REVIEW: Lights Returns to Arizona Stronger Than Ever at Marquee Theatre 2-8-18

TEMPE, AZ – Lights, along with special guests Chase Atlantic and DCF, illuminated Marquee Theatre last Thursday. This eclectic mix of musicians magnetized a diverse crowd to The Marquee’s doors, and together, the entire venue celebrated a night of pure joy and musical euphoria. Fans of all ages blissfully enjoyed the great sound, atmosphere, and company of each band, but Lights certainly shone brightest of all — fans were dazzled by their otherworldly sounds and gorgeous visuals on stage, and it is clear for any outside observer to understand why they command an army of such devoted fans.

For those who know and love Lights already, they’re aware that this is certainly not Lights’ first rodeo — they’ve been to Phoenix many times since 2008, but as lead singer Lights Valerie Poxleitner put it, they come back stronger every time. From The Nile to Warped Tour, Lights certainly know how to command a stage of any size and location, and their attention to detail certainly transfixes audiences on multiple levels. As Poxleitner is an artist in more ways than one, it is no surprise that Lights’ live performances are as much visual spectacle as they are aural extravaganza. It’s no wonder that Lights has recently received nominations for the Pop Album of the Year and Artist of the Year categories in the 2018 JUNO Awards.

DCF

The first performance of the evening was DCF, an artist who is a compelling example of contemporary pop, alternative, and indie music styles. His was a solo act, yet he projected enough energy and personality to decently command the entire stage and crowd. Concert-goers, in fact, were somewhat devastated when it came time for Prince DCF to exit the stage after an acoustic version of “Misery Business” by Paramore, letting out an audible sigh as he departed.

SCF - Photography: Katherine Amy Vega
DCF
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
Click for More DCF Photos

DCF’s interesting style, mix of genres, and unique take on what is considered pop music all went well with what could only have been a Napoleonic-era Royal Navy Admiral’s Coat. Together with his stylish hairstyle and glasses, DCF exudes confidence and mirth as he DJs, sings, cracks jokes, and finds any other way to entertain a crowd. His performance was certainly a great ice breaker for the evening, though it did end on a relatively anticlimactic note.

Chase Atlantic

Next up was Chase Atlantic, a wonderful group visiting all the way from Australia; they likely chased the Pacific in this case, but everyone at The Marquee was certainly happy to see them. They instantly took over the stage and crowd, carrying the momentum over from DCF and further building fans up for Lights later in the evening. Their high energy was contagious, and they also shared a unique take on contemporary music, just as DCF had done before them. It would be difficult to say exactly what they sound like, but all alternative musicians seem to be elusive when it comes to absolute definition.

Chase Atlantic - Photography: Katherine Amy Vega
Mitchel Cave (Lead Singer), Chase Atlantic
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
Click for More Chase Atlantic Photos

Due to their eclectic mix of sounds, it was easy for everyone in the crowd to join in on the fun. Lead singer Mitchel Cave, who first got his big start on the world stage by performing on X-Factor Australia, must have chugged several energy drinks prior to coming out, because he was moving at the speed of light all over the stage. He also seemed to love having the audience join him in the adventure, jumping down to join them briefly, before hopping back up on stage to hype everyone up even further. Chase Atlantic was definitely a great act to follow DCF with, and these boys made the transition into Lights’ scintillating performance a flawless one.

LIGHTS

Though the performances of Chase Atlantic and DCF were fantastic, some fans simply could not contain their excitement for the main act of the evening — Lights; in fact, one young fan was spotted running all over The Marquee, seemingly unable to contain her excitement. It was clear this was likely not her first time seeing Lights, and her excitement proved to be quite the harbinger of the incredible musical and visual adventure ahead.

Lights came out on stage after quite the setup time, but the wait was certainly well worth it. Immediately, fans were greeted by lead vocalist Lights Valerie Poxleitner’s silhouette in front of a massive screen; the bright, neon lights behind her perfectly symbolized the band’s name, and the hype and tension felt throughout the crowd instantly reached a breaking point. The buildup to her full visual reveal was palpable, and her glamorous, vogue-like poses as she sang in her spectral, ethereal form brought out the best fashion week vibes. Finally, she emerged from the darkness and into the light to a feverish sea of fans.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

We Were Here Tour – Issue One

Lights performed in 3 major acts throughout the evening. During the first act, Poxleitner kept the energy from Chase Atlantic going, with some of their most exciting, upbeat songs. During this portion of the show, she asked the audience if anyone here has seen them live before. There was a resounding, screaming yes, with the majority of hands within the crowd immediately shooting up as high as they could go. She continued, clearly pleased by this reaction, explaining that they love coming back to Phoenix, and that their first time here was at The Nile (Nile Theater) over in Mesa, AZ back in 2008, where they performed with Copeland. They’ve been back many times, including to Warped Tour, and she stated, “Year after year, we keep coming back stronger.” For fans who missed out on this tour, I think it is safe to assume that Lights will surely be back soon.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

As the mood seemed to chill out a bit, Poxleitner began a new discussion: “I wrote this song when I was going through a shitty time. Who’s been through a shitty time?” The oddly enthusiastic screams from the crowd were certainly clear answer enough; “We’ve all been through shitty times. Do you know what helps get us through it? Friendship, a little bit of wine, and music.” The crowd loved this strategy, and prior to performing “Face Up,” Poxleitner gave them further inspiration: “Your weaknesses become your strengths.” This phrase would certainly make a great tattoo.

“Your weaknesses become your strengths” – Lights

We Were Here Tour – Issue Two

After “Face Up,” Lights retreated off stage for a brief respite. During this time, Poxleitner displayed some of her artwork on the huge screen on stage. Since she is an artist and illustrator, it only made sense — we got to see some of her characters and settings from her Skin & Earth comic series, synonymous with Lights’ new album of the same name, which currently has 6 issues out for purchase. The images and scenes shown were quite similar to the trailer for Skin & Earth, which can be viewed here: https://youtu.be/FnbL7ZE4hmo

Skin & Earth illustration at concert - Photography: Katherine Amy Vega
Illustration on screen from Lights’ comic book series Skin & Earth
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

During this phase of the performance, Lights returned to the stage with a more somber attitude. The setup had changed during this short intermission as well — suddenly, there was a piano with lots of candles on top, helping to relax the mood even further. It was time for some calm, more acoustic songs. Poxleitner was back on stage in a new outfit, sporting an acoustic guitar. It was a pleasant change of pace, and it certainly kept the vibes fresh for the evening. It also made the grand finale that much more powerful.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

We Were Here Tour – Issue Three

After another quick break and some more stunning illustrations on the big screen, Lights was back on stage, and Poxleitner was sporting a third and final outfit. They brought back the high energy with a vengeance this time around, and Poxleitner joined the band with her own electric guitar. This guitar, she explained, represented her second character in her comic books, and it sported the beautiful Skin & Earth logo seen on stage, on the cover of her books, and all over her website and social media accounts — not to mention she also has it tattooed on her arm. She transitioned into her song “Running with the Boys” after this interesting discussion.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

A highlight from this phase of the show was the video clips of Sailor Moon’s transformation and Street Fighter’s Chun Li pronouncing, “I am the strongest woman in the world!” playing in the background, which perfectly complemented the power behind Lights’ performance. Towards the end of this third act, Poxleitner brought up her song “We Were Here,” asking everyone, “When the song starts, do you hear waves or a storm?” The majority seemed to scream, “WAVES!” Poxleitner replied with, “Fuck. I always hear a storm.” She continued to discuss the music video for “We Were Here,” saying that she doesn’t recommend burning a bus, but that it was definitely a lot of fun: “Full disclosure — a pyrotech got to do it. But I got to throw the lighter.

Bonus Issue – The Encore

Once more unto the breach, Lights came back on stage for a quick encore. They weren’t off stage long, likely because the crowd’s chants, screams, and claps were so demanding. Poxleitner picked the mic back up and asked, “Do you guys wanna hear another song?” Everyone, of course, responded with a loud “YES!” She replied, “Alright, so be it, but you guys gotta dance, and you gotta sing,” and the crowd certainly complied. To reward fans, Poxleitner jumped down into the crowd for a bit to give most people up front the best high-fives ever before jumping back on stage for a special surprise for Poxleitner’s sister.

Poxleitner pulled out her phone near the very end of the show and told everyone that it was her sister’s birthday. She wanted to get a video of herself singing “Happy Birthday” with everyone in the audience, so the lights lit the house up, and everyone sang along while she recorded. “I’ve never done one of these before!” she exclaimed after. Her sister certainly got the best little gift from that moment.

Overall, the Phoenix stop of Lights’ We Were Here Tour was an exhilarating experience for everyone, and it was clear the entire band had just as great of a time as the crowd. In fact, Poxleitner may have had the most fun of all — she truly seems to love what she does, and this shines through in her incredible displays of creativity. From the life-sized cardboard cutouts of her comic book character illustrations out in the lobby to the strange vegan pizza box introduction to some synthy song intro tunes, her contagious enthusiasm spread throughout Marquee Theatre and well beyond. This went well with her aura of power her music, and she herself exudes, in addition to her uplifting spirit. She is an inspiration in many ways — a true Renaissance Woman.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

Prior to heading out for the evening, Poxleitner explained that Lights is part of Plus 1, a movement and organization that ensures $1 from every ticket sold for participating shows and artists goes to causes they believe in. Lights decided on GRID Alternatives, an organization that helps to bring solar power to places across the states. Poxleitner closed by stating we all need to “protect this little planet that we have… it’s all we got.” They left the stage to resounding cheers of joy, leaving everyone to their evenings with a little positive thinking and a lot of great memories.

PHOTO ALBUM

by Katherine Amy Vega

All Content © Kataklizmic Design.
ALL RIGHTS RESERVED. No Stealing

LP New Live Video for “Up Against Me”, Kicks Off North American Tour Feb. 9, & is Set to Play Coachella 2018

Los Angeles — Today, LP debuted her new live video for “Up Against Me,” serving as the fifth installment in the “A Night at The McKittrick Hotel” series. Fans can watch the video HERE along with the previous four performances – “Lost on You,” “Switchblade,” “When We’re High,” and “Muddy Waters.”

After touring non stop this past year throughout Europe and the U.S., LP is heading back out on the road in celebration of her fourth full-length studio album, Lost On You. The North American headline tour begins February 9th in Sacramento, CA and wraps up in Atlanta, GA on March 10th with support from Noah Kahan. LP’s powerful live shows are in high demand, as dates in San Francisco, Vancouver, Seattle, Chicago, Toronto, Montreal, Brooklyn, Boston, and Philadelphia are already sold outWatch the tour trailer HERE.

Following a run of shows across Russia and Turkey, LP is confirmed to play the Coachella Valley Music & Arts Festival in Indio, CA on Sunday, April 15th and 22nd alongside EminemPortugal. The ManA Perfect CircleCardi B, and Miguel, to name a few.

Tickets for all shows are on sale now and can be purchased HERE.

LP North American Tour Dates:

02/09 – Sacramento, CA @ Ace Of Spades

02/10 – San Francisco, CA @ The Independent [SOLD OUT]

02/11 – San Francisco, CA @ The Independent [SOLD OUT]

02/13 – Vancouver, BC @ Commodore Ballroom [SOLD OUT]

02/14 – Seattle, WA @ The Showbox [SOLD OUT]

02/15 – Portland, OR @ Wonder Ballroom

02/16 – Boise, ID @ Knitting Factory Concert House

02/17 – Salt Lake City, UT @ Metro Music Hall

02/20 – Aspen, CO @ Belly Up Aspen

02/21 – Boulder, CO @ Boulder Theater

02/23 – Kansas City, MO @ The Truman

02/24 – Chicago, IL @ Metro [SOLD OUT]

02/25 – Detroit, MI @ The Majestic

02/27 – Toronto, ON @ Danforth Music Hall [SOLD OUT]

02/28 – Montreal, QC @ MTELUS [SOLD OUT]

03/01 – Brooklyn, NY @ Brooklyn Steel [SOLD OUT]

03/02 – Boston, MA @ Royale Nightclub [SOLD OUT]

03/03 – Philadelphia, PA @ Theater of Living Arts [SOLD OUT]

03/05 – Washington, D.C. @ 9:30 Club

03/07 – Carrboro, NC @ Cat’s Cradle

03/08 – Charlotte, NC @ The Underground

03/09 – Nashville, TN @ Cannery Ballroom

03/10 – Atlanta, GA @ Center Stage

04/15 – Indio, CA @ Coachella Valley Music & Arts Festival

04/22 – Indio, CA @ Coachella Valley Music & Arts Festival

LOST ON YOU

iTunes  |  Apple Music  |  Spotify  |  Google Play  |  Amazon

Connect With LP

Website  |  Facebook | Twitter | Instagram | YouTube | SoundCloud | Vagrant

Featured Photo (top) by Michael Comte

The Faim Premiere Debut Single, UK Tour with Lower Than Atlantis, & To Play Download Festival

Los Angeles — Perth, Australia’s newest export, The Faim who have recently signed to BMG worldwide, premiered their new song ‘Saints Of The Sinners’ last night as the Radio 1 Rock Show’s ‘Rockest Record.’ The single is out today, February 5th, and is available to stream and purchase HERE.

‘Saints Of The Sinners’ is about making your mark in the world, and not letting anyone stand in the way of where you want to be. It brings out the youth-fuelled rebellion of the voice in all of us that wants to be heard,” says Stephen Beerkens, who plays bass and keyboard in the band.

Listen to the track HERE or by clicking the video below.

The track was produced by John Feldmann who says “working with untapped talent like The Faim doesn’t happen every day. I see something in them that I don’t see in a lot of bands… Amazing songwriters, incredible performers, great front man. I am so pumped for the world to hear what we have created. It is truly a piece of art and I am so grateful I followed through with having these guys out to my house after they sent me their demo!

Come and see what the fuss is all about when the band play their debut UK shows with Lower Than Atlantis in the spring, as well as a slot at Download Festival in the summer.

Lower Than Atlantis Tour 2018 with Support from The Faim

April 2nd – Engine Shed Lincoln

April 3rd – Junction Cambridge

April 4th – Assembly Leamington Spa

April 6th – Sin City Swansea

April 7th – Muni Arts Centre Pontypridd

April 8th – Guildhall Gloucester

April 9th – Komedia Bath

April 11th – Lemongrove Exeter

April 12th – Engine Rooms Southampton

April 13th – Colosseum Watford

April 14th – Chinnerys Southend

April 15th – Concorde 2 Brighton

May 3rd – o2 Academy Oxford

May 4th – Sub89 Reading

May 5th – Central Station Wrexham

May 7th – Hangar34 Liverpool

May 8th – Lemon Tree Aberdeen

May 9th – Liquid Rooms Edinburgh

May 11th – Empire Middlesbrough

May 12th – Welly Hull

May 13th – Fibbers York

May 14th – Plug Sheffield

Tickets are on sale now: lowerthanatlantis.seetickets.com

The Faim Is:

Lead vocals: Josh Raven

Lead guitar, bass, vocals: Michael Bono

Bass, keyboard: Stephen Beerkens

Drums, percussion: Sean Tighe

Facebook  |  Twitter  |   Instagram

Sleepwar Releases “Thousand Different Faces” Off of Upcoming EP, ‘When We Were’

Phoenix based, Indie Rock band Sleepwar has released the Official Music Video for their single, “Thousand Different Faces.” Originally premiered on Paste Magazine, “Thousand Different Faces” is the first single off of the band’s upcoming debut EP, When We Were, and is available for FREE download.

Hailing from the desert expanse of Phoenix, Arizona, indie rock band Sleepwar pushes indie rock to another level by combining new wave and synth-pop influence, with lyrics speaking to addiction, recovery, and the inherent struggles of modern life. Sleepwar is led by Roger Willis (vocals) with Tim Woodbridge (producer, keys), James Allen (bass), Mark Pfister (guitar), and Brendan McGuinness (drums).

Utilizing lush synthesizer soundscapes, Sleepwar produces a unique sound that is both familiar and completely original. Fans of the five-piece rock outfit have likened their music to that of Tame Impalathe KillersColdplayImagine Dragons, and Local Natives.

Sleepwar’s self-released initial EP, When We Were, due for an early 2018 release, was recorded, mixed, and produced by Cory Spotts (Job For A CowboyThe MaineBless the FallGreeley Estates) at BLUElight Audio Media in Phoenix, AZ.

When We Were EP cover - Sleepwar

Sleepwar was formed in 2015 when seasoned musician Roger Willis (Something Left To LearnNamesakeGoodbye Tomorrow) sought a new project focused on songwriting and collaborated with aspiring producer Tim Woodbridge, who had been composing with vocal placement in mind. Willis shared their rudimentary recordings to longtime friend James Allen, who immediately loved the new sound.

Allen joined Sleepwar as bassist and co-lyricist, where his former struggles with addiction and drug abuse became the foundation for early songs like “The Jaywalker.” Though Allen’s words drew from his personal demons, the lyrics would resonate with Willis and Woodbridge who had experienced both personal and familial alcohol and drug addiction. While the founding members of Willis, Woodbridge and Allen would remain constant, the band’s evolution from garage to indie rock new wave brought to the lineup several talented musicians, eventually finding balance with current drummer Brendan McGuinness and guitarist Mark Pfister.

Band Links

Facebook  |  Twitter  |  SoundCloud

Hollywood Undead New Single & Video – UK + European Tour Starts Next Week

HOLLYWOOD UNDEAD KICK OFF 2018 WITH NEW SINGLE & VIDEO FOR “YOUR LIFE”

UK AND EUROPEAN TOUR STARTS NEXT WEEK

Los Angeles — Hollywood Undead are sending a message of purpose for 2018 by highlighting “Your Life,” the final track from their new album FIVE.  The standout song closes the record with elegiac keys, jagged riffing and an 808-boom propelled by edge-of-your-seat raps and an undeniable plea: “It’s your life. It’s do or die.”  Watch the brand new video directed by Brian Cox:

It might be cliché to say, but it needs to be repeated: You can’t waste your fucking time,” said Johnny 3 Tears. “Every moment you waste worrying is a moment you could’ve been doing something that might actually have consequence by the day you die.

Having just wrapped a 4 month North American tour in December in support of FIVE, Hollywood Undead are jumping right back in with a substantial run of UK and Europe that starts next week.  With sold out shows from Manchester to Birmingham and Munich to Prague, the quintet’s atomic live performances are in high demand especially in London and Budapest where multiple nights have been sold out since shortly after their announce in August.  Tickets and VIP Packages for all available shows are on sale now.

“Your Life” follows a string of Hollywood Undead videos from FIVE that have now amassed over 20 million combined views.

Watch them all here:

“California Dreaming”

“Whatever It Takes”

“Renegade”

“We Own The Night”

“Black Cadillac” feat B-Real

Hollywood Undead - FIVEFIVE was released on October 27th via Dove & Grenade Media/BMG and debuted at #7 on the Billboard Top Albums Chart. Threading together a collage of metallic instrumentation, street corner poetry, and industrial haze, the record has already racked up over 35 million streams lead by tracks like “California Dreaming,” “Whatever It Takes” and the airy and ominous “Bad Moon.”  Hollywood Undead are Johnny 3 Tears, J-Dog, Charlie Scene, Funny Man, and Danny.  Check out FIVE here.

HOLLYWOOD UNDEAD 2018 EUROPEAN TOUR

1/24 – Glasgow, UK – O2 Academy Glasgow

1/25 – Manchester, UK – Manchester Academy SOLD OUT

1/26 – Birmingham, UK – O2 Academy Birmingham SOLD OUT

1/27 – Norwich, UK – The LCR – UEA

1/29 – London, UK – KOKO SOLD OUT

1/30 – London, UK – KOKO SOLD OUT

2/1 – Utrecht, NL – TivoliVredenburg

2/2 – Luxembourg City, LU – Den Atelier

2/3 – Weisbaden, DE – Schlachtof SOLD OUT

2/4 – Cologne, DE – Palladium

2/6 – Antwerp, BE – Trix

2/7 – Paris, FR – Élysée Montmartre

2/8 – Zurich, CH – X-TRA

2/9 – Bologna, IT – Zona Roveri

2/10 – Munich, DE – TonHalle SOLD OUT

2/12 – Budapest, HU – Akvarium SOLD OUT

2/13 – Budapest, HU – Akvárium SOLD OUT

2/14 – Linz, AT – Posthof

2/16 – Prague, CZ – Forum Karlín SOLD OUT

2/17 – Warsaw, PL – Klub Stodoła

2/18 – Wroclaw, PL – Centrum Koncertowe A2

2/19 – Berlin, DE – Huxleys Neue Welt

2/20 – Hamburg, DE – Docks SOLD OUT

2/22 – Copenhagen, DK – VEGA

2/23 – Gothenburg, SE – Tradgarn

2/24 – Stockholm, SE – Fryshuset

2/26 – Tampere, FI – Pakkahuone SOLD OUT

2/27 – Helsinki, FI – Ice Hall Black Box

3/1 – Kyiev, UA – Sentrum

3/2 – Minsk, BY – Prime Hall

3/3 – Moscow, RU – Stadium Live Club

3/4 – St Petersburg, RF – A2

3/6 – Voronzehh, RF – Event Hall

3/8 – Rostov-Na-Donu, RF – Rostelmash

3/10 – Yekaterinburg, RF – Tele-Club

HOLLYWOOD UNDEAD 2018 FESTIVALS

4/21 – Las Vegas, NV – Las Rageous

4/27-29 – Jacksonville, FL – Welcome To Rockville

4/28-29 – Sunrise, FL – Fort Rock

5/4-5 – Mexico City, MX – Corona Hell & Heaven

6/15-16 – Bretigny Sur Orge, FR – Download Paris

 

To stay current on all things Hollywood Undead, be sure to follow them on FacebookTwitterInstagram or their official site.

REVIEW: Stabbing Westward’s 30th Reunion at Club Red, ft. Swindy, Amnestic, There Is No Us and Paranova 1-12-18

Mesa, Ariz. — Stabbing Westward has been rocking out for more than 30 years, but the energy they brought to the intimate Club Red was dynamic, like they were fledglings on their first tour. They brought 90s rock nostalgia to the crowd gathered inside the dark brick walls of the venue after their 14 year hiatus. This performance was part of their 30th Reunion show, which featured local openers; Paranova, There Is No Us, Amnestic and Swindy, who all performed with stamina and grit to wow the crowd.

Stabbing Westward

Stabbing Westward keyboardist Walter Flakus and drummer Johnny Haro prepared for their set by carrying up multiple 12-packs of Coronas to the stage, and vocalist Christopher Hall walked out on stage during the sound check to record footage of the excited crowd for social media.

Photography: Russ Broty © All Rights Reserved.

When Stabbing Westward took the stage, the crowd’s energy rose even more, with Hall embracing the space of the stage to engage the crowd during the opening song, “Drugstore.” During the second song, “Falls Apart,” guitarist Mark Eliopulos was playing so aggressively, pushing his guitar against the mic stand like a capo, that he broke his bottom E-string. When Hall asked him if he needed a break to replace it, Eliopulos replied, “…it was the one at the bottom, you know, the one no one uses,” and he played the rest of the show on only five strings.

Stabbing Westward - Photography: Russ Broty
Carlton Bost (Bassist), Stabbing Westward (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved

They played “Lies” and “Nothing” off their 1994 Ungod album; “What Do I Have To Do?” and “Shame” off their 1996 album Wither, Blister, Burn & Peel; “Sometimes It Hurts” and “Save Yourself” off the 1998 Darkest Days album, in addition to six other songs from their expansive career. In between the songs, Hall poked fun at himself and his bandmates telling the crowd “old people” jokes and attributing it to their current lifestyle. However, with the way Hall strutted his stuff all over the stage and jumped down into the crowd, one could have guessed him only 25-years-old. Hall closed out the show with a proper drop-mic after announcing to the crowd, “We are Stabbing Westward bitches! Good night!

Stabbing Westward - Photography: Russ Broty
Christopher Hall (Vocalist), Stabbing Westward (View Band Photo Album)
Photography: Russ Broty © All Rights Reserved

Prior to headliner act Stabbing Westward, four local bands played opening sets to amp up the crowd. Each band brought diversity to the stage with their original songs and performance styles filled with vigor and moxie. The bands provided an eclectic, yet complimentary sampling of folk goth, industrial, metal and alt-rock styles.

Swindy

Swindy was on first playing their ethereal folk goth and industrial-rock inspired songs. They started out with “Synergy” followed by the electro-tech “iBegin,” and a new song, “Animal.”

Lead vocalist Randall Swindell’s stage presence oozed sex appeal in his black, wet-look tee shirt and ripped, black denim skinny jeans, and even more when he stopped playing guitar mid-song to run his hands through his cheek-length blond hair.

Swindy - Photography: Russ Broty
Randall Swindell (Vocalist, Guitarist), Swindy (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved

During the show, it was announced that this would be vocalist Alyson Precie’s last show for a while as she recently enlisted in the Navy. Her strong voice and harmonizing vocals will be missed. Swindy also consists of members Tamara Jenney on keyboard, Mike Jenney on bass, and drummer Steven Escalante.

Swindy - Photography: Russ Broty
Alyson Precie (Vocalist), Swindy (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved.

Swindell’s passion really came through with the song “Reflection,” as he opened his arms to metaphorically embrace the crowd and pull them in. They finished the set with “Just Don’t Like It,” and “Ignite My Love” from their self-titled EP Swindy.

Amnestic

Amnestic took the stage with their industrial electro-hard rock, which they self-describe as “angry robot noises.” Vocalist Brook Thomas’ growlesque screams set the tone for a post-apocalyptic robot revolt. Amnestic comprises two other members, keyboardist Sarah Elizabeth and guitarist Aaron Coldblood. The dark stage and bold red lighting cast a demonic glow over the band intensifying the message of their music. The trio played “Harbringer,” “Desensitization,” “Discipline,” and “Absent Affect” from their current album Future; as well as “Nervous System” from their album Real Bad Day.

Amnestic - Photography: Russ Broty
Amnestic (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved

There Is No Us

The third band to play, There Is No Us, came at the crowd no holds barred with their opening song, “Chemical Murder,” followed up by “Farewell to Humanity,” which is interspersed with snippets from tragic news broadcasts. Vocalist Jim Louvau’s aggressive vocals are a good representation of the societal angst reflected in their political lyrics.

There Is No Us - Photography: Russ Broty
Jim Lovau (Vocalist) & Andy Gerold (Guitarist), There Is No Us (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved

The five person band consists of Andy Gerold (former guitarist for Marilyn Manson) and Jared Bakin on guitar, Eddie Lopez on bass and PHEET on drums. They played “Kings & Queens,” and  “Angels Face with Devils Hands,” which Louvau described as a love song. Louvau finished out the set screaming at the crowd to throw their fists in the air for “In Violence We Trust,” getting the crowd pumped for the headlining band.

Paranova

Right before Stabbing Westward, Paranova took the stage. Vocalist Owen Doheny walked on with an instrument one does not usually see at a rock or metal concert, a saxophone. They opened with the song “Lazarus,” and guitarist Dylan Ewing executed a flawless guitar solo. The band followed with “Hyperhollow” and “Sanctuary.” Bass player Erin Sperduti’s intense bass lines and drummer Logan Dolezal’s punchy drumming really bring their sound full circle.

Paranova - Photography: Russ Broty
Owen Doheny (Vocalist), Paranova (View Band Photo Album)
Photography:
Russ Broty © All Rights Reserved

The band covered NIN’s “March of the Pigs,” then finished out with their original songs “Enfilade,” and “Headline.” During the last song, Doheny pulled out the sax and gave it a short-lived appearance playing it for 15 seconds right at the end of the song. All songs, except the cover of NIN’s “March of the Pigs,” are on their album Hyperhollow.

In Closing

The entire show was a high energy rock fest for the mid-size Club Red. Each opening band brought their original style and sound to the stage to work up the anticipation for Stabbing Westward’s performance. Thirty years together, they know how to put on one hell of a show. They’ve kept fans satiated, and gained new fans, as The Dreaming for 17 years. It’s unknown how long the guys will continue to tour as Stabbing Westward since their 2016 reunion kicked off, but it was a pleasure to have them back in Arizona playing the 90s rock that made them famous.

 

Photo Gallery

Photographer: Russ Broty

Photography © Looking at You Too
All Rights Reserved

REVIEW: ANTI-MELODY by American Standards Gets Real About Grief, Loss, & Suicide

Phoenix-based hardcore punk-infused metal band American Standards is known for their “piss and vinegar” sound, boasting a well-crafted amalgamation of heavy-handed, technical instrumentals, and brutal yet poetic lyrics that confront societal divides such as corporate greed, media corruption, loss, materialism and personal struggle. Presumably due to their focus on DIY ethics, the group attracted a devoted following in response to their leadership of what has come to be known as the “guerrilla punk” movement in Phoenix. Think of the gritty, raw basement shows we all know and love, except this time American Standards would be there to distribute self-produced compilation CDs as a method of raising money for local causes and charities. Pretty rad, isn’t it?

Online you’ll find American Standards listed as “chaos-driven noise punk” also noting themselves as self-proclaimed “purveyors of fine noise” and “Voted Least Likely to Succeed in 2011″ – the year the band was formed. Don’t let their humor fool you though, the message packaged within the chaos tells something of a deeper story. The group has since been recognized in the form of a regular presence on local radio stations like 98KUPD, RadioPhoenix and TheBlaze in addition to sharing the stage with acts like Atreyu, Comeback Kid, Norma Jean, Every Time I Die and many more.

American Standards’ most recent album “ANTI-MELODY” (which premiered in Revolver Magazine, Alternative Press and Lambgoat) is the group’s fourth release, delving into topics that are undeniably more personal than ever before for its members while simultaneously continuing to deliver on what the band has always been known for: pungent commentary on societal divides and anti-consumerism. This time around however, the development of this album is a distinct reflection of American Standard’s ability to focus through times of struggle while baring it all despite battles with depression after the loss of founding guitarist Cody Conrad to suicide, followed shortly after by the loss of the vocalist Brandon Kellum’s father to cancer.

What would have broken so many other bands transmuted into a powerful point of resonance for American Standards, empowering them to produce an album that not only cuts deep, but holds true to the spirit of the band’s fiercely integral essence.

The Tracks

Writers Block Party

“Writer’s Block Party” might at first sound like pandemonium to an unfocused ear, but with closer listen you’ll quickly discover a lyrical contrast that highlights societal pressures imposed on those who desire success or any place in the limelight. The song immediately portrays the immense impact of these pressures through the band’s eyes; “dancing around like we’re marionettes, a stutter in our step, a cadence in our breath, to the unimpressed…”

This is an opening number that comes out swinging, keeping things hyped while immediately addressing the lyrical heart of the matter which made it an ideal choice for a single. And despite seeking an “easy fix” it’s clear things weren’t so simple as the song goes on to say, “I gave up my heart to find a soul… The clouds came in and the lights went out. We were guided by the roar.”

The metaphorical nature of their lyric choices leave much to interpretation and making space for further connection with their ever-growing fan base, but it can be speculated that this track alludes to the many struggles of avoiding corporate sponsorship in the music industry and beyond. This line in particular encapsulates the track well:

“Remove the spine and the heart. Safe bet, mindset. And claim what’s left as art.”

Carpe Diem, Tomorrow

Although brief in content, the technical aspect of  instrumentals included in “Carpe Diem, Tomorrow” are placed well as both a striking opener and stout interludes that highlight a wake-up call just beneath the surface:

“Concrete minds cannot change. Don’t stand still, keep moving. You’ll become what you say you hate.”

Encouraging fans to seize the day, this track utilizes the concept of time to motivate listeners and warn them of the consequences of stagnancy in life. Audibly this track has an underlying rhythm that is a bit similar to that of System of A Down, Throw Down, or Tool; while offering unique lead guitar, which in contrast offers similarities to bands like From First to Last, Trivium, and Hatebreed.

Church Burner

“Church Burner” starts off with an eerie chorus which repeats throughout, but not before laying down some seriously chunky guitar riffs that bring a daunting undertone. The lead guitar and bass notes are undeniably the highlight here, although this is the first sing-scream track to be found on ANTI-MELODY which is to be noted as well.

Lyrically this track is beautiful in the simplicity of its resounding metaphor while still managing to communicate the intensified angst that American Standards fans long for.

“An extremist in boldface type. We’re all people, but compassion doesn’t sell. And there’s no time for independent thought. There are no divisions outside the ones that we create.”

While chaos and hardcore don’t exactly scream “empowerment”, American Standards is clever in the execution of their message. They scatter calls to action throughout each song and foreshadowing for what is to come if the previously mentioned social obstacles aren’t addressed in a way that keeps things moving, so-to-speak. The lyrics go on to say:

“Tear down the walls and build a bridge… We don’t want another title to tell us who we are.”

Bartenders Without Wings

“Bartenders Without Wings” slows things down a bit, sounding more like a classic punk ballad that explores a struggle between man and self. The energy of this track is especially solemn, suggesting the song may be addressing the unexpected loss of founding guitarist Cody Conrad as well as Kellum’s father. “Bartenders Without Wings” also spotlights some inarguable similarities to the sound of now infamous As I Lay Dying.

According to Kellum, ANTI-MELODY is the result of “what started as social commentary on the growing divide in our society” but then became much more personal due to the loss of Conrad and Kellum’s father amidst recording; this track communicated that effortlessly.

Kellum went on to say that the band “went back in to re-record much of the album and in a lot of ways used it as therapy to cope with the experiences.”

Danger Music #9

“Danger Music #9” is a smashing reminder of the dreadful state of conglomerate corporate takeover and a return to the classic American Standards sound, fueled by the pain and grief that lurked in the shadows for these four bandmates at the time. It can be inferred from the lyrics that they are not simply addressing a grandiose idea of anti-consumerism, but more specifically an issue with the intentions and treatments of our healthcare system. Though often choosing to communicate through lyrics that are poetic and/or satirical in nature, “Danger Music #9” takes an unprocessed approach to its confrontation of western culture particularly medicine, making the lyrics that much more savage in nature.

“You make a beautiful statistic, diamond eyes. Giving incentives to move these units. Prescribe more illness. And we’ll become the money they count behind closed doors. A half a million dead. A third of us next.”

Cancer Eater

The title may have tipped you off as to what this track is about. The tragic loss of Kellum’s father is uttered through every verse of “Cancer Eater”, tearing from word to word with an energy unmatched by any other song on the album. Instrumentally, “Cancer Eater” is equally as brutal, once again highlighting lead and bass guitar.

Lyrically, however, this track has got to be the most poetic:

“We’re taken hostage by the ones we love, that leave us behind. I can’t be as tough as nails, with this paper skin. And organs that fail. But life moves on, and I’ll go on too… I lived like him. I’ll die like him. Remember me, remember.”

Broken Culture

“Broken Culture” is self explanatory in its purpose, erupting with energy right from the start with strategically coalesced vocals and a true hardcore sound that are again unique in their likeness to other tracks on the album if you listen close. Themes of anger, fear and isolation resurface once again, but this time with a more somber tone in wake of its preceding track “Cancer Eater”.

“We had more guns than bullets so, we made pistols with our hands. Where’s the good; there’s evil we must fear. So, pull the trigger and pray the rounds land.”

Chicago Overcoat

“Chicago Overcoat” takes all the energy from the seven songs before itself and delivers that consolidated energy as one swift punch in the ear drums before ending on a beautiful piano note. The track is in itself, a crescendo of all-encompassing instrumentals accompanied by a dominating vocal performance by Kellum.
“Chicago Overcoat” starts off with the focus on bass and drums as opposed to vocals and lead guitar, making for a pleasantly unrefined, and super-sludgy combo. And yet, there is a tone of desperate release, resentment, and determination to rise above through and through.

In Closing

ANTI-MELODY took things to the next level for American Standards, allowing fans to get to know the individuals behind these powerful words that leave us feeling a little less misunderstood and a little more at home in the world.

Ever-brutal. And ever-poetic.

It seems, although incredibly tragic, the struggles that American Standards experienced during the making of ANTI-MELODY created a vacuum of emotion yielding an outcome no fans could have predicted. We’re looking forward to seeing where this intimate breakthrough takes them, and eager to listen in as they continue to evolve.


ANTI-MELODY is available now on iTunes, Google Music, Amazon and Spotify or you can pick it up along with exclusive merchandise through the
American Standards Bandcamp page.

BANDCAMP | ITUNESAMAZON | GOOGLE MUSICSPOTIFY | FACEBOOK | TWITTER | YOUTUBE | INSTAGRAM

REVIEW: Lindsey Stirling Spreads Christmas Cheer with “Warmer in the Winter” Tour Finale in Phoenix 12-23-17

PHOENIX — It was nearly Christmas Eve as Lindsey Stirling’s fans gathered at Comerica Theatre. Donning their Santa caps and winter scarves, they fell down the rabbit hole that is the visually stunning show on the Warmer in the Winter tour. The last show on Stirling’s tour landed here, in her hometown of Phoenix, and fans couldn’t be happier to welcome her back home for the holidays. Stirling has recently competed on “Dancing with the Stars”, and her dance partner Mark Ballus was opening for her on the tour with his band Alexander Jean. It was the last show on her tour, and she didn’t slow down for one second, inspiring the audience to follow their dreams, break boundaries and defy industry.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
| Photography:
Katherine Amy Vega © All Rights Reserved

Stirling emerged from a curtained archway, sparkling in ruffles of metallic purple, silver and gold playing “All I Want for Christmas”. Surrounding her were snow-covered illuminated houses, straight from a children’s book.  She was joined by her four dancers, and together they ignited the audience with their smiles and choreography.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
| Photography:
Katherine Amy Vega © All Rights Reserved

For the next number, snowflakes swirled in the background as the notes to “Frosty the Snowman” and “Let it Snow” were merged.  The dancers twirled with black umbrellas that sprinkled snow as they glided across the stage.  The Christmas spirit was alive and swelling inside the theatre as Stirling performed “Warmer in the Winter”, in which she both sang and played violin, and the classic fiddle song “I Saw Three Ships.” Visions of the ocean and pirates flickered on the screen as dancers appeared in plaid skirts with bouncing steps.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
| Photography:
Katherine Amy Vega © All Rights Reserved

After a short musical break, Stirling reemerged in a stunning sheer dress adorned with sparkling silver sequins. She and her bandmates sat down on the floor toward the front of the stage for a special treat.  Stirling had laid out “instruments” for them all to play: two kazoos, a toy piano and a tiny violin.  She told the crowd that she had an advantage because her instrument wasn’t a toy, it was the violin that most children start playing on at the age of 5. She laughed, saying “this one’s name is Pickles” as she held the tiny violin in the air.  Together the group serenaded the crowd with a medley of tunes starting with “Jingle Bells”, merging into the Harry Potter theme, and winding down with a saucy “Santa Baby”.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
Photography:
Katherine Amy Vega © All Rights Reserved

At the end of the group’s medley, the pianist Kit challenged Stirling to play “The Devil Went Down to Georgia” on the tiny violin, claiming “it’s what the audience is really wondering.” And she smiled, rising to the challenge as she played about 20 seconds of the fast-paced classic fiddle song. The crowd erupted in cheers as they quickly cleared the little instruments from the stage.

The first few notes of “Crystalize” fell over the crowd, mesmerizing them as Stirling elegantly danced across the stage in a mist, with slivers of light casting eerily beautiful shadows over her. The audience listened as if under a spell, being broken only by Stirling herself, as she addressed the crowd before her next number. She spoke powerful words about her own experiences with anorexia and self-esteem.  She reminded the crowd, as they listened to the next song, to remember that even if they don’t see the beauty in themselves “someone sees the beauty in you.” She then went on to perform “Hallelujah” with the curtain closed and only her guitarist to accompany her. The curtains then opened as dancers joined her on stage to perform “Angels We Have Heard on High”, wearing swaths of white fabric that draped and swirled around them as though they were angels themselves.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
| Photography:
Katherine Amy Vega © All Rights Reserved

For the last part of the show, Stirling emerged once again in a different costume; a shining pink strapless dress, with her iconic marching band hat, with white feathers reaching towards the sky. The show pulsed with excitement as lights and sound were pushed to an impressive high. After a stunning rendition of “Dance of the Sugar Plum Fairy”, Stirling went right into “The Grinch”, where her dancers flowed across the stage in red sequins. They held giant red feather fans. At one point covered Stirling, who emerged from the fans in shorts after shedding her ruffled skirt, ready to dance about on the stage. They continued with “Carol of the Bells” as the stage lights flickered with the beat, a visual feast for the eyes and ears.

Lindsey Stirling - Photo Credit: Katherine Amy Vega
Lindsey Stirling
| Photography:
Katherine Amy Vega © All Rights Reserved

Before the last number, Stirling addressed the audience one more time and shared her family tradition of wearing matching PJs every year. “Christmas C’mon”, with a track of vocals by Becky G, rang through the theatre, as lights and dancers in matching pajamas spum around the stage.  Once finished they left the stage, but the audience waited, clapping and yelling. Stirling reappeared to the ample applause of the crowd and shared a very personal story. She said while she usually likes to leave a crowd with a big number so she can read on their instagram that they just “went to a violin concert and got their face melted off.” This time, however,  she was going to close on a more personal note. She shared the story of the loss of her father last year around this time, and that this song was very dear to her. She asked the audience to remember those they loved and hold them close, and played “Silent Night” to close out the night.

The “Warmer in the Winter” Tour was like a traveling snow globe, shaken up with a wonderland of lights, sounds, and dancing. Stirling touched hearts with her words and music, and spread smiles with her jokes and shining personality. As people poured from the theatre that night, they were ready to celebrate not just Christmas, but their family, friends and loved ones and everything that they held dear.

PHOTO ALBUM

Photographer: Katherine Amy Vega

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

REVIEW: Lita Ford Brings 80s Glam Metal to BLK Live 12-16-17

Scottsdale, Ariz.Lita Ford and her band performed their last show of 2017 in Scottsdale at BLK Live on Saturday, December 16. Closing out the night after two opening acts, Dead West and Shadow and the Thrill.

Ford still has it,
because she never lost it.

Lita Ford - Photo Credit: Mark Greenawalt, Burning Hot Events
Lita Ford (Vocalist, Guitarist)
Photo Credit:
Mark Greenawalt © All Rights Reserved

Dressed to impress and complement her polished red guitar, Ford took the stage like a rock and roll queen of hearts in her silver studded, red and white ensemble. Ford sported a red velour coat with ruffled bell sleeves and a glorious train. Underneath was a red and white bustier with studs and matching flare jeans. The ruffles and bows were a gorgeous juxtaposition to her aggressively shredding metal guitar riffs in her opening song, “Gotta Let Go.”

Ford and her band followed with songs; “Larger Than Life,” “Relentless,” “Living like a Runaway,” “The Bitch is Back” (written by Sir Elton John and Bernie Taupin), “Hungry for Your Sex,” and “Play with Fire” from her Dangerous Curves album.

To amp up the energy on stage, Ford invited Micki Free, a friend of Ford’s since age 18, onstage to play guest guitar for “Can’t Catch Me”, a song co-written by the late Lemmy Kilmister from Motörhead. During this song, Ford’s drummer, Bobby Rock, relished being the center of attention; pausing to take a video of the crowd, and take a selfie from the stage during his drum solo. Bass player Marty O’Brien and lead guitarist Patrick Kennison, not wanting to be outdone, stood back-to-back playing their instruments above their heads.

Micki Free & Lita Ford - Photo Credit: Mark Greenawalt, Burning Hot Events
Micki Free (Guitarist)  & Lita Ford (Vocalist, Guitarist)
Photo Credit: Mark Greenawalt © All Rights Reserved

Ford followed up the intensity that was “Can’t Catch Me” with two slower-paced metal ballads, “Falling In and Out of Love,” co-written by Nikki Six of Mötley Crüe, and the somberly romantic “If I Close My Eyes Forever,” originally performed by Ozzy Osbourne, in which Kennison performed in his stead.

To bring the energy back, Ford played the title track “Out for Blood” off her first album. This album was her first release after The Runaways disbanded, and the song speaks to how Ford’s personal style developed in the 80s glam metal scene.

Ford went out with a bang, playing two great hits, “Cherry Bomb” on the original guitar she used when performing with The Runaways; and “Kiss Me Deadly” off her 1988 album Lita, using a pearl white, multi-neck guitar.

 
Patrick Kennison (Lead Guitarist), Lita Ford (Vocalist, Guitarist), & Marty O'Brien (Bassist) - Photo Credit: Mark Greenawalt
Patrick Kennison (Lead Guitarist), Lita Ford (Vocalist, Guitarist), & Marty O’Brien (Bassist)
Photo Credit: Mark Greenawalt © All Rights Reserved

Opening bands were Dead West and Shadow and the Thrill. Both acts complemented the musical style and energy of Ford’s performance.

Dead West - Photo Credit: Mark Greenawalt
Matt Peterson (Guitarist), Vinny Sky (Vocalist), & Connor Sutton (Lead Guitarist), Dead West
Photo Credit: Mark Greenawalt © All Rights Reserved

Dead West is an Arizona local band formed in 2014 that performs in a mash-up style of what can only be described as cowboy metal and blues-rock. They played a lineup of original songs, and debut their newest song “Helldorado!”

Shadow and the Thrill - Photo Credit: Mark Greenawalt
Tony Cardenas-Montana (Vocalist, Guitarist), Shadow and the Thrill
Photo Credit: Mark Greenawalt © All Rights Reserved

Shadow and the Thrill played original songs with a mix of classic to modern covers such as “House of the Rising Sun” by The Animals and “Crazy” by Cee Lo Green. Their sound is a mash-up of blues, metal, and classic rock.

The lead singer, Tony Cardenas-Montana, has roots in Arizona. He talked fondly of visiting his grandparents who resided in Bisbee. He then played his original song, “Tombstone Shuffle” as homage to the Wild West town he would visit as a child.

All three bands performed a high-energy show from start to finish. Ford said she plans to perform another show in Arizona come 2018. No dates have been announced, but our guess is she will be back sooner rather than later!

 

Photo Gallery

Photographer: Mark Greenawalt

Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: Breaking the Sound Barrier with Arch Enemy and Trivium at Marquee Theatre 12-1-17

PHOENIX —  In the brisk evening air of December 1st, fans waited outside the Marquee Theatre in eager anticipation.  It was Friday night and fans were ready to throw their weekday woes away and get ready to listen to the raw sounds awaiting them.  On tonight’s agenda: long established metal bands Arch Enemy and Trivium.

Fit for an Autopsy - Photo Credit: Dale Hurt
Joe Badolato (Vocalist), Fit for an Autopsy
Photo Credit: Dale Hurt © All Rights Reserved

Fit for an Autopsy & While She Sleeps

The night opened with New Jersey’s Fit for an Autopsy whose bass lines seemed to tremble right through the floor into your very breath.  The stage splashed with red and blue light as they worked up the crowd. Next up was While She Sleeps, all the way from Sheffield, England.  Lead vocalist Lawrence Taylor was a whirlwind of energy headbanging and even crowd surfing. Calling to the audience, he challenged them to “meet him” by crowd surfing all the way to the pit. Needless to say, many met his challenge. Taylor was all over the stage, even standing atop the drum set.  After their set, the crowd was definitely ready for Arch Enemy.

While She Sleeps - Photo Credit: Dale Hurt
Lawrence Taylor (Vocalist), While She Sleeps
Photo Credit: Dale Hurt © All Rights Reserved

Arch Enemy

As equipment was set up and sound checks were made, more and more people crowded into the room, shouldering and squeezing into their own perfect spot.  A backdrop reflecting hell itself stared back at the audience, with twisted demons and a red glowing reflection.  As the music started, a laser show of lights flooded the stage and members of the Swedish band Arch Enemy descended.  Vocalist Alissa White-Gluz dominated the stage with her powerful voice and energy.  She was a force to behold in her skeletal ripped bodysuit and wild blue hair.  Alongside her, guitarists Michael Amott and Jeff Loomis did amazing fingerwork and left the crowd screaming after their amazing guitar duo.  

Arch Enemy - Photo Credit: Dale Hurt
Angela Gossow (Vocalist), Arch Enemy
Photo Credit: Dale Hurt © All Rights Reserved

Arch Enemy promoted their new album Will to Power, showcasing some amazing songs such as “The World is Yours” and “The Eagle Flies Alone.”  In one moment, Alissa called to the audience, before the song “Will to Power”, to shine a light – and her will was done as the audience swayed their phones in the air.  She closed off the set with one of her favorite songs, “Payday.”  It’s safe to assume many who came to see Trivium that night left an Arch Enemy fan as well.  

Arch Enemy - Photo Credit: Dale Hurt
Jeff Loomis (Guitarist), Arch Enemy
Photo Credit: Dale Hurt © All Rights Reserved

Trivium

After a short break for set changes, Trivium was about to take the stage.  In the dim lights, the audience got so excitedly impatient that they started chanting the band’s name: “Trivium!… Trivium!…” Their chants were met with red and white flashing lights, and Trivium took the stage.  The backdrop was the same as the cover of their new album, The Sin and the Sentence.  Blanketing the wall was solid black with clean gold lines and iconic images, a great reflection of the band.

Trivium - Photo Credit: Dale Hurt
Matt Heafy (Vocalist), Trivium
Photo Credit: Dale Hurt © All Rights Reserved

Lead vocalist Matt Heafy’s passionate and clean vocals were accented by the raw enraged voices of guitarist Corey Beaulieu and bassist Paolo Gregoletto.  While Trivium’s sound has changed over the years, the audience was in full agreement that they sounded amazing! Many fans sang along with the lyrics, Heafy’s clear and thought provoking words making this an easy task.  Songs like “The Heart from Your Hate” and “The Sin and the Sentence” are surprisingly addictive, with their fast paced melodies and powerful lyrics.   

Paolo Gregoletto (Bassist), Trivium
Photo Credit: Dale Hurt © All Rights Reserved

In Closing

The show was five straight hours of metal. There is something about metal that is cathartic, raw, and enticing; this show was no exception. Arch Enemy and Trivium helped take the week’s stress, ball it up, grind it into the ground and just let loose in the music, allowing everyone to start their weekend refreshed.   

Photo Gallery

Photographer: Dale Hurt

Photography © Dale Hurt. All Rights Reserved

News & Reviews from the Fiery Mosh Pits of Arizona