left respectively, which was illuminated by ubiquitous screens that covered most of the stage. Dozens of rotating lights mounted on stage trusses strongly indicated that the audience was about to witness epileptic-rainbows of flashing color fill the room.
As Underoath’s set begin, the lights went dark and shortly thereafter, the screens and lights came to life. The screens cast blindingly-delightful floods of color into the retina of adoring fans who screamed their hearts out. The electronic hum of Christopher Dudley’s keyboards set the foreboding tone of the hour as drummer and vocalist, Aaron Gillespie began the intro to “On My Teeth” at machine-gun speeds. The energy was increasingly palpable as lead vocalist, Spencer Chamberlain ran on stage so fast as to almost fly into the crowd upon entering.
The night continued with this level of energy until it suddenly increased at an unstoppable pace when the band broke into an old favorite, “In Regards To Myself”. People lost their minds and formed mosh pits that felt tumultuous yet far friendlier and safer than most. Eventually following this were other notable song highlights in “Desperate Times, Desperate Measures”, “Reinventing your Exit”, “Rapture”, and “It Has To Start Somewhere”.
Chamberlain commanded the crowd with the ease of a sorcerer manipulating matter as he moved his hands in a circle and instructed them to mosh. He also had an admirable way of engaging the audience on deeply, personal levels when he went into a beautiful speech about his own experiences with drug addiction and how he used music as one form of therapy and a creative outlet for his emotions. He credited Gillespie as the one he called first when he was at his lowest point in life and realized he needed to get help. After that he implored the audience to applaud as he expressed his heartfelt gratitude to his bandmate and close friend. It all felt really genuine and inspiring as he concluded his speech with “You’re not weak for seeking out help when you need it.”
Overall, Underoath and Dance Gavin Dance both proved beyond a shadow of doubt that they are musical forces to be reckoned with and can still draw enthusiasm from crowds after 10+ year careers doing what they obviously love to do. It will surely be exciting to see what the future holds and what comes next from each of these talented bands.
Roosevelt, AZ — As the pavement came to an abrupt halt on Apache Trail, it became apparent to me that my Mustang probably wasn’t the best choice of transportation for my journey to the Apache Lake Music Festival. This would be my first trip to the annual event celebrating it’s ninth anniversary in 2018. Every year, hundreds of attendees brave the treacherous cliffside dirt road winding through the mountains over single lane bridges to get to the Apache Lake Marina. The drive is excessively bumpy and requires near constant brake pressure during the 10 mile descent through the second half of the journey.
I arrived late Friday morning around 9:45 am. Pulling up to the venue was a relief, considering I was still physically shaking from fishtailing around a hairpin corner mere feet from an impossibly high loft on the mountain just minutes before my arrival. Being my first time, I wasn’t really sure where to go or what to expect.
Apache Lake Marina Photo Credit: Nick Gonzaga
After scouting the least densely populated area of the beach, I settled on a spot atop the boat ramp. In the parking lot, a house boat sat atop the pavement overlooking the beach. It didn’t appear as though it was placed there recently, making it seem almost perfectly normal. I couldn’t tell if it was a prop at first or if someone lived there full time. It was definitely occupied so I figured it was probably the safest place to park. I began the endless back-and-forth walk from my car to the site to set up my tent and fill it with my belongings. Blankets, pillows, snacks, pot, pillows, backpack, microphone, laptop, more pot, more pillows, chapstick, mandolin…
Photo Credit: Nick Gonzaga
As I finished setting up my tent and dumping my gear into the unzipped opening, I heard the sound system up the hill come to life on the main stage. Cell service is almost completely devoid in the area due to its remote location, so I couldn’t pull up the schedule online to see who the first act was. I decided to drop what I was doing, to trek up the hill to try to find a program or flier with a lineup and check out the first act. This would become a theme throughout the weekend; the back-and-forth up and down the thigh-murdering hill, to and from the main stage.
Apache Lake Music Festival 2018 Poster Photo Credit: Nick Gonzaga Click to Enlarge
Several groans later and I was back at the venue, heading down the short hallway from the entrance toward the sound system outside the rear doors. Haley Green was checking sound. The engineers were adjusting levels. All of the usual warm-ups were in play as more familiar faces began to appear.
Sara Robinson was on the patio of the cantina sitting across from Tempe music legend, a hatless Paul “PC” Cardone. She arrived early in the morning after heading out at 11:00 PM the night before, recounting a veritable Murphy’s Law of road trips along the way. After chatting a bit, Sara and I made plans to meet later before her performance to gift my plus one ticket to a friend of hers who couldn’t afford to come.
Sitting just a few feet away was the ever-present and always friendly Ryan Edmonds, longtime doorman at the legendary Sail Inn of Tempe and Cactus Jacks in Ahwatukee. After catching up a bit, the thirst was too much to bear. I badly needed a four-dollar gallon of water, and the convenience store was more than happy to oblige. I soon realized I forgot my phone at my campsite and headed back to drop off the water and grab some Fig Newtons.
Back at my campsite, I retrieved my cell phone and began rearranging my sleeping gear for maximum comfort. I figured this was the perfect time to smoke that J that had been burning a hole in my pocket, so I sat on the edge of the boat ramp and lit up. It was an absolutely serene day. Seventy-four degrees and not a cloud in the sky. The lake was stunning. After I finished medicating, I did the dumbest thing possible in that situation… I laid down. The temptation to sprawl on my bevy of pillows was simply too much to ignore.
As I lay on my back staring up at the silhouette of mesquite branches, I began to drift off to the sound of Haley’s docile tones with the sun kissing my cheeks and the breeze bouncing off the cool water of Apache lake, wafting through the mesh of my borrowed palace. There were drum circles in the distance, dogs barking and people laughing. I never quite lost consciousness, but I was in that in-between phase of sleep when something stirred me to my senses. The most beautiful voice started to fill my tent. I immediately bolted upright, put my shoes on and once again, trekked up the hill.
House of Stairs is a Jazz collective from Phoenix. Vocalist and looping artist Holly Pyle has the voice of an angel, reminiscent of the late Cranberries songbird Delores O’Riordan. The soulful vibe of their music is befitting of the environment. The keys danced through the criminally small crowd witnessing this performance, but drew even more attendees in from the parking lot. Soon, a handful of people were swaying in front of the stage. Call it the “medicine”, but I was absolutely transfixed. Before long, their set was over, and I’m convinced it was far too short. It also seemed too early on the first day of the festival to put a group of this calibre on stage as there wasn’t quite a large enough audience yet to appreciate their brilliance.
Soon after they left the stage, The Edisons were up next checking sound, and I abandoned any attempt at taking halfway decent photos with my iPhone. From my distant place at the lone picnic table, I spotted Joel Ekdahl of Manic Monkeys and Exploding Oranges at stage right taking photos. I was relieved to find shade in the VIP area backstage, but more importantly, FREE WATER. The Edisons performance was equally as impressive as House of Stairs. Indie Synth Rock becomes my flavor of the day.
The Edisons Photo Credit: Nick Gonzaga
I eventually went back at the tent, attempting to make spotty communication with my festival host, Banter lead vocalist Kim Capria. Ali A and The Agency were killing it in the background as I cursed Verizon because my service was worse in the building than it was on the beach. Kim left Tempe with lead guitarist (and one of Burning Hot Events’ music journalists) Brandon Biallas around 1:00 in the afternoon, and I was growing a bit concerned. This was when I learned there were two routes one could take to Apache Lake. The shorter treacherous route or the longer, safer route. They had chosen the latter. Once we had established that they would be arriving shortly, I thought it would probably be a good idea to be there to greet them when they arrived. So again, it was up that damn hill.
Seriously, how did Brandon Biallas get System of a Down for his first concert review?! Dude can write, so check him out.
At this point, it was close to 4:00 PM. Playing inside at the cantina was the perpetually shoeless Tommie Victor, sliding his socked toe across the synth board that compels his guitar toward the ethereal. I met Tommie at a Future Loves Past show at Yucca Tap Room years ago when I was in the midst of creating a cartoon with an animator friend of mine. I had a character I was developing at the time and I thought he would be the perfect voice for it. The cartoon fell flat, but I was glad I added Tommie on Facebook. He’s truly a talented artist, albeit a little eccentric. This is a guy that really does move in whatever the direction the wind is blowing. Tommie has also performed on my radio show “Gonz After Curfew” twice, and we’re anxious to get him back in the studio again for a third appearance. The Banter trio was scheduled to play at 4:30, and still no sign of Kim. At about ten after, I finally get a text, “Here!”
Kim and Brandon walked in at exactly 4:15, just 15 minutes shy of their performance. They were still awaiting drummer Spencer Ferrarin. We hugged our hellos and mutually bitched about the journey, and before I know it, Spencer materializes and is pretty much ready to go. Bassist Miles Tippet sat out the trio performance, but was milling about the grounds somewhere. The Banter’s set was fantastic. Kim was on point and the boys were in tune. “This is probably my favorite performance ever,” she tells the crowded bar. After they finish up, we made plans to go down to my tent and move it to their campsite. Luckily, it wasn’t that far at all.
Kim Capria (Vocalist/Guitarist), Banter Photo Credit: Nick Gonzaga
I was relieved that the tent I borrowed basically folds up into a compact log, making it easier to carry down to the beach. I was a little disappointed though. The Sugar Thieves were on and I really wanted to see them, but it was getting dark and we didn’t have much daylight left. My late father was a fan of theirs before I was. He introduced me to their music at Blues Blast one year. Although he passed away a couple of years ago, I still try to make it to as many of their shows as I can. I could still hear Mikey’s growl echoing through our shanty town as we worked feverishly to unload trunks and inflate blow-up mattresses, so it wasn’t a total bummer. After a brief rest and quick change, we were back up the hill again for The Woodworks.
Meghan “Solo” Lounsbury (Vocalist/Guitarist), The Woodworks Photo Credit: Nick Gonzaga
Lead shredder and belter Meghan “Solo” Lounsbury was in the VIP area getting ready to take the stage. I drank more free water and suddenly noticed a prop staring at me. It was a giant baby’s face with a traffic light for a torso, on a pair of mannequin legs. It’s perfect. The Woodworks are one of the more unique staples in the music scene, bringing only the crunchiest of grooves. Solo dressed Cleopatra-esque, complete with Egyptian headdress. To open the show, the band brought up Future Exes guitarist and solo artist in his own right, Page the Village Idiot, kicking things off with his own personal brand of weird. If you’ve never seen him, you’re definitely missing out. This was around the time that things got a little hazy.
Page the Village Idiot Photo Credit: Nick Gonzaga
“These uh mah shoes, and thissa mah hat…” – Page Davis
The day had been long, the hikes longer. I was exhausted. I stayed for the entire incredible performance but I don’t remember how or when I got back to camp. I vaguely remember an Adam climbing the walls of the indoor stage, but I don’t recall if it was during The Psychedelephants. What I do recall was that they played an amazing set in that hot room wearing long sleeves. Spencer beat the drums like they owed him money, and Miles left enough sweat on the stage to put out a fire. Danger Paul kept the rhythm, and Calin Gross shredded faces.
At some point, we were all just kind of “there” again, sitting in a circle on the beach. By that time, Miles had also materialized. He began plucking his acoustic bass as Brandon strummed away on my mandolin, and it progressed into a full on jam session with Kim singing the lyrics of a song I’ve never heard before. Throughout the night, there were conversations on topics ranging from individual band performances to our preferences of dying by falling off a cliff versus being eaten alive.
A random kayaker, who stumbled upon the festival and got too drunk to paddle back to where he launched, slept next to the fire that Scott and Max started with his help. The stars never looked brighter and campfire never smelled so good. Out on the lake, the swaying beacon of an anchored sailboat cast a singular blue glow as the inhabitants hooted and whistled to beachwalkers in the moonlight. Everything seemed perfect. This is exactly the spirit this festival seeks to inspire. The same laughter, chatter and spontaneous acoustic jam sessions from my nap earlier echoed through the night from the other campsites across the marina as we all sporadically fell asleep to the water lapping at the shores under the vast sky.
Photo Credit: Nick Gonzaga
Day 2 — October 27
I slept in the next morning. I didn’t wake up until close to 10:00 AM. Anyone who knows me, knows that this is highly unusual. I’m a restless sleeper and an early riser. I felt so at peace out there that I kind of just let my surroundings awaken me. Kim made bratwursts for breakfast on a borrowed camping stove and served up cold brew coffee with almond milk for anyone who needed it. After two full cups, I made the two dollar sacrifice at the convenience store for a third cup of coffee with plenty of powdered creamer and sugar.
Photo Credit: Nick Gonzaga
Back at camp there were more jokes, jams, philosophies on life and chocolate salty balls — as a journalist, I think it’s important to note that Brandon put them in his mouth. I was told they were delicious. Apparently they were made of oatmeal but I never got an opportunity to confirm. Spencer reemerged and declared that he still hadn’t gone to sleep. We laughed some more and basically spent an exorbitant amount of time just being lazy. One of my favorite things about these weekend-long events is how amazed everyone is to see one another the next morning.
Nick Gonzaga
“Dude, oh my god! You were soooo out of it last night, man…”
Brandon Biallas, Spencer Ferrarin, and Calin Gross Photo Credit: Nick Gonzaga
Once I had regained my motivation, I made a point to trek back up to see Future Exes. Something that isn’t immediately apparent to many festival attendees is that a lot of the staff is comprised of volunteers; some of those volunteers are actually band members. Roni Marie is the lead vocalist of Future Exes, and one of the lead event volunteers and organizers. Throughout the entire weekend Roni was omnipresent, sporting the yellow vest and walkie talkie. She’s one of the people making sure all of the gears are turning and everything runs smoothly.
Future Exes is always a great band to see. Page is an amazing guitarist, and Roni is one of the most sultry singers in the community. After the festival, she tells me, “There’s much more [work] behind the scenes before, during, and after the event that most people don’t see… We are all for sure proud of this year’s event and our music community as a whole. There’s so much love!” Their daylight performance on day two was as awesome as it always is. During one tune, Roni stepped off the stage into the arms of PC in one of the more memorable moments of the festival. These are all people that absolutely love and care for one another and it shows.
Roni Marie (Vocalist), Future Exes; and Paul “PC” Cardone Photo Credit: Nick Gonzaga
After finishing their set, the band welcomed Hyperbella up to the stage, and as ashamed as I am to admit it, this is yet another band that I have totally overlooked. Like House of Stairs, they’re soulful, funky, and sophisticated all rolled into one. Vocalist and guitarist Cassidy Bates strokes her Gibson Firebird like a feline extension of her arm. Her harmony with Carly Bates on the keyboard is heart-melting, and it doesn’t hurt that they’re both insanely beautiful women. All swooning aside, drummer Marcus Leatham and bassist Brenden McBride (also of Wyves) are no slouches either. As a whole, they’re tight and in sync with an almost Bobby Caldwell-like essence, and they absolutely left me wanting more. I spoke briefly with Cassidy after their performance and she couldn’t have been more humble. Don’t make the same mistake I did with this band. Do NOT sleep on them. They’re one hundred percent worth whatever the cover is at the door if you can catch them.
Cassidy Hilgers (Vocalist/Guitarist), Hyperbella Photo Credit: Nick Gonzaga
Back at the cantina, another performance from Tommie Victor with a fantastic cover of Megadeth’s “Symphony of Destruction” for an appreciative audience. Joel Ekdahl took a break from his camera to play an acoustic set shortly before the Banter’s second performance of the weekend. Kim wore her Kill Bill jumpsuit and several people remarked “She really does look like Uma Thurman!” With exhaustion once again creeping in and increasing pain crawling up my legs, I wandered back outside to the mainstage as the sun was disappearing on the horizon to catch the next act.
Banter, feat. Calin Gross of The Psychedelephants on Slide Guitar Photo Credit: Nick Gonzaga
Wyves has just come off the release of their second studio album R U OK? Cory Gloden, guitarist for Dry River Yacht Club, is ever the frontman, pumping the tired and inebriated full of newfound energy. This is the point where I completely gave up moving for awhile, and take a seat backstage to watch them absolutely murder it. Not only do they sound amazing, but they have so much style. These guys are legit rock stars. Looking over to my right, I saw that Page had the same idea and was looking worn out in a seat of his own. I attempted to take a photo of him before he pointed to my lens and asked “Are you watching me melt?’ with a hearty laugh.
Nick Sterling (Guitarist/Vocalist), Wyves Photo Credit: Nick Gonzaga
During one of their last songs, I suddenly realized just how full my bladder was and I slowly made my way indoors to the mensroom. Upon opening the door, another man rushed past me and I was hit with a wall of odor that stung my nostrils. Guys were covering their eyes at the urinals and making faces like children who had just bitten into a lemon for the first time. It literally smelled like piss and vinegar. I noped right around into the other direction and took my chances outside in the wild. The smell was so bad I had to pee in the bushes. When I returned, Wyves had sadly finished up and Banana Gun was now lugging their gear onstage. From a laughable distance I saw the familiar glow of an afro and I knew that Marc Norman had arrived.
Banana Gun is one of those bands that makes it impossible not to embarrass yourself because you can’t resist the urge to dance. Their most recent album Dance Monkey Down in Faux Town is phenomenal. It’s also available on vinyl. Seriously, go buy it. I had to pick one up in person at a sweltering show at Yucca Tap Room this summer to get mine. You can order it directly from their website, so you have no excuse. Kevin’s dreads hang ankle length and swing like whips across the stage at times. Kyle’s sax punctuates every song like an exclamation point. This band is seriously just too good. From the first notes of their set, the whole place is up and jumping once again but the soles of my feet are getting the better of me and I remain seated.
Kevin Lloyd (Vocalist/Guitarist), Banana Gun Photo Credit: Nick Gonzaga
A few of us regrouped and decide to headed back down to camp. I knew in my heart that there was just no way I would be able to make it back up once we settled back down at the beach. I was so thoroughly sore. The moment I laid down on the army cot in the center of camp, I knew it was over and started to drift off, but something awoke me as I was on the cusp of my slumber. It was the sound of heaving. I had no idea where it was coming from until I decided to go investigate. Standing next to our campfire was the same kayaker who had crashed at our site the night before. He brought a friend who had apparently partaken in way too much of the festival.
When things settled down and I was sure our new stowaway was ok, I went back up the hill for the closing of the festival, because nobody wants to watch another guy puke up pot brownies. I just couldn’t bring myself to miss out on the closing acts. Xixa (pronounces “Tsitsa”, not “Sheesha”) from Tucson did an amazing job, but I feel bad that I was too exhausted to truly appreciate it. I went into the cantina to catch Marc’s show, only to find out that it didn’t last long and I had missed it. From there, I waited for Page to close out the bar, but he never showed. I went into the next room to the indoor stage to try to catch Japhy’s Decent, but it was so crowded and hot that I gave up and went back to my tent for good.
Or so I thought.
The one we called “Tiffany” half of the time woke us all up when she got back to camp, trying to get anyone she could to come to the hotel party with her. After pretending to be Brandon by throwing my voice in the dark for some time, I finally relented and accompanied her to the party. I’m glad I did. It was really an amazing thing to see such a group of artists sitting around, playing music with each other, talking about life and the creative process. Drum and guitar notes bounced off the canyon walls like a symphony, settling on the water. I was very lucky to be there, and to be welcomed by a truly loving collective of independent artists. I’m not sure how long I stayed, but it was long enough to smoke a joint with these beautiful souls and get back in bed shortly before 4:00 AM.
Packing Up
The very next morning I was stirred from my sleep once again, but this time by the most beautiful smell known to man. As I unzipped my tent and poked my head out, our camp mate Alisha asked if I wanted a piece of bacon. “Yeah, I need a piece of water too,” I replied. With her dreads in a tower atop her head, she peeled a couple of pieces of the sweet pork flesh off of her plate and handed them to me. I ate them with my bare hands. Soon, everyone began to exit their tents like Who people in Whoville on Christmas morning. Bacon had saved us all.
My initial plan was to pack it all up get on the road post haste, but once again, we were having such a great time talking and recounting the weekend that my sense of urgency to leave had faded, if it was ever there at all. I overheard someone say, “I feel like Marc Norman looks. My inner Norman is strong.” Calin played slide guitar on an old, painted acoustic that sat untouched for much of the weekend, Miles was at the shore teaching Tracy how to skip stones, and Spencer packed bowls and passed them around. My heart was impossibly full.
“No, but that was the right motion! You almost got it.” – Miles Tippet
As all good things, the Apache Lake Music festival had to come to an end, and as much as we lamented, it was time to leave. Something I neglected to think about is just how hard it is to get dirt out of a tent. It’s like trying to get a pick out of an acoustic guitar. After making one more sweep of our campsite for trash, we were in our cars and I was following Kim’s car out of the the marina. I decided to give the long route out a shot since the short way in was so nerve racking. For the most part it remained wide enough for two lanes, save for a bridge. After reaching the Roosevelt Dam and getting back on the main highway, we made a quick pit stop at an IGA grocery store to use the restroom and clean our windshield. Getting out of the car was physically painful. My thighs were on fire. Standing and walking have never been so difficult.
Shortly after our collective relief, were back on the road. Once we made the left turn onto highway 87 toward Mesa, I immediately burned out and left Kim and Brandon in my rearview mirror. My need for a shower was far too great to further soak in anymore scenery. From the Bush Highway to Usery Pass, I was soon back on the 202 southbound, heading toward my home in Gilbert, reliving the sights and the sounds I had consumed that only the Apache Lake Music Festival can deliver.
Apache Lake Music Festival | Photo Credit: Nick Gonzaga
PHOENIX – Christina Aguilera brought her Liberation tour to Comerica Theatre on October 29, 2018. This is the first tour for Aguilera since her “Back to Basics” tour in 2007. The last time she had a show in Arizona was on February 28, 2007, at Jobing.com Arena in Glendale — now renamed Gila River Arena. There have been quite a few bumps for Aguilera on the Liberation tour; two dates were postponed due to illness, and one postponed due to production-related safety concerns at the venue.
Big Boi opened for Aguilera, also known as Antwan André Patton. Big Boi is an American rapper, songwriter, record producer, and actor. He’s best known for being a member of Outkast, an American hip hop duo, alongside André 3000. With Outkast, he produced six studio albums. In July 2010, Big Boi’s solo debut Sir Lucious Left Foot: The Son of Chico Dusty was released. Hip-hop didn’t seem to be everyone’s go-to genre in the audience, but there were clusters of fans that got up to dance to the beat. Toward the end of their set Patton addressed the crowd, “Welcome to the Liberation tour. Where it gets louder after every song!”
It was rumored that Aguilera was to take the stage at 9:15 pm, but that time came and went. The crowd grew restless around 10:00 pm, and some randomly cheered in hopes of making Aguilera appear, while others did the wave to keep their energy alive. Fans were talking amongst each other, concerned that Aguilera wouldn’t show at all. Seventy-five minutes passed by and the crowd booed.
Finally, “5 minutes” popped up on the screen that hid the stage. It switched to a giant face of a clock, with the hands turning counter-clockwise as it counted down the minutes. The concert began with images of Aguilera holding various timepieces. Fans stood when a video played, showing Aguilera in a red dress and a flowered crown, and a little girl wearing the same, wandering through a house as if Aguilera was chasing her past self.
The screen went black, and the word “Liberation” appeared in bold white letters. A dancer came on stage, smelling flowers and then dropping them as she danced, before suddenly running off stage. Then, the word “Searching” displayed on the screen. As the lights brightened, Aguilera stood tall on an elevated stage. The screen and background were of clouds, making Aguilera seem like she was in the sky as she sang the opening lines of “Maria” from her 2018 studio album, Liberation.
Aguilera had a perfect mix of old and new songs in her setlist. The second song was “Genie in a Bottle” from her first studio album self-titled, Christina Aguilera. That lead track from the album was a trendy pop and R&B song in 1999. It peaked atop the Billboard Hot 100, and among other charts in twenty other countries. It has sold over seven million copies, making it one of the best-selling singles in the world. During the song, images of past albums appeared on the starry background as her dancers twirled red umbrellas around her. Aguilera wore a robe reminiscent of Disney’s Mulan, from which her debut single “Reflection” came.
Throughout the show, Aguilera would have videos play before she sang her well-known songs. During the song “Dirrty”, from her 2002 studio album Stripped, Aguilera wore a red and black leather outfit much like the assless chaps she wore in the “Dirrty” music video. On one sleeve was “2018” and on the other sleeve was “XTINA”. Her dancers wore black assless chaps as they backed her up during the song.
Aguilera finally addressed the crowd and explained why she was so late coming on stage.
“I’m here you guys. I climbed and scratched my way here. I had two planes both have mechanical failures and that’s freaking scary shit. I’m sorry. I was like ahhh, what! I was so freaking scared. So the third plane (third time is the charm), the third one came through and I was able to get here on time to be here with you guys, but I made it, I made it to the stage tonight, but it took a little longer. Lord in Heaven. That played some scary stuff on my nerves, and you know, I get some bad anxiety sometimes. That was not fun today. You know, I’m going to unleash some of that on stage tonight. Get it out of my system.”
She laughed and continued, “But it feels so good to be back here after so long and getting to be in some beautiful theaters, oh I’ve never done that before. It’s just so beautiful, so intimate, so wonderful to see you all up close, and personal. It’s just so amazing after all this time. It means so much my loyal, amazing fighters.”
She patted herself on the chest, adding, “I’m not going to cry tonight, but you guys have brought me to tears before. This love has meant so much to me. It really has, you guys. Allowed me to raise my family and be there for my kids because being a hands-on mom is important to me. But also being on this stage, because you know this has been in my life since I was seven. We got some old stuff, older stuff you might remember and we have some new stuff. So let’s see if you guys remember this one.” Aguilera then started to sing lines to “What a Girl Wants” from her self-titled album.
Aguilera sang songs from her past in order, explaining her career. After “What a Girl Wants” she moved to sing some of “Come On Over Baby (All I Want is You)” and addressed the crowd again. Aguilera said, “It’s the show I have right before Halloween too. That’s extra fun. We actually have a Halloween treat for you later. I love Halloween. It’s kinda like Christmas, so it’s insane. And I see some costumes tonight, that’s really cool. Yes. So after, umm, after ‘What a Girl Wants’ and after ‘Come On Over’ I was tired of playing by everybody else’s, you know, the label and suits’ rules, and I had things I wanted to say. It came a time when, you know, my sophomore album I wrote a record called Stripped. — Which just had its sixteenth birthday and it was a very special record for me because, you know, it was the first time I got to tell my stories, talk about some of my pain and struggles and that’s really important, you know, I think that makes the best people and sometimes builds the best character. And I thank you guys for sharing your stories with me; it really inspires me as well and there’s no shame in coming from hard places at all. It means you’re a strong person.
This next song I wrote for the album, there’s quite a few of them, but you know, about standing your ground and in face of adversity or someone says you can’t do something. This song was never a single, but sometimes those are the best ones to me. And I still get a lot of requests for this. This one, you know, no matter what people say, no matter what people tell you what you can’t do. You gotta keep doing you. This one is called ‘Keep On Singin’ My Song,’ sing along if you know it.”
During the songs “Deserve” and “Accelerate”, both from the Liberation album, Aguilera and her dancers wore S&M-styled outfits and mimed an occult-like ritual at a long table with candles that they danced on. One male dancer had on a spiked mask, and the other a pig’s head. The female dancers had different masks covering their faces. Aguilera wore a bondage headpiece that went from the top of her head and down her nose with a bejeweled black top, fishnets, and a thin black skirt. After “Deserve” a quote appeared on the back screen. It read: “‘If you’re going through hell, keep going…’ –X’cess”. During the song “Accelerate”, Aguilera introduced her dancers, who each had their own moment to showcase their skill on the table in the center of the stage.
For “Lady Marmalade” (a LaBelle song famously covered by Aguilera, P!nk, Mya, and Lil’ Kim for the Moulin Rouge! soundtrack) Aguilera wore a white coat, and her dancers matched as they circled around her with ivory fans in their hands. A video of a close-up of Aguilera in red played on the backdrop.
Aguilera’s next songs were “Ain’t No Other Man” from her 2006 Back to Basics album, “Say Something” by Great Big World, “It’s A Man’s Man’s Man’s World” a James Brown cover, and “Fighter” from her Stripped album. Following each video, Aguilera would change her outfit to fit the mood of the song.
After “Fighter”, the videos stopped working. Aguilera came out with a mic in hand. “Sorry,” she told the crowd. She looked behind her to her band. “Are you ready for me?” She laughed, “Sorry. I know. I’m ready for you and you’re ready for me.” The crowd cheered for her. “Thank you very much,” she said, with a big smile. “I told them to cut to a certain video and it’s not playing right now and I’m upset about it. So I’m sorry. Oh well. The show goes on and I’m here. It’s been an insane day.”
A fan in the crowd yelled “I love you” and she replied, “I love you too. That’s why I’m here, but not without some anxiety. I’m kind of a nervous flier, but it’s Halloween so it’s a special time. Thank you guys for coming out tonight. And your patience for the last ten freaking years. Thank you so much. But my soul was suffering, my soul was hurting and it sometimes takes us a while to figure it out, and I was scared of having children. ‘How am I going to juggle this?’ And also for them not to feel like they are living in my shadow and stuff like that.
Honestly, it’s been such a great experience, and to feel your love and give this to my children as an experience as well. Show them what mama does for a living and what I do for the love. It brought them into this world. Thank you so much for giving me an opportunity to get back on the stage. This is for all of you guys. For all my fighters. It’s a weird night, but whatever. So this song is appropriate.” Aguilera than started singing “Beautiful”, and fans sang along waving their hands or phones in the air.
Aguilera ended the show by bringing a fan onto the stage to share her story. The woman talked about how Aguilera inspired her to be herself and how Aguilera’s music helped when life was dark after addiction and coming out as gay. She has since found a woman who is like a mother to her and is eleven years sober. She told Aguilera that, due to the addiction, she couldn’t remember Aguilera’s concert she last attended back in 2007, and she always thanks Aguilera or adds a song lyric in her grad papers. Aguilera was clearly touched and hugged the ladies, saying, “Thank you” and “I hope you remember this concert.” The last song of the night was “Let There Be Love”. The back screens turned over and became rainbow lights, while everyone on stage danced like it was a celebration.
The concert ended just a little past midnight, with delighted but tired fans pouring out of the venue. Despite the delay, video problems, and the bass being too loud to the point of sometimes cringing in pain, most fans left happy to see Aguilera on stage after all these years. She’s a fighter and she’s a pop music legacy not to be missed.
Featured Photo (top) by Kevin Mazur/Getty Images for Live Nation
Fast food-themed Black Sabbath parody kings Mac Sabbath are about to kick off another North American tour, beginning October 27 in Pomona, CA at Lagunitas Beer Circus! In celebration of the tour, the band have released their second recorded song, “Sweet Beef”, along with a brand new, zany music video for the track. The music video features maniacal marionettes in the image of the band members themselves!
Watch the “Sweet Beef” video now via premier comedy site The Laugh Button
This video is so psychedelic, it will leave you with the munchies! Deranged vocalist Ronald Osbourne says: “Mac Sabbath ‘meats’ marionettes! There will be blood!“
The “Sweet Beef” video concept was created by Mac Sabbath, Michael Serwich and Matt Scott, with maroniettes managed by Matt Scott and Rasputin’s Marionettes and editing and effects by Joe Seafus.
The most impressive-and terrifying-thing about Mac Sabbath is that they’re actually really good. Ronald channels his inner Ozzy onstage, from the manic jumping to the frantic hand waving…” – Bryan Rolli, Paste Magazine
10/27 – Pomona, CA @ Pomona Fairplex – Lagunitas Beer Circus
10/28 – Long Beach, CA @ Alex’s Bar
10/29 – San Diego, CA @ The Casbah
10/31 – San Francisco, CA @ Great American Music Hall
11/1 – San Jose, CA @ The Ritz
11/2 – Crystal Bay, NV @ Crown Room at Crystal Bay Casino
11/3 – Portland, OR @ Dante’s
11/4 – Tacoma, WA @ Jazzbones
11/07 – Calgary, AB @ Dickens
11/08 – Edmonton, AB @ Starlight Room
11/09 – Saskatoon, SK @ Amigos Cantina
11/10 – Regina, SK @ Riddell Centre
11/11 – Winnipeg, MB @ The Pyramid Cabaret
11/14 – Hamilton, ON @ This Ain’t Hollywood
11/15 – Toronto, ON @ Lee’s Palace
11/16 – Buffalo, NY @ Tralf Music Hall
11/17 – Grand Rapids, MI @ Pyramid Scheme
11/18 – Palatine, IL @ Durty Nellies
11/19 – Hobart, IN @ Hobart Art Theater
11/21 – Lincoln, NE @ The Bourbon
11/22 – Denver, CO @ Bluebird Theatre
11/24 – Scottsdale, AZ @ BLK Live
“… one of the most interesting bands to come around in a long, long time. They have Dead Kennedys’ outrageous sense of humor mixed with total irreverence and ornate style on top of a solid, engaging performance (even if the crowd is reluctant to respond). So while this whole thing was probably thought up after eating too many pot brownies, it is one of the most brilliant ideas in a long time.” – Troy Farah, Phoenix New Times
About Mac Sabbath
Mixing raucous comedy with borderline-horrific theatrics, the only thing more petrifying than impending health problems resulting from years of overeating is a Mac Sabbath show. Show attendees should be prepared to partake in the fun – Mac Sabbath puts on a theatrical, multimedia stage show – complete with a smoking grill, laser-eyed clowns, bouncing burgers and many more magical surprises… basically anything and everything an unwary show-goer could ever want in their wildest dreams. Named by Buzzfeed as one of the “13 Metal Bands You Didn’t Know How to React To” + Named as LA’s “Best Tribute Band” by LA Weekly.
“This is not a drill. Be it exchanging Black Sabbath’s “Paranoid” for a “Pair-a-buns” or “Iron Man” for a “Frying Pan,” these food-focused musical dweebs are cooking up something hot ‘n’ ready just for you.” – Alicia Lutes, MTV.com
“Even if the songs are dripping with onions and extra cheese, Mac Sabbath put on one righteous stage show, complete with smoke machines, gritty power chords, and endless head-banging.” – Chris Coplan, ConsequenceofSound.net
Technical metal icons Gorod have released their brand new 10-track album, Aethra, today via Overpowered Records! The album can be ordered digitally via Amazon, iTunes and Google Play, and in several physical formats via Overpowered Records‘ merchandise site HERE.
In celebration of today’s release, Gorod have revealed an epic, cinematic music video for the track “Bekhten’s Curse”, produced by Disclosure Productions and available to view now via RevolverHERE.
Vocalist Julien Deyres tells Revolver: “Out of all of the songs on the album, these lyrics required the most research. I am not at all a specialist in Egyptian antiquity, but in doing my research on lunar deities I discovered this extraordinary story about a so-called miraculous healing of Ramesses II‘s sister-in-law. This legend is engraved on a stela that is currently in the Louvre Museum and is a proven historical fake. In this song, I am playing the role of a Bekhten’s city survivor, which was completely destroyed to restore a form of eventual reality… because way too often, popular legends such as this one were created to hide misdeeds by those who have the power and wish to be considered as heroes…”
Produced and recorded by Gorod guitarist/mastermind Mathieu Pascal in his own Bud Studio, mixed at Dugout Studio by the outstanding Daniel Bergstrand (Meshuggah, Behemoth, Decapitated, In Flames) and mastered by Lawrence Mackrory at Obey Mastering (Decapitated, Nightrage), Aethrais a profound progression in terms of production, songwriting and arrangements.
With Aethra, Gorod transports the listener to a tragic and melancholic universe – a completely new level of darkness – while preserving what Gorod considers their tried and true core sound: incomparable groove, remarkable dexterity, and relentless technicality. But all the while, the band never sacrifices earworm hooks and unforgettable riffage.
Aethra Album Art by Jeff Grimal
Aethra track listing:
1) Wolfsmond
2) Bekhten’s Curse
3) Aethra
4) The Sentry
5) Hina
6) And the Moon Turned Black
7) Chandra and the Maiden
8) Goddess of Dirt
9) Inexorable
10) A Light Unseen
New Tour
As a live band through and through, Gorod plan to bring their trademark power and precision to North America on a full tour in support of Aethra. Before coming to the states, Gorod will tour in Europe and the UK with headliners Beyond Creation, as well as fellow support artists Entheos and Brought By Pain.
EU/UK Tour Dates:
02.11 Hamburg (D) Headcrash
03.11 Hannover (D) Faust
04.11 Berlin (D) Musik & Frieden
05.11 Prague (CZ) Nova Chmelnice
06.11 Vienna (A) Viper Room
07.11 München (D) Feirwerk
08.11 Ljubljana (SLO) Orto Bar
09.11 Retorbido (I) Dagda Club
10.11 Venice (I) Revolver
11.11 Aarau (CH) Kiff
12.11 Grenoble (F) L’Amperage
13.11 Barcelona (E) Upload Club
14.11 Madrid (E) Caracol
15.11 Porto (PO) Hard Club
16.11 Donosti (E) C.C. Larratxo
17.11 Angoulême (F) La Nef
18.11 Paris (F) Petit Bain
19.11 Manchester (UK) Satan’s Hollow
20.11 Glasgow (UK) Audio
21.11 Dublin (IRE) Voodoo Lounge
22.11 London (UK) Underworld
23.11 Birmingham (UK) Asylum2
24.11 Netherlands Oss Groene Engel
25.11 Oberhausen (D) Kulttempel
PHOENIX — For a band as dynamic as System of a Down, one would expect their live performances to be equally, if not more engaging, than their studio releases. Gaining popularity from classic songs like Chop Suey for example, which features a quickly strummed acoustic guitar intro leading directly into a frenetic musical meltdown. This is arguably one of the defining attributes of the band and last night’s show at Talking Stick Resort Arena in downtown Phoenix was certainly no exception.
El Paso rock band, At The Drive In, set the tone of the night with energetic grooves and polished musicianship; a nice preview of what was to come later on. Their set wasn’t without its technical hiccups however, as lead vocalist Cedric Bixler-Zavala wildly gyrated his arms in an upward motion towards stage left during the first song. This was a clear indication that his vocals weren’t loud enough in the mix and he most likely couldn’t hear himself. The band didn’t miss a beat and continued on into the next few songs, but not without Bixler-Zavala interrupting himself mid-lyric to say “turn up the vocals!” He was obviously frustrated with the technical side of things, but this didn’t take away from their overall performance. With Bixler-Zavala and the rest of the band continuously powered through and made sure the people got what they came to see. Roaring reception from the crowd and an ever turbulent ocean of bodies in the open floor area indicated they were delivering on that promise for many fans.
Following Cedric’s politically charged closing announcement after the final song, that the band was “going backstage to hang out. Don’t call ICE on us,” there was a quick tear-down period as various stage hands took their gear away and made room for the main attraction. Soon after, the lights darkened and System of a Down broke into “Innervision”, a song I didn’t expect as an opening number but a great decision nonetheless. This song has a slow-burning intensity that served as an excellent preamble for what was about to hit the audience next.
Immediately after “Innervision”, lead guitarist, Daron Malakian hit the immensely-heavy opening power chord to “Prison Song”. As if this song alone wasn’t enough of a reason to get the crowd filled with excitement, the band faked everyone out by hitting the opening chord a few more times than expected which stirred up the suspense and generated added fervor.
It’s worth noting that by the time System of a Down took the stage, the sound was immediately dialed in and they sounded absolutely perfect. Every single instrument was balanced well with one another, and both Serj Tankianand Malakian’s vocals had achieved just the right volume levels to allow their harmonious vocals to soar and blend in beautiful ways.
From this point on, each song flowed smoothly into the next with virtually no time in between, allowing them to pack as many songs into the night as possible. The third song played was “I-E-A-I-A-I-O”, which was followed by yet another acronymic song “B.Y.O.B.” Behind the band was a giant jumbotron displaying many visually arresting images including bombs exploding, girls dancing in chorus lines, and inflamed cars driving down the highway at light speeds.
Bassist Shavo Odadjian and drummer John Dolmayanheld down the rhythm section with machine-like musical precision while still remaining animated on stage and engaging with the crowd when necessary. Odadjian particularly stole the show at many points during the set with his excellent bass tone cutting through the mix and his charismatic dance moves.
Odadjian was not the only one who visibly enjoyed himself on stage either. Both Tankian and Malakian employed their own dance routines of hopping around on one foot and spinning around in circles. This struck me as particularly impressive when you consider how fast and technical each of their roles in most of the songs are. Malakian also had me laughing at multiple points during the show when he chose to introduce the song “Psycho #13” by singing his own rendition of “Physical” by Olivia Newton-John.He had a lot of excellent banter with the audience during other songs too, like chanting the words “everybody spin around” to the tune of the outro guitar riff in “Toxicity”. This gave way to a maelstrom of people swirling around in one of the biggest mosh pits I’ve ever witnessed. The power that the band and their songs have over their fans is undeniable and an incredible thing to witness in person.
Other notable highlights of the night were “Aerials”, “Question!”, “Deer Dance”, and especially the closing song “Sugar”; an excellent choice to cap off the night and a highly memorable setlist. System of a Down have proved once again that despite a 24-year music career, their enthusiasm has yet to wane. Over 10 years after the band’s last double album release Mezmerize/Hypnotize, they have teased new music with various contradictory information coming from different band members over time. However, one thing I certainly take comfort in is that regardless of whether or not we ever get to experience new music from the band, they’ve left a lasting musical legacy that has left an indelible impression on me, as well as many other fans from around the world.
After two tour dates postponed due to loss of her voice and the advisement of doctors, multi-platinum superstar Christina Aguilera is back on the road with Liberationgoing through North America. It’s been ten years since she’s been on tour before the “Liberation Tour”.
Her last tour was 2006-2008 forBack to Basics. Since then Aguilera has been raising two children and she wants to return to the stage. Not only will Aguilera be singing gems from her newest album, but she will also sing songs that made her a powerhouse and unforgettable singer in the early 2000s. This is a show that can’t be missed.
Unfortunately for her fans in Orillia, Ontario and Detroit, Michigan, Aguilera was urged by her doctors to take time off to recover from her illness. However, fans showed great understanding in response to the news, wishing her a speedy recovery. Upon each postponement, Aguilera lamented via Twitter over letting fans down, and reassured them that she will be coming back and give her best.
I owe it to my fighters to give you 100% for EVERY show. You have my word that it will be worth the wait.
Aguilera went on with the show tonight (October 16) at The Chicago Theatre, where she will be performing tomorrow night as well. She currently has thirteen dates afterward, no doubt with two new dates coming soon. (View the remaining tour dates below.)
Aguilera’s eighth studio album, Liberation, is the perfect title to describe her amazing musical and life journey. Aguilera is a fighter, proving the domestic violence she faced as a child with her mother at the hands of her father wouldn’t silence her. Aguilera has suggestively shredded her 90s pop princess image and tirelessly fought for creative control over her music. Throughout her career, Aguilera has proved nothing can hold her back.
Her 2002 Grammy-winning fourth studio album, Stripped, is a four times platinum record and it is also the second highest-selling album by a female US artist from the 2000s. The 2006 Grammy-winning album, Back to Basics, has become a three times platinum record. A hot single from the 2006 album, “Ain’t No Other Man” reached number six on the Billboard Hot 100 list and has sold more than 1.7 million digital downloads in the US. Aguilera has also worked in film, television, perfume, and as a judge on The Voice. Presently, Aguilera is ready to hit the road again after a decade and is prepared to amaze audiences with her powerful voice and soul.
In a press release with Aguilera’s record company RCA, she was quoted saying after her latest album release since her 2012’s Lotus,
“I just needed to get back to truth. I felt like I was stuck, like when you can do something in your sleep and you’re unmotivated by it and you need to take a reflective moment and look at how you got away from your passion and off your path. It’s a big step to walk away from something that’s comfortable, but it can also be liberating to say, ‘Okay, I’m being true to myself now. I’m back to what I feel is my God-given purpose for being on this Earth.’ I’m not a commentator. I’m an artist. I’m a creator. I like to inspire. And when I stop believing in something, I have to evaluate my integrity in the situation and get back to the root of my truth and purpose.”
Christina Aguilera | Photography: Milan Zrnic
A popular track on Liberation is the song “Maria,” which is about going back to the little girl who simply wants to be inspired by music without the black cloud of the business side of things and feel alive again. Aguilera was quoted saying, “It’s not that my love of music depreciated, but being a young girl in a world of older men who sometimes had ulterior motives, and having no say in my own creativity or expression was very isolating.” The song has even more meaning, not only is “Maria” Aguilera’s middle name, but it is also from Julie Andrews’ character in The Sound of Music. Andrews’ performance in the film is what inspired a young Aguilera to sing.
Liberation contains beautiful songs that have powerful uplifting messages (“Maria”, “Fall in Line”), relationship songs (“Twice,” “Unless It’s With You,” “Masochist,” “Deserve”), and songs that make the listener feel good (“Accelerate,” “Sick of Sittin’” “Pipe,”). This album comes out during a time in the world where women need music in the wake of sexual harassment and the #metoo movement. Aguilera wants to connect to fans and let them know they are not alone, saying, “I wanted to talk not only about my journey but also deliver it in an honest way that connects with the soul. Everyone has their own version of ‘Maria’ — that little dreamer inside of them who might have to be put on hold because of kids, work, or family. So I hope that the album is a discovery of some kind for the listeners, as it was for me, and can be a form of release and independence and strength and inspiration to go out and find their own version of being liberated.”
Liberation debuted at number six on the Billboard 200 list in the US and the album sales will only grow as Aguilera takes it on the road. Aguilera is proof you can remake yourself, own yourself, and be yourself even in the chaotic world of music. Aguilera is only getting better.
Last month, heavy metal frontrunners Incite – lead by frontman Richie Cavalera – announced select details about their upcoming fifth full-length album, Built To Destroy. Produced by Steve Evetts (The Dillinger Escape Plan, Suicide Silence) and mastered by Zeuss (Rob Zombie, Hatebreed), Built to Destroy is a visceral, urgent, voracious distillation of modern metal with reverence for the past, and boasts a progressed, matured sound for Incite. Incite can now announce that Built To Destroy will hit the metal masses with full force on January 25, 2018 via MinusHead Records.
Last month, Incite dropped a new single, “Ruthless Ways”, originally revealed last month via SiriusXM Liquid Metal. Listen HERE.
In celebration of the album’s release, Incite will kick off a massive North American tour with headliners Soulfly and direct support artist Kataklysm beginning on the same day! The tour will visit several cities across North America, coming to an end on February 26 in Los Angeles, CA. The tour will feature additional support from Chaoseum, Alukah and Skinflint on select dates.
Tickets go on sale this Friday, October 19 at 10:00 AM local time. Tickets are available via each venue. See below for all confirmed tour dates!
Incite vocalist Richie Cavalera says, “Metalheads! We’re fired up to hit the road with Soulfly and Kataklysm and all the other killer bands on this bill. This will be the first tour in support of our new album, so expect to hear some new Incite tracks at these raging shows!”
Incite with Soulfly & Kataklysm (Chaoseum, Alukah and Skinflint) on select dates:
1/25/19: Albuquerque, NM @ Sunshine Theater*
1/26/19: Dallas, TX @ Gas Monkey*
1/27/19: Austin, TX @ Come & Take It Live*
1/28/19: New Orleans, LA @ Santos*
2/5/19: Orlando, FL @ Soundbar #
2/6/19: Atlanta, GA @ Masquerade #
2/7/19: Frederick, MD @ Cafe 611 #
2/8/19: Clifton, NJ @ Dingbatz #
2/9/19: Reading, PA @ Reverb #
2/10/19: Boston, MA @ Brighton Music Hall #
2/11/19: New York, NY @ Gramercy Theatre #
2/12/19: Toronto, ON @ Mod Club &
2/13/19: Flint, MI @ Buick City Events Center &
2/14/19: Joliet, IL @ The Forge &
2/15/19: Ft Wayne, IN @ Piere’s &
2/16/19: Dayton, OH @ Oddbodys &
2/17/19: Lexington, KY @ Manchester Music Hall &
2/18/19: Kansas City, MO @ Riot Room &
2/19/19: Colorado Springs, CO @ Sunshine Studios Live ^
2/20/19: Grand Junction, CO @ Mesa Theater ^
2/22/19: Spokane, WA @ The Pin ^
2/23/19: Seattle, WA @ Club Sur Rocks ^
2/24/19: Portland, OR @ BossaNova ^
2/25/19: Petaluma, CA @ Phoenix Theatre ^
2/26/19: Los Angeles, CA @ 1720 Club ^
Nearly 15 years into a career in which everything they’ve accomplished was earned and nothing was taken for granted, Incite bridges the gap between various metal sub-genres, but one thing is for certain – you will be banging your head in no time. This is a band who will open for Gorgoroth one night and Cancer Bats the next, converting true-believers out of everyone who crosses their path.
As renegade disciples of trailblazing metal architects like Pantera, Slayer, Sepultura, and Machine Head, Incite raises the torch for trend-killing and hipster-smashing metal. Incite is as much a part of the fabric of the style championed by Lamb of God as the surge of newer bands like Power Trip. Incite perfected their signature brand of extreme sounds by playing shows with DevilDriver, Crowbar, Brujeria, Soulfly, Cavalera Conspiracy, and Six Feet Under.
, brought remarkable energy to Marquee Theatre. When asked about one of the opening bands, 
In celebration of today’s release, Gorod have revealed an epic, cinematic music video for the track “Bekhten’s Curse”, produced by Disclosure Productions and available to view now via Revolver 
