REVIEW: Halestorm and I Prevail Bring High-Octane Performances to Arizona Financial Theatre (8-16-24)

August 21, 2024 Brittney Coon 1 Comment

PHOENIX — Halestorm and I Prevail brought their co-headlining tour to Arizona Financial Theatre last Friday night, delivering a night of unforgettable performances. With Halestorm taking the final slot this evening, the packed crowd was treated to a high-energy show. Hollywood Undead and Fit for a King added their own powerful sets to the lineup, making the night a standout for rock and metal fans.

Fit for a King

The mindblowing evening started with the American metalcore band from Tyler, Texas, Fit for a King (FFAK). The band members—Ryan Kirby (vocals), Bobby Lynge and Daniel Gailey (guitars), Ryan “Tuck” O’Leary (bass), and Trey Celaya (drums)—have been melting faces since 2007. They played a blistering eight-song set that fired up the crowd, even igniting a circle pit among the general admission audience in front of the stage.

Hollywood Undead

Up next was the American rap rock band, Hollywood Undead, formed in 2005 in sunny Los Angeles, California. The current lineup includes Jorel “J-Dog” Decker (vocals, guitar, keyboards), Dylan “Funny Man” Alvarez (vocals), George “Johnny 3 Tears” Ragan (vocals, bass), Jordon “Charlie Scene” Terrell (vocals, guitar), Danny Murillo (vocals, keyboards, guitar), and finally, Matt “The Cat” Oloffson (drums).

They recreated the “Cali” vibe with four light-up palm trees on stage, two trash fire barrels, and a cardboard sign hanging from the keyboard with “Hotel Kalifornia” handwritten on it. Hotel Kalifornia is their most recent album, released in August of 2022.

Hollywood Undead’s twelve-song set kicked off with “California Dreaming,” and by the third song, the fully-engaged crowd headbanged to “Riot” with contagious energy spreading like wildfire. The band threw beach balls into the crowd, which bounced above the audience as they rocked out. Right before starting the song, “Comin’ In Hot,” they brought up an eleven-year-old girl from the audience to jam on stage with them. Concertgoers sang and danced along to their cover of Neil Diamond’s “Sweet Caroline,” and Hollywood Undead wrapped up their set with “Bullet” and “Undead.”

I Prevail

The third band to take the stage was I Prevail, a rock band from Southfield, Michigan. The current band members are Brian Burkheiser (clean vocals), Eric Vanlerberghe (unclean and clean vocals), Steve Menoian (lead guitar), Dylan Bowman (rhythm guitar, backing vocals), Gabe Helguera (drums), and Jon Eberhard (bass, keyboards).

They rose in popularity in 2013 after releasing a metal cover of Taylor Swift’s “Blank Space” on YouTube. Since then, they have released three studio albums, with their single “Bow Down” earning a Grammy nomination for “Best Metal Performance” in 2019, and their album Trauma receiving one for “Best Rock Album” that same year.

When they took the stage, the venue shook—like literally shook. It made eardrums buzz, hearts race, and it knocked old confetti from past concerts down from the rafters to gently fall onto the crowd below.

I Prevail started with a video of an anonymous speaker talking about fear before starting “There’s Fear in Letting Go.” Vanlerberghe told the crowd that it’s been ten years since the band dropped their cover of Swift’s song, and they hate singing it, but they added it to the setlist for the fans. Everyone cheered and threw up their horns.

Before playing “Breaking Down,” Vanlerberghe got personal with the audience, talking about how he is doing well in therapy and to talk to someone if you need to. That mental health is important. I Prevail gave the crowd everything they had, just as they promised.

Halestorm

Wrapping up the heavy metal night was Halestorm, the American rock band from Red Lion, Pennsylvania, formed in 1997 by lead vocalist and guitarist Lzzy Hale and her brother, drummer Arejay Hale. Other members include Joe Hottinger as guitarist and Josh Smith as bassist.

Grammy-Award winning Halestorm introduced their set with Lzzy singing an a capella “Raise Your Horns” before launching into “I Miss the Misery.” She shows no reserve for showcasing her unparalleled vocals, with an almost-menacing, growling belt prominently featured from start to finish. She figuratively blew the roof off the venue, jaws dropping, during the “I Get Off” interlude of Heart’s “Crazy On You.”

Lzzy addressed the crowd: “It’s for all the letters that you’ve given me, all of the love online, you guys just standing out here singing every word. I can’t believe it, man, I can’t believe it. It blows my mind. So, this one is for all of you tonight, this is called, ‘Familiar Taste of Poison’”. They played the long-beloved song from their first album, self-titled Halestorm.

Also in support of mental health, Halestorm has teamed up with the mental health organization Sound Mind Live to encourage fans to pledge their support, helping to fund free mental health programs that will be available to communities across the country.

The band members’ percussive skills were on display as they played a taiko-style mid-set drum ensemble. Lzzy’s in-your-face stage presence admirably dominated throughout the night, and she delighted with moves such as a backbend contorting her body down to the floor as she shredded on her guitar.

Vanlerberghe rejoined the stage to sing the duet of “can u see me in the dark?” with Lzzy. Halestorm wrapped up the night with “Mz. Hyde” and “The Steeple.” Fans were left with ringing ears and giant smiles as all departed the venue into the blazing Phoenix night.

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Photo Galleries

Photographer: Katherine Amy Vega

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Halestorm | I Prevail | Hollywood Undead | Fit for a King

Halestorm, I Prevail, Hollywood Undead, & Fit for a King – Arizona Financial Theatre 8-16-24

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

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Concerts, Photo Galleries, Reviews

REVIEW: Fitz and The Tantrums Delivers Essential Energy at Arizona Financial Theatre (8-7-24)

August 9, 2024 Ryan Novak 1 Comment

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PHOENIX — Arizona weather has been chaotic recently. We’ve had our sweltering days, relentless in the waves of heat emanating from every direction, making residents want to stay inside and bask in the glory of central air. Recently, with the monsoons, we’ve even been granted some of that humidity we’ve all heard so much about but rarely experience. We needed a reprieve from this heat and occasionally muggy air. Seeing Fitz and The Tantrums’ recent performance at the Arizona Financial Theatre was a spiritual amnesty — a stay of execution from excessive heat, if you will.

Fitz and The Tantrums

“We’re Fitz and The Tantrums!
Now, get your hands in the air!”

Fitz and The Tantrums’ arrival on stage seemed perfectly timed, as the seats had just completely filled, and the general admission around the stage had swelled to occupy every inch of space. The band’s dynamic hybrid of neo-soul and indie pop was the ideal remedy to combat the steamy temps and stifling air, a refreshing breeze that cools the body and revitalizes the soul.

The band opened with “Sway” and “Heaven,” letting the audience fully feel the moment, come alive, and cosmically link with the music. The energy was immediate, like an electric current surging through the crowd, passing from one person to the next. In those two songs, there was a moment of magic as the crowd began to dance. In the pit, they moved in unison, and it continued, like the wave at a sporting event, rising through the crowd and bringing those in the seats to their feet as they began to move.

What makes Fitz and The Tantrums so appealing and beloved by their audience — which ranged from young children to adults who have followed them for the entirety of their 17 years of existence — is their ability to blend old and new sounds into something wholly unique. For example, I noticed a family in front of me with three kids, approximately five to early teens, all of them overjoyed and grooving to every song, never once sitting down during the set. Each song seamlessly combines elements of classic soul, funk, and jazz, evoking an auditory experience that is both timeless and undeniably fresh. — a perfect cocktail of nostalgia with a modern twist.

As they powered through the next few songs — “OCD,” “Good Intentions,” and the relentless pop of “123456,” accompanied by the most enthusiastic, theatre-wide clap-along anyone has ever witnessed — they built momentum, with the band visibly feeding off of the crowd’s energy. Multi-instrumentalist James King, bassist Joseph Karnes, keyboardist Jeremy Ruzumna, and drummer Blair Sinta kept the heat up so that co-lead vocalists Michael Fitzpatrick and Noelle Scaggs, leading the clapping, could cook. Their cover of The Eurythmics “Sweet Dreams (Are Made of This),” originally released on their Live in Chicago album, was a delightful mid-set surprise.

With “Out of My League,” the band really hit the gas, urging the crowd to “lift a big heart into the sky.” The audience responded majestically, with both hands flying to the sky to form a field of swaying hearts, moving back and forth as if the music was the winds blowing them to and fro. Just as Fitz and the Tantrums got those symbolic hearts swaying and their literal hearts thumping, they built a giant backing-vocal ensemble from the crowd with “Moneymaker.”

In a personal moment, Fitzpatrick spoke about his wife, a native of Gilbert, and the time they spend in the area, visiting her family during holidays, signifying how much Arizona means to him and is in his heart, like a second home. Phone lights illuminated the theatre for “I Just Wanna Shine,” creating a sea of light. “All the Feels,” “The Walker,” and “Moneygrabber” propelled the show into the home stretch. After a moment when Fitzpatrick and Scaggs reflected on their journey as a band across the past 17 years, they led the show to a triumphant close with “Hand Clap.”

Right now, Arizona may be sultry on its best days and searing (mostly) on its worst, and Fitz and The Tantrums brough love and cool vibes to refresh us all.

View Setlist

Photo Gallery

Photographer: Katherine Amy Vega

Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

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

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Live Nation, News, Tours

Mariah Carey Announces 2024 Christmas Tour

August 2, 2024 Katherine Amy Vega Leave a comment

The queen of Christmas and best-selling female artist of all time with over 200 million records sold Mariah Carey has announced her highly-anticipated annual Christmas extravaganza is back and going national! Mariah Carey’s Christmas Time will visit 20 cities across the country, kicking off on November 6 visiting Los Angeles, Houston, Atlanta, Philadelphia and more before wrapping up on December 17 in her hometown of NYC.

Produced by Live Nation, this tour marks Carey’s grandest holiday spectacle to date and is the first of many surprises she has in store to celebrate the 30th anniversary of her legendary album ‘Merry Christmas’ and its record-shattering single “All I Want For Christmas Is You.” The show will feature the global superstar’s timeless holiday classics alongside fan-favorite chart-toppers, promising an unforgettable festive experience.

Tickets

Tickets will be available starting with Verizon presale (details below) beginning Tuesday, August 6. Additional presales will run throughout the week ahead of the general onsale beginning on Friday, August 9 at 10 AM local time at LiveNation.com.

VERIZON PRESALE: Verizon will offer a presale for the Mariah Carey’s Christmas Time tour through Verizon Up. Customers will have access to purchase presale tickets for these dates beginning Tuesday, August 6 at 10 AM local time until Thursday, August 8 at 10 PM local time. For more details, visit Verizon Up.
VIP TICKETS: Fans can also purchase VIP Packages, which may include premium tickets, access to the pre-show VIP Lounge, exclusive VIP merch item & more. VIP package contents vary based on offer selected. For more information, visit VIP Nation.

“Mariah Carey’s Christmas Time Tour” Dates

Wed Nov 06 | Highland, CA | Yaamava Theater
Fri Nov 08 | Los Angeles, CA | Hollywood Bowl
Wed Nov 13 | Greater Palm Springs, CA | Acrisure Arena
Fri Nov 15 | Phoenix, AZ | Footprint Center
Sun Nov 17 | Austin, TX | Moody Center
Tue Nov 19 | Houston, TX | Toyota Center
Thu Nov 21 | Dallas, TX | American Airlines Center
Sat Nov 23 | Atlanta, GA | State Farm Arena
Mon Nov 25 | Nashville, TN | Bridgestone Arena
Wed Nov 27 | Rosemont, IL | Allstate Arena
Fri Nov 29 | St. Louis, MO | Enterprise Center
Sun Dec 01 | Washington, DC | Capital One Arena
Tue Dec 03 | Philadelphia, PA | Wells Fargo Center
Thu Dec 05 | Boston, MA | TD Garden
Sat Dec 07 | Baltimore, MD | CFG Bank Arena
Mon Dec 09 | Raleigh, NC | PNC Arena
Wed Dec 11 | Pittsburgh, PA | PPG Paints Arena
Fri Dec 13 | Newark, NJ | Prudential Center
Sun Dec 15 | Belmont Park, NY | UBS Arena
Tue Dec 17 | Brooklyn, NY | Barclays Center

Artist Spotlights, Top Lists

FEATURING: 5 Pop-Side Artists (Who Aren’t Billie Eilish) Making Waves with Fantastic New Music

May 29, 2024 Katherine Amy Vega Leave a comment

Billie Eilish continues to dominate the music scene with her unique sound and chart-topping hits. However, there are many other artists making significant strides with their new releases. Here are five mainstream artists you should definitely check out, spanning a range of genres and styles, most of who have recently released fresh tracks.

1. Sabrina Carpenter

Sabrina Carpenter has been steadily rising in the pop music scene, and her recent releases are a testament to her growth as an artist. Her fifth studio album, emails i can’t send, released on July 15, 2022, debuted at number 23 on the Billboard 200, marking her highest entry on the chart to date. The album featured singles like “Vicious” and “Nonsense,” the latter peaking at number 56 on the Hot 100 and achieving Platinum certification. Following this, she embarked on the Emails I Can’t Send tour in September 2022.

In March 2023, Carpenter released a deluxe edition of the album, with the single “Feather” becoming her highest-charting song, reaching number 21 on the Hot 100 and number one on the US Pop Songs chart. She performed at high-profile events like the 2023 MTV Video Music Awards pre-show and Dick Clark’s New Year’s Rockin’ Eve 2023. Her involvement in Taylor Swift’s Eras Tour as the opening act for several international shows further solidified her growing stardom. Recently, she released the single “Espresso” on April 12, 2024, which became her first top-10 hit on the Hot 100, peaking at number four, coinciding with her performance at Coachella 2024.

Follow Sabrina Carpenter:

2. Renee Rapp

Renee Rapp, known for her Broadway roots in Mean Girls: The Musical, has made significant strides in her music career. She recently reprised her role as Regina George in the musical film adaptation of Mean Girls, released in theaters on January 12, 2024, and on streaming on March 5, 2024. However, Rapp has expressed her intention to focus solely on her music career due to the anxiety she experienced in the acting environment.

Rapp’s debut extended play, Everything to Everyone, released in November 2022, was followed by a deluxe version in February 2023. Her debut studio album, Snow Angel, dropped on August 18, 2023, and a deluxe version with additional tracks, including a remix of “Tummy Hurts” featuring Coco Jones, was released in November 2023. She has been actively touring, with her Snow Hard Feelings tour, supported by Alexander 23 and Towa Bird, showcasing her dynamic stage presence and deep connection with her audience. Rapp’s music blends pop and R&B influences, creating a sound that is both contemporary and timeless.

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3. WILLOW

WILLOW has continued to evolve her sound and artistic persona. In February 2022, she withdrew from Billie Eilish’s Happier Than Ever, The World Tour due to production limitations but quickly bounced back by featuring on Camila Cabello’s track “Psychofreak” in April 2022. Her fifth studio album, COPINGMECHANISM, released on October 7, 2022, features collaborations with Yves Tumor and showcases a bold dive into alternative rock with singles like “Maybe It’s My Fault” and “Hover Like a Goddess.”

WILLOW’s recent releases continue to push boundaries. Her first single since COPINGMECHANISM, “Alone,” came out in November 2023, followed by “Symptom of Life” in March 2024 and “Big Feelings” in April. She announced her sixth studio album, empathogen, which was released on May 4, 2024. With a unique blend of punk, metal, and introspective lyrics, WILLOW’s new work explores themes of identity and self-discovery, solidifying her place as a dynamic force in the music industry.

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4. Chappell Roan

Chappell Roan has been steadily carving out a niche for herself with her vibrant and catchy pop tunes. After moving back to Los Angeles in 2022, Roan worked a series of odd jobs before signing a publishing deal with Sony. Her independent single “Naked in Manhattan,” released in March 2022, was praised as a “queer girl bop” by NPR, highlighting her tender and nostalgic lyrics. Following this, she joined Olivia Rodrigo’s Sour Tour and Fletcher’s Girl of My Dreams Tour, gaining significant exposure.

Roan’s subsequent releases, including “Femininomenon” and “Casual,” showcased her versatility and willingness to experiment with different sounds and themes. Her debut headlining tour, Naked in North America, in early 2023, was a hit, featuring themed stops and drag queen openers. Roan’s first full-length album, The Rise and Fall of a Midwest Princess, released in September 2023, further established her as a rising star. Following the album’s release, she embarked on the Midwest Princess Tour, which saw her performing across North America and internationally. Her latest single, “Good Luck, Babe!”, released in April 2024, has already garnered significant attention, debuting at number 77 on the Billboard Hot 100 and achieving 7 million streams in its first week. Roan’s growing popularity on Spotify and high-profile performances, including at Coachella, mark her as an artist on the rise.

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5. Olivia Rodrigo

Olivia Rodrigo burst onto the scene with her debut single “drivers license,” and she hasn’t slowed down since. Her Disney+ documentary, Olivia Rodrigo: Driving Home 2 U, detailing the making of her debut album Sour, was released on March 25, 2022. Rodrigo received seven nominations at the 64th Annual Grammy Awards, winning Best New Artist, Best Pop Vocal Album for Sour, and Best Pop Solo Performance for “drivers license”.

Rodrigo’s second album, GUTS, released on September 8, 2023, debuted atop the Billboard 200 and was acclaimed as the most critically acclaimed album of 2023 by BBC News. The album’s lead single, “Vampire”, became her third single to debut at number one on the Billboard Hot 100, making her the first artist to debut the lead singles from two career-opening albums at No. 1 on the Hot 100. Following the success of GUTS, Rodrigo announced her GUTS World Tour, which runs from February to October 2024. She also released a deluxe version of the album, GUTS (Spilled), in March 2024. On April 13, 2024, Rodrigo made a special guest appearance at No Doubt’s Coachella show, where she performed the band’s 2000 single “Bathwater” alongside them. Rodrigo’s music continues to capture the angst and emotions of youth, solidifying her place as a pop icon for a new generation.

Follow Olivia Rodrigo:

Billie Eilish’s Latest Release: Yeah…We Couldn’t Ignore This One

You didn’t think we’d skip over Billie Eilish’s new album, did you?

On April 8, 2024, Billie Eilish announced her third studio album, Hit Me Hard and Soft, which was released on May 17, 2024.

This album marks Eilish’s highest-performing album yet, with 339,000 units earned and over 193 million streams.

This album is incredible.

Despite a close race with Taylor Swift’s The Tortured Poets Department, Eilish’s album debuted at number two on the albums chart. To support the album, she announced the Hit Me Hard and Soft: The Tour, which will cover North America, Oceania, and Europe from September 2024 to July 2025.

While Eilish and Swift continue to dominate the charts, these five artists are proving that there is plenty of fresh talent in the music industry. Sabrina Carpenter, Renee Rapp, WILLOW, Chappell Roan, and Olivia Rodrigo each bring something unique to the table, offering new music that is well worth a listen. Whether you’re into pop, rock, or something in between, these artists have something for everyone.

Honorable Mentions

For those interested in more emerging artists making waves with their recent releases, here are a few to check out:

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Featured photos (top, from left to right) by Anthony Arquier (WILLOW), Unknown (Sabrina Carpenter, Renee Rapp), Ryan Clemens (Chappell Roan), Nick Walker (Olivia Rodrigo)

Music Videos, News, Reybee, Inc., Tracks

BRIDGET BARKAN Emerges From Grief With “GOOD THINGS” NEW SINGLE & MUSIC VIDEO

May 21, 2024 Katherine Amy Vega Leave a comment

NEW YORK —

“My intention writing this song was to get myself out of deep, heavy, painful feelings and move towards the light,” NYC-based art pop singer/songwriter BRIDGET BARKAN says, sprinkling positivity and support on our breakfasts this morning with her new single and music video “GOOD THINGS,” released May 21, 2024.

Sonically glam/pop meets Grizzly Bear meets Pat Benatar, this “actress of music” and former Scissor Sisters backup singer says, “theatrical performance is always there for music videos, and my dance background always finds its way back in, as well.”

Bridget Barkan “Good Things” Music Video

Emotionally weighted by personal tragedies, loss, and challenges exacerbated by the events of October 7, 2023 and the ongoing war in Gaza, Bridget was mired deep in a dark place. “I was going through a lot emotionally and personally that October, as were a lot of people in the world with the attack on October 7th and the impending war,” she explains. “All that I was going through personally exploded out of me, and I found connections between a lot of the experiences: the duality of sorrow and relief, as well as the heart’s true compassion… No matter the perspective, you can see that many truths exist at the same time.”

Losing her father (the celebrated songwriter/producer Marcus Barkan who wrote for Nat King Cole, Lesley Gore and even wrote the Banana Splits theme song “Tra La La”, among many others) during the pandemic meant she had to struggle with the loss in isolation due to the quarantine. Bridget also suffered a great deal of personal trauma in the last year from a miscarriage and a difficult breakup. “Good Things” finds her emerging from the grief to celebrate life and overcome all this hardship. The accompanying video is an incredibly beautifully shot and dramatized expression of the song, really showcasing her artistry and vision, capturing the beauty and wonder in life while also grappling with the inevitable pain– reminding everyone they are not alone.

Written from a 5-step songwriting process Bridget invented as a songwriting workshop instructor at Carnegie Hall where, for the last seven plus years, she has taught incarcerated youth and NYC teachers, “Good Things” holds onto the glimmer of light in a dark and hardened world.

Bridget explains about a line from the song: “I used to love October changing leaves on Halloween, but this is the month I was almost a mother, now little pumpkins mean something different to me“:

“This lyric is probably the hardest to sing, but it came without effort and it rhymed without thinking. It’s such an honest feeling, and describes all of the fun things you imagine doing with your children on Halloween (putting your baby in a pumpkin costume, taking them trick-or-treating)… a deep sense of longing through a very simplistic description.” While expressing a very poignant take, the song remains upbeat and encouraging.

A regular in the NYC artsy pop underground that includes Bright Light Bright Light, Xavier Smith, and John Cameron Mitchell among many others, Bridget is a “Jill of All Trades” on a one woman journey through love and loss. She also formerly toured the world with Scissor Sisters and can be seen in their earth-shattering “Let’s Have A Kiki” video as one of Ana Matronic’s crew. Having inherited her father’s knack for songwriting, Bridget’s intrinsic artistry and talent is a legacy she proudly carries.

More About “Good Things”:

The video, directed and edited by Bridget, herself, and co-edited by Isabel Del Rosal and co-starring “twin-dancer” Casey Urban, shows Bridget using “dance to move energy and emotion through me. I feel it’s healing, so I consider this video a ritual to release the sadness,” she expresses. “The Boom Box Room was a perfect location. It has so many different light options, so I just went with it. There were some unplanned, organic things that happened with one rainbow light set up, which showed a more expressive and fun side of the song…”

“…My co-director Isabel said she could see me outdoors in part of the video, and I realized, ‘Of course! Rain makes things grow, and sadness can make things grow!’ So, we went to the botanical gardens and stole some shots of the blooming flowers before we got kicked out.”

More About Bridget:

Bridget Barkan is a chameleon artist who shape-shifts through genre and style with a thread of raw truth and soul, woven into every melody and lyric. A native New Yorker, she has toured the world with pop/glam band Scissor Sisters, opened for Lady Gaga with them, and has performed with Bright Light Bright Light and Slow Knights. Starring in LGBTQ romantic classic “Walk with Me,” as a singer/songwriter, Bridget was featured on the original album, as well.

As a singer, she has shared the stage with Drag legends Joey Arias, Murray Hill and more and has released singles with the House DJ/producer legend Todd Terry, as well as numerous of her own singles. She worked closely with Baz Luhrmann as the voice of Misty Holloway on the Netflix show “The Get Down.” As a child actress, she has appeared in countless commercials and Sesame Street. She has starred in HBO’s Everyday People, Sherrybaby, Redacted, God’s Pocket, Steven Soderbergh’s The Knick and had a recurring role as a one-legged “hooker” on Law & Order: SVU.

On stage, Barkan has appeared in numerous productions including Dog Sees God and alongside Lea Michelle in a workshop of Spring Awakening.

Follow Bridget Barkan Online

Featured photo (top) by Will Polanco

Albums, Reviews

ALBUM REVIEW: ’empathogen’ – WILLOW’s Artistic Renaissance Transcends Boundaries

May 17, 2024 Katherine Amy Vega 1 Comment

WILLOW’s empathogen, released on May 3, 2024, emerges as a captivating blend of genres, heavily infused with jazz and maintaining an edge with rock, R&B, and dark pop music influences. empathogen is deeply embedded in black culture and musical traditions while exploring human imperfection and mental health struggles. This album solidifies her place as a transformative artist in contemporary music.

The album’s opener, “home” (feat. Jon Batiste), immediately sets the tone with percussive prominence that seems to be channeling African music in combination with jazz. Collaborating with Batiste, WILLOW creates a vibrant and dynamic track that celebrates her cultural roots while pushing musical boundaries. It leaves the listener wondering what to expect with the tracks to follow, and frankly, whatever they assume is most likely incorrect.

Throughout empathogen, WILLOW explores a diverse range of sounds and styles, showcasing her impressive versatility. In an unconventional usage of the term – I want to call the album “chaotic good”. She infuses moments with her signature style, offering intriguing vocal flourishes that fluidly transition between head voice and chest voice. One of the album’s standout features is WILLOW’s impressive vocal range, which she fearlessly exercises throughout each track. Her voice carries a beautiful timbre, and from soulful melodies, powerful belting, to yodeling, she effortlessly navigates wildly diverse vocal techniques with excellent control. When combined, it underscores her undeniable talent, along with masterful honing of skill. In “ancient girl,” she deftly employs vocal flipping techniques while remaining monotonous for the most part, adding an intriguing layer to the track’s sonic tapestry.

There are a tremendously vast array of flavors of influence of a myriad of artists in empathogen, yet WILLOW asserts her distinct voice and identity. The fact that in many cases it is a bit of a challenge to put your finger on where you’ve heard some of these influences, in my opinion emphasizes how much she has taken them and made them her own, and they sound so well-executed and natural to her. The album’s musical atmosphere occasionally shares elements with Billie Eilish and BANKS. However, WILLOW incorporates experimental and ambient musicality that creates a unique sonic landscape.

Fun fact: WILLOW was actually slated to open for Billie Eilish on her “Happier Than Ever World Tour” in 2022, but had to let go of the opportunity due to production limitations. Can you imagine the power of the combination of these two artists in a line-up?!

Interestingly, despite missing out on that collaboration, WILLOW and Eilish are currently on somewhat synchronistic paths. WILLOW released her album this month, and she is gearing up to tour across North America with Childish Gambino starting in August. (WILLOW tour dates & tickets here)

Meanwhile, in the same month – today, in fact – Eilish released her latest album, entitled HIT ME HARD AND SOFT. She will be kicking off her tour in September, and it will journey across North America, Australia, Europe, the UK, and Ireland and span into 2025. (Billie Eilish tour dates &tickets here)

Beyond her celebrity status, WILLOW (Willow Smith) proves herself as a formidable artist, transcending preconceptions of being a “nepo-baby.” Her musical journey spans years, marked by phases of visibility and brilliance. WILLOW has released six studio albums and one album under the moniker THE ANXIETY in collaboration with Tyler Cole, demonstrating her continuous evolution. empathogen solidifies her place in the industry, showcasing her growth and maturity as an artist.

This album is incredibly divergent from the genres of her past work, such as the more heavily rock n’ roll <COPINGMECHANISM> (2022), as is her band’s self-titled album THE ANXIETY. Her debut album ARDIPITHECUS is more classifiable as indie. The difference in her sound throughout each album release was mentioned in a recent interview between WILLOW and Jimmy Fallon. This is a testament to those chaotic good, continuous switches in genre. WILLOW keeps her music fresh-sounding and full of dopamine-triggering, enthralling surprises.

As empathogen unfolds, listeners are treated to an auditory journey that defies expectations. Tracks like “symptom of life” highlight WILLOW’s ability to seamlessly blend genres, at the same time delivering introspective lyrics that resonate deeply with listeners. It never sounds out of place or inauthentic when WILLOW changes things up. When the upbeat, summary chorus hits, this particular track also makes you want to put on yellow heart-shaped sunglasses and enjoy a particularly cheerful-toned view while cruising down the road. Unlike her previous electric instrumentation-heavy work, empathogen initially relies on a lot of acoustic instrumentation, adding a raw and organic quality to her musical repertoire. The piano work in “symptom of life” is simply lovely.

Similarly, the introspective track “the fear is not real” captivates with its ethereal soundscape and emotive vocals – at times breathy, and others, executed in a way that gives the song a tone that tells a story of tension. The lyrics indicate the inner battle experienced when left alone with one’s thoughts – the intensity of aversion to allowing oneself to do so, while making an effort to accept it is an important process:

In the silence, I can hear inside my mind
In the silence, I can’t wear my disguise
In the silence, in the silence,

In the silence, I can hear inside my mind
In the silence, I don’t know what I’ll find
In the silence, in the silence,

Don’t really wanna feel the freedom
‘Cause the parts of me I can’t see, they
Wanna come out and fuel the fire, I don’t wonder why
Never want to let me fall to pieces
But it’s funny ’cause I think I need it

With another dive deep into herself, “False self” emerges as a standout on empathogen. Here, WILLOW bares her soul, with vocals that outcry with raw emotion, and a chorus that rips. The musicality of the track resonates with angsty dark pop elements, further adding to its depth and intensity. It features lyrics like, “My false self must die, it’s no surprise” and “Feel the answer change, I don’t wanna change, but I need to change.”

A guest appearance from St. Vincent in “pain for fun” adds an exciting dimension to the song, showcasing WILLOW’s ability to collaborate with other talented artists. St. Vincent, a stalwart in the music industry since 2003, brings her distinctive blend of indie rock and avant-garde pop to the track, enhancing its richness. Known for her innovative sound and acclaimed tracks like “Los Ageless,” St. Vincent’s collaboration with WILLOW adds a layer of depth and sophistication to empathogen. In parts, WILLOW utilizes her head voice, lending the track a softer, more effeminate quality. Honestly, an entire article could be written on all of the nuances of this 1 track alone.

This wasn’t WILLOW’s first time coacting with a widely-acclaimed artist in her music. Another instance was in her lately I feel EVERYTHING (2021) album tracks “t r a n s p a r e n t s o u l” and “Gaslight” featuring Travis Barker of Blink-182. “Gaslight” is very pop-rock and made me think about Avril Lavigne. Momentarily, I questioned whether my musical ear was serving me well, until I scrolled down the track list and saw the track “G R O W” featuring Avril Lavigne and Travis Barker. It simply cannot be overstated that WILLOW’s discography is delightfully unpredictable, but all of it is incredibly appealing. It’s ear candy, and I am confident that many existing fans will continue to enjoy her, despite the significant diversity in her sounds.

I apologize for the digression. Let us return to the review of empathogen…

“Down,” a brief down-tempo track, serves as a transitional piece leading to the solidly contrasting sound of “run!” – a single from the album that starts with a high chest voice like a yell, “I CAN’T GET OUT!” “Down”’s melancholic tone and Beyoncé-esque vocal quality provide a moment of introspection before the album’s energy shifts. And then, “i know that face.” is a very jazzy track.

One thing that has pervaded throughout all of her albums is apparent emotional maturity that continues to crescendo with each release, along with wisdom beyond her years, and high overall intelligence. She was just 15 when she released ARDIPITHECUS, and sometimes she sounds her age – such as when shouting with a higher pitch, yet in many other instances, she sounds grown up due her deep voice and her solid abilities. I cannot deny that is another way I draw a connection between Eilish and Smith – that “old soul” vibe.

“Acceptance is the key, acceptance gives me wings” – from the track “b i g f e e l i n g s”

That is not to say WILLOW has never released less mature music, or that a 10-year-old child should be required to. Her musical debut was in 2010 with the Billboard-charting “Whip My Hair” – you’ve probably heard it. I had, not knowing who the artist was. And while her father’s music was enjoyable in its own right, and it’s like comparing apples to oranges, his daughter’s music truly makes his songs sound like child’s play in comparison.

WILLOW’s clout may ebb and flow with public reception and industry dynamics, seeming to evade consistent well-deserved attention to her work and character. Yet, empathogen stands as a testament to her artistic vision, evolution as a musician, and unwavering commitment to her craft. With this album, she invites audiences to join her on a transcendent musical experience, where vulnerability meets strength and authenticity reigns supreme. WILLOW is poised to leave an indelible mark on the music industry for years to come.

Follow WILLOW Online

Live Nation, News, Tours

Shakira Announces First Run Of Dates On Las Mujeres Ya No Lloran World Tour

April 30, 2024 Katherine Amy Vega Leave a comment

Kicking Off November 2 In Palm Desert, CA

On the heels of her chart-topping new album, GRAMMY®, and Latin GRAMMY® Award-winning artist Shakira has just announced the first string dates on her highly anticipated world tour, “Las Mujeres Ya No Lloran World Tour,” promoted by Live Nation, with 14 arena shows across North America kicking off this fall. The tour’s first leg will start on November 2 in Palm Desert, CA, and includes stops in Los Angeles, Miami, Toronto, Brooklyn, Chicago and more. See below for full tour routing. Known for her dynamic and high-energy performances, Shakira will bring tracks from her new album and her legendary catalog of hits to life on stage.

Shakira Tickets

GENERAL ONSALE BEGINS MONDAY, APRIL 22 AT SHAKIRA.COM

Tickets will be available starting with a Citi presale (details below) beginning Wednesday, April 17. The artist presale will begin Friday, April 19 at 10am local time. Additional presales will run throughout the week ahead of the general onsale beginning Monday, April 22 at 10am local time at shakira.com.

Presale

Citi is the official card of the “Las Mujeres Ya No Lloran World Tour” in the U.S. Citi cardmembers will have access to presale tickets beginning Wednesday, April 17 at 10am local time until Sunday, April 21 at 10pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

VIP

Fans can also purchase VIP Packages, which may include premium tickets, a meet & greet and photo op with Shakira, an autographed item, access to the pre-show VIP lounge, an exclusive VIP merch item & more. VIP package contents vary based on the offer selected. For more information, visit vipnation.com.

Shakira first hinted at the tour during her appearance on The Tonight Show Starring Jimmy Fallon last month. On Friday, the global superstar surprised fans at Coachella when she appeared during Bizarrap’s set to perform their global smash hit “Shakira: Bzrp Music Sessions, Vol. 53” and “La Fuerte,” both featured on her new album. Before exiting the stage, Shakira teased the tour news to a roaring crowd.

Coachella marks the second time in the last month that Shakira has surprised fans with a showstopping performance. Last month, following the album release, Shakira shut down New York City’s Times Square giving a crowd of 40,000+ fans a peek into the energy of her live shows when she performed at the TSX Stage. The performance included her iconic hits like “Hips Don’t Lie,” “Te Felicito/TQG,” and “Session 53,” as well as “Puntería” and “Cómo Dónde y Cuándo” from her new album.

The tour is in support of her new album, Las Mujeres Ya No Lloran, which in 24 hours of its release became the most streamed album of the year with over 10 billion, and was certified 7x platinum. The album debuted at #1 on Billboard’s Latin Album and Latin Pop Album Charts, while “Puntería” with Cardi B holds the #1 spot on both the Billboard Latin Airplay and Latin Pop Airplay charts. Listen to the album HERE!

This is Shakira’s first tour since 2018, when she wowed fans at sold out stadiums and arenas around the planet with the El Dorado World Tour, cementing her reputation as “an international pop goddess” (Rolling Stone).

Shakira Tour Dates

Sat, Nov 02 – Palm Desert, CA – Acrisure Arena
Thu, Nov 07 – Phoenix, AZ – Footprint Center
Sat, Nov 09 – Los Angeles, CA – Kia Forum
Sat, Nov 16 – San Antonio, TX – Frost Bank Center
Sun, Nov 17 – Dallas, TX – American Airlines Center
Wed, Nov 20 – Miami, FL – Kaseya Center
Sat, Nov 23 – Charlotte, NC – Spectrum Center
Mon, Nov 25 – Washington, DC – Capital One Arena
Sat, Nov 30 – Toronto, ON – Scotiabank Arena
Thu, Dec 05 – Brooklyn, NY – Barclays Center
Sun, Dec 08 – Boston, MA – TD Garden
Tue, Dec 10 – Montreal, QC – Bell Centre
Sat, Dec 14 – Chicago, IL – United Center
Sun, Dec 15 – Detroit, MI – Little Caesars Arena

About Shakira

Shakira is a Colombian singer-songwriter and multi-GRAMMY® award winner. She has sold over 95 million records worldwide and has won numerous awards including three GRAMMYs®, twelve Latin GRAMMYs®, and multiple World Music Awards, American Music Awards and Billboard Music Awards, to name a few. She is the most-viewed female Latin artist, and one of the top-10 artists of all time on YouTube with over 27 billion cumulative views, and the most-streamed female Latin artist of all time on Spotify.

Most recently, Shakira released her twelfth studio album, Las Mujeres Ya No Lloran to rave reviews. The album is a dazzling testament to her resilience and strength, as well as music’s power to transform the most trying experiences into precious moments. In the first 24 hours it was released, the album became the most streamed album 2024 and was certified 7x Platinum.

Shakira’s previous album El Dorado ranked #1 on iTunes in 37 Countries, won Best Pop Vocal Album at the 2017 Latin GRAMMY® Awards, and Best Latin Pop Album at the 2018 GRAMMY® Awards. With over 12 billion streams, it is one of the most-streamed female albums of all time. In 24 hours, “SHAKIRA || BZRP Music Sessions #53” made history both on Spotify with over 14 million streams and on YouTube with over 52 million views. The song debuted at #9 on the Billboard Hot 100 and is another historic moment for Shakira as she is the first solo woman to debut in the Top 10 on the chart with a song recorded in Spanish. It is also the Spanish language song with the most streams in a single day in Spotify history. In September, Shakira received the MTV Michael Jackson Video Vanguard Award at the MTV Video Music Awards and in honor of her award put on a breathtaking performance of her greatest hits.

Less than a week after releasing her critically acclaimed new album, Las Mujeres Ya No Lloran, Shakira surprised a crowd of over 40,000 people, the largest audience for a performance in Times Square, with a mesmerizing performance at the TSX Stage.

Albums & EPs, Live Nation, News, Tours

Billie Eilish Announces HIT ME HARD AND SOFT: THE TOUR

April 29, 2024 Katherine Amy Vega 1 Comment

Following the news of her highly anticipated third studio album HIT ME HARD AND SOFT, set for release on May 17 (pre-order/add/save HERE), Billie Eilish has announced arena dates, produced by Live Nation, for her HIT ME HARD AND SOFT: THE TOUR.

Starting in September 2024, Eilish will embark on her North American leg of the tour which runs through to the end of December 2024. The tour will continue in Australia starting February 2025 ahead of her European, U.K., and Ireland arena dates starting in April until late July. For a full list of tour dates, see below or visit BillieEilish.com

Tickets for BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR will be available starting with the American Express® Presale beginning Tuesday, April 30, with additional presales running throughout the week. Any remaining tickets will be available during the general on-sale starting Friday, May 3 on BillieEilish.com. On-sale start times vary by market, check local listings for more information.

American Express® Card Members can purchase tickets before the general public beginning Tuesday, April 30 (while supplies last) – this is one of the many entertainment benefits American Express Card Members can access. Presale start + end times will vary by market, check your local listings at BillieEilish.com for more information.

Sustainability Efforts

Billie Eilish will continue her long-standing partnership with environmental nonprofit REVERB on this tour, building on the success of previous efforts, which resulted in over $1 million donated to environmental, greenhouse gas reduction, and climate justice projects, more than 150,000 fan actions, and much more. Sustainability efforts on this tour will include reducing greenhouse gas pollution, decreasing single-use plastic waste, supporting climate action, and updating concession offerings to promote and encourage plant-based food options with Support+Feed.

Tickets

In keeping with her commitment to making a difference in the environmental impacts of her music and touring, a portion of the proceeds from ticket sales in North America will go to REVERB and its ongoing effort to help support organizations across the country addressing the impacts of food insecurity and the climate crisis.

Eco-Village

The Billie Eilish REVERB Eco-Villages will be set up at 2 locations in the main concourse of every show where fans can take part in the tour’s sustainability efforts, connect with nonprofits, and take meaningful action for people and the planet.

Support+Feed

For collective action at the intersection of climate and food, Support+Feed will be launching a 360 campaign throughout the tour. Following the success in 2022, Support+Feed will offer an expanded version of the Support+Feed Pledge inspiring fans to eat one plant-based meal a day for 30 days with digital elements and community activations. Fans will also have the opportunity to participate in Plant-based Food Drives in a selection of cities alongside the tour to raise awareness and gather food to distribute to local communities.

Transport

Fans are encouraged to join the effort to make the HIT ME HARD AND SOFT: THE TOUR more sustainable. Where possible, take public transportation and carpool to and from the shows to help reduce greenhouse gas pollution and encourage more public transportation options. Fans will receive information via email about public transportation options before the show.

Venues

Venue partners are also helping to lessen the environmental footprint of the tour. In addition to efforts to decrease waste through reducing or eliminating single-use plastics and diverting landfill waste with compost and recycling, venues will be offering plant-based food options at all shows.

Fan Participation

Bring an empty reusable water bottle or donate for a custom RockNRefill Nalgene bottle to fill up at the free water refill stations located at each venue. The RockNRefill bottles and refill stations are located at the Eco-Villages in the main concourse at all shows. Fight fast fashion by opting for thrifted, upcycled, or borrowed clothes instead of buying new clothing to wear to shows.

Billie Eilish Tour Dates 2024-2025

NORTH AMERICA*

Sun, Sep 29 – Québec, QC – Centre Videotron
Tue, Oct 01 – Toronto, ON – Scotiabank Arena
Wed, Oct 02 – Toronto, ON – Scotiabank Arena
Fri, Oct 04 – Baltimore, MD – CFG Bank Arena
Sat, Oct 05 – Philadelphia, PA – Wells Fargo Center
Mon, Oct 07 – Detroit, MI – Little Caesars Arena
Wed, Oct 09 – Newark, NJ – Prudential Center
Fri, Oct 11 – Boston, MA – TD Garden
Sun, Oct 13 – Pittsburgh, PA – PPG Paints Arena
Wed, Oct 16 – New York, NY – Madison Square Garden
Thu, Oct 17 – New York, NY – Madison Square Garden
Fri, Oct 18 – New York, NY – Madison Square Garden
Sat, Nov 02 – Atlanta, GA – State Farm Arena
Sun, Nov 03 – Atlanta, GA – State Farm Arena
Wed, Nov 06 – Nashville, TN – Bridgestone Arena
Fri, Nov 08 – Cincinnati, OH – Heritage Bank Center
Sun, Nov 10 – Saint Paul, MN – Xcel Energy Center
Mon, Nov 11 – Saint Paul, MN – Xcel Energy Center
Wed, Nov 13 – Chicago, IL – United Center
Thu, Nov 14 – Chicago, IL – United Center
Sat, Nov 16 – Kansas City, MO – T-Mobile Center
Sun, Nov 17 – Omaha, NE – CHI Health Center Omaha
Tue, Nov 19 – Denver, CO – Ball Arena
Wed, Nov 20 – Denver, CO – Ball Arena
Tue, Dec 03 – Vancouver, BC – Rogers Arena
Thu, Dec 05 – Seattle, WA – Climate Pledge Arena
Fri, Dec 06 – Seattle, WA – Climate Pledge Arena
Sun, Dec 08 – Portland, OR – Moda Center
Tue, Dec 10 – San Jose, CA – SAP Center at San Jose
Wed, Dec 11 – San Jose, CA – SAP Center at San Jose
Fri, Dec 13 – Glendale, AZ – Desert Diamond Arena
Sun, Dec 15 – Inglewood, CA – Kia Forum
Mon, Dec 16 – Inglewood, CA – Kia Forum
Tue, Dec 17 – Inglewood, CA – Kia Forum

AUSTRALIA

Tue, Feb 18, 2025 – Brisbane, Australia – Brisbane Entertainment Centre
Wed, Feb 19, 2025 – Brisbane, Australia – Brisbane Entertainment Centre
Fri, Feb 21, 2025 – Brisbane, Australia – Brisbane Entertainment Centre
Sat, Feb 22, 2025 – Brisbane, Australia – Brisbane Entertainment Centre
Mon, Feb 24, 2025 – Sydney, Australia – Qudos Bank Arena
Tue, Feb 25, 2025 – Sydney, Australia – Qudos Bank Arena
Thu, Feb 27, 2025 – Sydney, Australia – Qudos Bank Arena
Fri, Feb 28, 2025 – Sydney, Australia – Qudos Bank Arena
Tue, Mar 4, 2025 – Melbourne, Australia – Rod Laver Arena
Wed, Mar 5, 2025 – Melbourne, Australia – Rod Laver Arena
Fri, Mar 7, 2025 – Melbourne, Australia – Rod Laver Arena
Sat, Mar 8, 2025 – Melbourne, Australia – Rod Laver Arena

EUROPE/U.K./IRELAND

Wed, Apr 23, 2025 – Stockholm, Sweden – Avicii Arena
Thu, Apr 24, 2025 – Stockholm, Sweden – Avicii Arena
Sat, Apr 26, 2025 – Oslo, Norway – Telenor Arena
Mon, Apr 28, 2025 – Copenhagen, Denmark – Royal Arena
Tue, Apr 29, 2025 – Copenhagen, Denmark – Royal Arena
Fri, May 2, 2025 – Hannover, Germany – ZAG Arena
Sun, May 4, 2025 – Amsterdam, Netherlands – Ziggo Dome
Mon, May 5, 2025 – Amsterdam, Netherlands – Ziggo Dome
Wed, May 7, 2025 – Amsterdam, Netherlands – Ziggo Dome
Fri, May 9, 2025 – Berlin, Germany – Uber Arena
Thu, May 29, 2025 – Cologne, Germany – Lanxess Arena
Fri, May 30, 2025 – Cologne, Germany – Lanxess Arena
Sun, June 1, 2025 – Prague, Czech Republic – O2 Arena
Tue, June 3, 2025 – Kraków, Poland – Tauron Arena
Wed, June 4, 2025 – Kraków, Poland – Tauron Arena
Fri, June 6, 2025 – Vienna, Austria – Stadthalle
Sun, June 8, 2025 – Bologna, Italy – Unipol Arena
Tue, June 10, 2025 – Paris, France – Accor Arena
Wed, June 11, 2025 – Paris, France – Accor Arena
Sat, June 14, 2025 – Barcelona, Spain – Palau Sant Jordi
Sun, June 15, 2025 – Barcelona, Spain – Palau Sant Jordi
Mon, Jul 7, 2025 – Glasgow, UK – OVO Hydro
Tue, Jul 8, 2025 – Glasgow, UK – OVO Hydro
Thu, Jul 10, 2025 – London, UK – The O2
Fri, Jul 11, 2025 – London, UK – The O2
Sun, Jul 13, 2025 – London, UK – The O2
Mon, Jul 14, 2025 – London, UK – The O2
Wed, Jul 16, 2025 – London, UK – The O2
Thu, Jul 17, 2025 – London, UK – The O2
Sat, Jul 19, 2025 – Manchester, UK – Co-op Live
Sun, Jul 20, 2025 – Manchester, UK – Co-op Live
Tue, Jul 22, 2025 – Manchester, UK – Co-op Live
Wed, Jul 23, 2025 – Manchester, UK – Co-op Live
Sat, Jul 26, 2025 – Dublin, Ireland – 3Arena
Sun, Jul 27, 2025 – Dublin, Ireland – 3Arena

*The tour wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show in the U.S. or Canada and can’t attend, they’ll have the option to resell them to other fans at the original price paid. To help protect the Exchange, the tour has requested all tickets be mobile only and restricted from transfer. This applies to all shows except those in Colorado, Illinois, and New York where Face Value Exchange cannot be mandated. Please note, a valid bank account or debit card within the country of your event is required to sell on the Face Value Exchange. More information on how the Ticketmaster Exchange works is available here.

About the New Record

The forthcoming album, HIT ME HARD AND SOFT was written by Billie Eilish and FINNEAS, her brother and long-time collaborator, who also produced the album. HIT ME HARD AND SOFT will be available on all digital platforms, and in a continued effort to minimize waste and combat climate change; across all physical formats in limited variants on the same day, with the same track-listing and using 100% recyclable materials. For more information on all sustainable practices for this album release, please visit: SUSTAINABILITY – Billie Eilish | Store

‘HIT ME HARD AND SOFT’ is out everywhere on May 17

Pre-order/add/save HERE

Billie Eilish Online

Featured photo (top) by William Drumm

Albums, Reviews

ALBUM REVIEW: Taylor Swift’s ‘The Tortured Poets Department’ – A Personal Perspective

April 29, 2024 Scott Gesser Leave a comment

It’s a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. ✌️ I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine… pic.twitter.com/y8pyDK8VTd
— Taylor Swift (@taylorswift13) April 19, 2024

I listened to Taylor Swift’s new album, The Tortured Poets Department, on Saturday while I was working out and walking. This is what I’ve been doing with countless other albums since the beginning of March. (I say “countless,” but that’s not true at all; I’ve actually been counting them in a spreadsheet.) I was kind of lukewarm on the proper album, but I enjoyed The Anthology (a surprise bonus album that was released along with TTPD*) a lot more.

*Reader’s Note: For the purposes of everything I’m about to write, when I refer to “TTPD”, I’m referring to all of the songs encompassed on both albums.

I’ve been reading a lot about TTPD, and I’ve been asked about my opinion on it more than logic might dictate, especially when you consider that I am not Taylor Swift’s target demographic. But the more I think about it, the more I realize that I’m not her target demographic in a manner that’s different from my initial suspicions.

I once read an article about Swift wherein she mentioned that the majority of her focus is on the lyrics when writing a song. This makes a lot of sense; her songs are generally intensely personal and appeal to the type of people who are interested in breaking down the lyrics of the songs they enjoy, which is basically all Taylor Swift fans. This is why you’ll see so many posts from people, Swifties or otherwise, talking about how much they relate to individual tracks from TTPD.

I’ve always known this about myself, but I don’t think I’ve ever had a reason to express it until now: I’m not a lyrics guy. Considering the multitude of comedic songs (and personal songs) I’ve written over the years, lyrics typically don’t command my initial focus when I listen to a song for the first time.

I’m a music guy; I focus almost exclusively on the music in a song. If I’m paying attention to the words at all, it is because I’m interested in the melody. My favorite song on TTPD is “Cassandra”, and this is entirely because of the main piano riff and the way the vocals play off of that piano part during the verses. I didn’t even realize the song was about Greek mythology until someone else mentioned it in a post.

If I do focus on the lyrics to a song at all and end up enjoying them, that’s a bonus, but it’s not even remotely a priority. Even my favorite comedy songs are songs where I happen to enjoy the music, even if they aren’t as funny as other songs. For example, Bo Burnham’s “Welcome To The Internet” is arguably one of the funniest songs heard throughout his Netflix comedy special Inside, but I’d rather listen to “Content”, the opening number that merely summarizes what the special is meant to be, and is only a fraction as hilarious, and this is entirely because I think that song is catchier.

Because this is how I enjoy music (or why I sometimes don’t enjoy it) in totality, and because Taylor Swift is an artist who puts almost all of her emphasis on writing lyrics that are personal yet universal, I can appreciate the heck out of what she’s capable of while simultaneously understanding that our sensibilities are only going to parallel one another sometimes. Because a lot of the music on TTPD is bare and simplistic to allow the lyrics to have a platform where they can more effectively shine, there are fewer elements of those songs for me to personally really dig.

I think TTPD is a good album. But I’m not a person for whom it should exist, not because I’m not a Swiftie, and not because I’m a 40-year-old man, but because I’m a guy that hones in on different elements of music than where the intended audience casts their focus. And that’s okay, because it doesn’t matter how I feel about it; what matters is how YOU feel about it.

It’s me. Hi. I’m the problem; it’s me.

Scott Gesser’s music on Bandcamp:

Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

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

April 19, 2024 Mark Greenawalt 1 Comment

Jump to Photo Gallery

April 16 Setlist | April 17 Setlist

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

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

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

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

A Perfect Circle

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

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

Primus

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

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

Puscifer

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

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

And So It Went…

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

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

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

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

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

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

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

April 16 Setlist | April 17 Setlist

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Photographer: Rodrigo Izquierdo

Fit for a King

Hollywood Undead

I Prevail

Halestorm

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Halestorm, I Prevail, Hollywood Undead, & Fit for a King – Arizona Financial Theatre 8-16-24

Fitz and The Tantrums

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Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

Tickets

“Mariah Carey’s Christmas Time Tour” Dates

1. Sabrina Carpenter

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3. WILLOW

4. Chappell Roan

5. Olivia Rodrigo

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Bridget Barkan “Good Things” Music Video

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Kicking Off November 2 In Palm Desert, CA

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NORTH AMERICA*

AUSTRALIA

EUROPE/U.K./IRELAND

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A Perfect Circle

Primus

Puscifer

And So It Went…

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

News & Reviews from the Fiery Mosh Pits of Arizona

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