All posts by Clarice Wziatek

Professionally trained journalist with a BA from the Walter Cronkite school at ASU and a International Journalism MA from DCU (Ireland). Every year I make it a point to travel to a new destination. I've been to 14 countries and counting. Bring on the coffee and red wine. Interests include collecting vinyl, sewing clothing/costumes, and I'm a fan of the Oxford comma.

REVIEW: Postmodern Jukebox Welcomes the 20s with Glamour and Jazz in Mesa (4-17-19)

Mesa, AZ — The 2020s are eight months away, and what better way to usher in a new decade than by paying homage to the former that gave us one of America’s greatest musical art forms: jazz. 

Scott Bradlee’s Postmodern Jukebox (PMJ) is an expert at evoking nostalgia with the musical styles of bygone eras with contemporary artists’ songs. PMJ brought a party filled with glamour, gin, and jazz to the Ikeda Theater at Mesa Arts Center on Wednesday night with their “Welcome to the Twenties 2.0 world tour.

Vocalist Robyn Adele Anderson opened the night with a 1920s take on “I’m So Fancy,” originally performed by pop artist Iggy Azalea. She was accompanied by tap dancer Matthew Shields who tapped in time to the beat and showcased his fancy footwork.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Robyn Adele Anderson (Vocalist) & Matthew Shields (Tap Dancer), Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

Master of Ceremonies and vocalist Dani Armstrong was a sight to behold in her black and gold art deco dress and magenta hair. Armstrong wiggled her way around the stage with a sensuality and naughty coyness as she performed a jaunty rendition of “Oops, I Did it Again” by Britney Spears, accompanied by jazzy trombone and saucy clarinet.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dani Armstrong (Vocalist, Master of Ceremonies), Postmodern Jukebox
Photography: Rodrigo Izquierdo © All Rights Reserved

She introduced the six-piece band comprised of Jesse Elder on piano; Adam Kubota, one of the original members of PMJ, on upright and electric bass; Dave Tedeschi on drums; Jacob Scensney on trombone; Mike Chisnall on guitar and banjo; and Chloe Feoranzo performing on woodwinds.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Woodwindist, Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

PMJ introduced some new faces and fresh voices on this tour. Ryan Quinn, who was a contestant on the The Voice, performed Guns N’ Roses “Sweet Child O’ Mine” in a low and soulful baritone voice, emphasizing the lyrics, “Where do we go? Where do we go now?

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Ryan Quinn (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

And newcomer David Simmons Jr. was PMJ’s 2018 talent search contest winner, performing on his very first tour with the group. He entered the stage smartly outfitted in a silver vest and jacket and punchy red bow-tie, performing a jazzy “Something Only We Know” by Keane. For this piece, Kubota swapped his upright bass for an electric bass, Chisnall traded his banjo for an electric guitar, and Feoranzo traded her clarinet for the saxophone.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
David Simmons Jr. (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Armstrong once again took the stage after changing into a sensual black and red gown to perform Lady Gaga’s “Bad Romance” as a punchy, swing-time jazz number, including scat lyrics and a wailing trombone.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dani Armstrong (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Shields came out to tap dance for the number, keeping time during a break in the song and showcasing his skills. Armstrong and Shields’ flirtatious antics brought heat to this already sexy song.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Matthew Shields (Tap Dancer), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The show moved quickly and seamlessly, keeping the audience enamored with the energy, vocals, and music of the performers, despite the simple lighting and lack of any modern special effects.

Every song was a treat with unexpected hilarity. Anderson walked out on the stage in a white floral swing dress, with Quinn and Simmons in tow. She sang lead vocals, covering Outkast’s “Hey Ya!” with Quinn and Simmons singing back up. The gentlemen’s animated antics and girlish falsetto when responding to Anderson’s, “Hey Ladies!?” had the crowd laughing.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Vocalists: Ryan Quinn, Robyn Adele Anderson, & David Simmons Jr., Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

Afterwards, Simmons treated the audience to a slowed-down version of Jimmy Eat World’s “The Middle,” transforming the song into Motown soul, with his vocals akin to that of The Four Tops.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
David Simmons Jr. (Vocalist), Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Right before the intermission, five musicians commanded the audience’s rapt attention by leaving their posts and coming front and center with their instruments. They started playing an acoustic set and Anderson sashayed across the stage in a slinky satin leopard mini dress. She began singing Meghan Trainor’s “All About that Bass,” and was joined by Armstrong’s powerhouse vocals for the chorus, including some yodeling as she worked the stage in her tiger striped wiggle dress.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Robyn Adele Anderson (Vocalist), Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

During this set, Feoranzo stepped out from behind her clarinet and approached the microphone, surprising the audience with her perfectly pitched vocals in addition to her multifaceted musical talent. It was empowering to watch a talented trio of women representing a variety of shapes and sizes.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Woodwindist, Vocalist) & Matthew Shields (Tap Dancer), Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

The men created comic relief with Shields tapping to the beat and Quinn putting his arms around his chest, spinning his fingers to mimic twirling tassel pasties. The audience was clapping along and reeling with laughter. It was a great way to conclude the first half of the 120-minute performance.

Kubota talked about the raw beginnings of PMJ: how it all started in Scott Bradlee’s basement apartment in Queens, and how they were paid in falafel. It was the brainchild of Bradlee to put these musical reconstructions on YouTube in 2009, so people with “really, really, really fantastic taste would watch and share and come out to see the shows.

PMJ knows how to cater to their audience with references to modern pop culture. After the intermission, Elder brought the audience back to focus by playing the Game of Thrones theme song on the piano with force and bravado.

As the audience quieted, Armstrong commanded their attention, floating across the stage in a stunning black and white gown, then lifting the top layer of the skirt like wings above her head. She opened the second act with a dark, operatic rendition of Sia’s “Chandelier.” Armstrong’s vocal range for this set was mind-blowing. The audience gave her a standing ovation.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Ryan Quinn (Vocalist) & Jesse Elder (Piano) with band members – Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

Now, it was Quinn’s turn once again to transport the audience through time. His ability to mold with the group’s aesthetic so effortlessly couldn’t have been more perfect. He performed a Sinatra-esque rendition with scat vocals of “Lean On” by Major Lazer & DJ Snake. As he left the stage, Armstrong instructed the audience to, “blow a kiss to seven feet of gorgeous!

As the audience watched Quinn leave, Simmons took the stage quietly, now donning a navy three-piece suit. Anderson emerged in a sparkling silver gown and black opera gloves. They performed a flawless, intimate duet of “Say Something,” originally performed by A Great Big World & Christina Aguilera. The way they looked into each other’s eyes as they sang made it feel as if, for a moment, they were the only ones in the theater.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Dave Tedeschi (Drums) & Vocalists: David Simmons Jr. & Robyn Adele Anderson, Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

Their performance tugged at the heartstrings, and to bring the energy back to the show, Shields tap-danced out to center stage and announced, “It’s-a me!”, imitating the character Mario from Nintendo. He then tapped out the Super Mario Bros. theme, accompanied by Elder on the piano.

Exhausted halfway through his tap set, Shields walked back to the piano, chugged the rest of his beer as Elder played the power up jingle, and miraculously, he was back! Shields finished out the tap sequence to the music played at the end of a Super Mario level, finishing with a mimicked jump on a flagpole as Mario would do at the end of a level.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Chloe Feoranzo (Clarinet), Jacob Scensney (Trombone), & Matthew Shields (Tap) – Postmodern Jukebox
Rodrigo Izquierdo © All Rights Reserved

Anderson came out in a black and blue brocade strapless gown and her elbow length opera gloves. Her soft, sensual voice tantalized as she sang, “…Never gonna dance again the way I danced with you,” from the song “Careless Whisper,” originally performed by the late George Michael. Feoranzo stepped forward and performed a stunning sax solo, paying homage to the original, but expanding on the song’s film noir vibes.

“The decade before the 1920s was full of conflict and upheaval. But without that, we wouldn’t have gotten all the great art, dancing to hot jazz, and drinking bootleg gin!” Armstrong exclaimed.

Feoranzo closed out the show as the last solo vocalist, performing “No Surprises” by Radiohead, with her clear, angelic voice. She was joined in gentle accompaniment by the piano, guitar, upright bass, and drums, and then stepped in to play her clarinet.

The 11-person ensemble wrapped up the show with everyone on stage singing a medley of songs blending from one right into another, starting with The Postal Service’s “Such Great Heights,” then Haddaway’s “What is Love?” and finishing with The Isley Brothers’ “Shout!”

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

It was a free-for-all on the stage: Shields was tap-dancing his heart out, Elder cartwheeled across the stage then somersaulted back to his piano for the finale, the musicians moved freely, and the crowd got on their feet to dance to this final number. 

Kubota said this is the group’s third time playing out in Mesa and that they can’t wait to be back. And gauging the audience’s turnout and participation, it can be confidently said that they will always be welcome, with their nostalgic take on modern pop and high energy performance that emulates the vaudevillian lounge acts of bygone times.

Postmodern Jukebox - Photo Credit: Rodrigo Izquierdo
Postmodern Jukebox
| Photography:
Rodrigo Izquierdo © All Rights Reserved

To usher in the 2020s, Postmodern Jukebox will circumnavigate the globe on their 2019 “Welcome to the Twenties 2.0” tour. 

Photo Album

Photographer: Rodrigo Izquierdo

Postmodern Jukebox – Mesa Arts Center 4-17-19

Photography © Reagle Photography
All Rights Reserved

REVIEW: Dorothy’s Phoenix Show – A Flawless Night in the Valley 7-15-18

PHOENIX –  Dorothy took the stage at the Crescent Ballroom last Sunday night, infusing the summer air with earthy incense and the vibes of psychedelic hard rock. The band, originally from Los Angeles, is currently on their “Freedom Tour 2018,” promoting their second album, 28 Days in the Valley. Dorothy is named after front woman and vocal powerhouse Dorothy Martin. Her vocal style can be compared closest to Grace Slick, but her energetic stage presence can be compared to Janis Joplin.

When Dorothy took the stage, all that could be seen was their faintly lit silhouettes. In the dark, with her back to the audience, Martin lit a huge incense stick to fill the ballroom with its sweet aroma. She held on to it, waiving the incense over the stage as the flame grew and the band started the intro to the song “White Butterfly.” The band was then illuminated by the stage lights.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist), Dorothy
Mark Greenawalt © All Rights Reserved.

Martin was decked out in black lace bell bottoms and a burgundy, burnout velvet, kimono jacket; she had a mat placed at the base of her microphone to protect her feet as she performed barefoot. Fans that pointed at the stage kept the band cool, and blew Martin’s hair away from her face, adding to her carefree appearance.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist), Dorothy
Mark Greenawalt © All Rights Reserved.

As the band smoothly transitioned into their second song, “Naked Eye,” Martin picked up her tambourine. She played while the incense and fog machines worked overtime, pouring a thick haze around the band, and transporting the audience to what felt like Dorothy’s basement jam session in the 1970s.

During “Ain’t Our Time to Die,” the quiet cymbals mixed with Martin’s vibrato really mirrored Janis Joplin’s vocal style as she exclaimed, “You’ve got to believe baby, it ain’t our time to die!”

Dorothy performed many tracks off their first album, ROCKISDEAD; such as “Raise Hell,” “Down To The Bottom,” and rock anthem “Wicked Ones.” In the middle of performing “Wicked Ones,” Martin left the stage, and guitarists Nick Perri and Leroy Wulfmeier rocked out, taking the audience on an auditory journey down the rabbit hole as the stage lights flashed pink, purple, and blue.

Dorothy - Photography: Mark Greenawalt
Mark Greenawalt © All Rights Reserved.

When they played their tenth song of the night, “Who Do You Love?”, Martin dropped to her knees and reached her arms to the ceiling while bellowing the song’s lyrics, “Hey I’m your reason for lying! Hey, I’m your reason for dying! Hey, I’m your reason to live! Who do you love when your love’s a-run dry?”

Dorothy filled their 90-minute set with soulful vocals, gritty guitar playing, and all original songs off both of their full albums. Martin’s easy-going and genuine personality was apparent as she spoke to the crowd like friends. She jokingly said that if she wasn’t out performing, she’d just be at home with her cat watching X-files. At the end of the show she hugged her mic stand while smiling into the crowd, almost as if she were trying to metaphorically hug the audience for showing her band love.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist) & Leroy Wulfmeier (Guitarist), Dorothy
Mark Greenawalt © All Rights Reserved.

For Dorothy’s final song, everyone left the stage, aside from Martin and Wulfmeier. Wulfmeier, in his Homburg hat and perfect mustache, sidled up to Martin and they performed an acoustic rendition of the love song, “Shelter.” Martin finalized the night by yelling to the crowd, “Go make love to your wife!”

Opening Act: Charming Liars

Charming Liars, a London-based band that relocated to Los Angeles in 2013, opened the set for Dorothy. This is their fifth time performing in Arizona, according to guitarist Karnig Manoukian.

Charming Liars - Photography: Mark Greenawalt
Kiliyan Maguire (Vocalist), Charming Liars
Mark Greenawalt © All Rights Reserved.

Charming Liars’ set was filled with punchy, punctuated drums and dreamy guitar chords, which was pronounced in “Insomnia,” “Outta My Head,” and “Closer.”  Their style leans toward very danceable, club-like rock songs. Vocalist Kiliyan Maguire has strong vocals and the ability to produce an amazing falsetto. His passion and energy got the crowd excited, especially when they played new material such as the song “Time to Start,” which was only the fourth time it has been performed by them, according to Maguire. The Charming Liars website states that the band had been endorsed by Sir Elton John when he featured their songs on his Apple Music “Rocket Hour” radio show.

The phenomenal performances of both bands at Crescent Ballroom that night showcased their original music, thought provoking lyrics, and solidified their potential to rise up to the top. And, if there was one message conveyed through the music that evening, a message we can apply to everyday living, it must be; love fiercely, but take no shit.

Catch both bands on the “Freedom Tour 2018” until August 26.


Photo Gallery

Photographer: Mark Greenawalt

Dorothy – Crescent Ballroom 7-15-18

Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: Vixen Revs Up BLK Live with 80s Glam Rock 6-16-18

Scottsdale, Ariz. –  The all-female band Vixen brought 80s glam-rock back to BLK Live in Scottsdale, AZ on June 16, 2018. The band, according to the Vixen website, is the only all-female 80s band to reach platinum status and have six #1 videos on MTV. Vixen, which disbanded in the early 90s, reunited in 2014 with three of the original members, and has been performing since. 

Vixen - Photo Credit: Mark Greenawalt
Britt Lightning (Guitarist), Vixen
Mark Greenawalt © All Rights Reserved.

Vixen performed a selection of hits from their first self-titled album Vixen, released in 1988; their Rev It Up album, released in 1990; and a few covers from other rock legends such as The Beatles, Deep Purple and Humble Pie. Vixen’s lead vocalist, Janet Gardner, gave a strong, high energy performance, opening the show with “Rev It Up” from the band’s 1990 album Rev It Up. During the second song, “How Much Love,” newcomer and lead guitarist, Britt Lightning, shredded an incredible guitar solo. Lightning joined Vixen in 2017, replacing Gina Stile.

Throughout the show, Gardner had amazing stage presence and worked the crowd. She shouted from the stage, “Scottsdale, let’s get a lil’ rowdy!” before she performed “One Night Alone.” Then, as she performed the song “Cryin’”, she came down from the stage and walked through the crowd, high-fiving and greeting fans.

Vixen - Photo Credit: Mark Greenawalt
Janet Gardner (Vocalist, Guitarist), Vixen
Mark Greenawalt © All Rights Reserved.

When back on stage, she proposed a contest for a free Vixen t-shirt for the first person to jump into BLK Live’s swimming pool. There were a few people sitting on the edge with their feet in the water, but they weren’t fast enough. A single guy at the front of the stage jumped right in fully clothed, holding his beer above his head. Gardner was a bit disappointed her contest didn’t start a pool party frenzy, but she wasn’t going to let that hold her back. As she started into their fifth song “Cruisin’,” Gardner executed a perfect high-kick into the air.

Vixen - Photo Credit: Mark Greenawalt
Roxy Petrucci (Drummer), Vixen
Mark Greenawalt © All Rights Reserved.

Drummer Roxy Petrucci kept a beat going as they transitioned from one song to the next, keeping the crowd pumped. Her facial expressions complimented the lyrics for each song, as she twirled her drumsticks on the off-beat. She was at the back of the stage, but she did not fade into the background. During the song, “Love Is A Killer,” Petrucci stood up and performed a perfectly executed chime segment on the symbols for the melancholy rock ballad.

Vixen - Photo Credit: Mark Greenawalt
Sharon Ross, née Pedersen (Bassist), Vixen
Mark Greenawalt © All Rights Reserved.

There was one song the crowd waited with anticipation to hear, and it was well worth the wait. After they performed a 90-minute set, the ladies left the stage before returning for their encore number, “Edge of a Broken Heart.” This song was written by Richard Marx and Fee Waybill, and was one of two songs to make it into the Top 40 for Vixen in 1988. To make this hit, and the other songs played, sound true to their original tracks, Vixen had Tyson Leslie, the only male on stage, performing on the keyboard.

When Vixen finished their last number, the crowd was wild with excitement. From the set performed by Vixen, to the opening act, the crowd got what they came for; a night filled with 80s rock and strong female vocals.


Arizona local band Dierdre, fronted by female rocker Dierdre Evans, opened the show with a stellar night of rock n’ roll; performing original songs off their album I’ve Come to Life and two cover songs – “Black Dog” by Led Zepplin, and “Down to the Bottom” by Dorothy.  

Dierdre - Photo Credit: Mark Greenawalt
Dierdre Evans (Vocalist), Vixen
Mark Greenawalt © All Rights Reserved.

Evans opened the set for Dierdre with the femme fatale track, “Black Widow.” The song featured Evans’ rock-opera vocals, punchy drums played by Dwain Miller, and fast metal riffs played by Michael Arms and Jimmy Caterine on guitars.

Their third song, “Between the Lines,” featured rhythmic guitar and a steady drum beat, which allowed Evans’ voice to carry the songs melody before it entered the gritty chorus. The lyrics entice the listener and ask them, “You know you want it; don’t you?”

Evans’ vocal range stands out and brings distinction to each song. The song “I’ve Come To Life” starts out with her vocals breathless and low, and she sensually raises her vocals until her voice literally ‘comes to life’ when performing the chorus and refrain.

Evans writes all of her own music, and even though she sings the song “Suffer” like a rock and roll angel, it is a badass reminder to whomever inspired this song; she is not taking you back, and will gladly watch you suffer.

Evans mentioned after the show that the band Dierdre has been together for approximately 3 years, and have really enjoyed opening for other bands in the rock genre. Prior to opening for Vixen, Evans said that in just the last six months, Dierdre opened for big-name bands such as Warrant, Quiet Riot, and Candlebox.

Vixen is currently touring, and soon heading overseas to Europe this summer, according to their website. If you need your new Vixen fix, Gardner mentioned the band has a live album being released on July 6th via Rat Pack Records.


Photo Gallery

Photographer: Mark Greenawalt

Vixen – BLK Live 6-16-18

Photography © Mark Greenawalt.
All Rights Reserved

Greg Holden Debuts Brand New Track, “On The Run” & European Headline Tour Kicks Off In July

Los Angeles, CA – 

Today, critically acclaimed singer/songwriter and BMG’s latest signing, Greg Holden, is excited to share his new single, “On The Run,” his first release in three years.

The track was produced by the iconic Butch Walker (Katy Perry, Panic! At The Disco, Weezer) and serves as a follow up to his third full-length studio album, Chase the Sun (2015). “On The Run” is an uplifting, stadium-ready anthem complete with catchy, summery hooks that perfectly mesh with Holden’s strong, heartfelt vocals. The song is available to stream and purchase HERE.

“ ‘On The Run’ is one of a few songs that was bouncing around in my head when it came to the question of what to lead with after three years on the dark side of the moon,” says Holden. “Ultimately, this song felt like the most authentic, whilst at the same time not being so typically subject heavy that I would scare my listeners away. I’ll save that for the second single…”

“ ‘On The Run’ is an apology, obviously. But it’s an apology to a number of people, for a number of things,” he adds. “For years I’ve been on the road, either emotionally or physically absent, and at times probably a nightmare for partners, friends, and family. I wanted to write something that in a way, said sorry for all that. A way to relinquish some of the guilt perhaps. I recorded it last winter with Butch Walker, along with some incredibly talented friends. It took a morning, it was a blast, and then we were done. It feels right to lead with this one as it came out so naturally.”

The Scottish-born, English-raised musician has garnered recognition as an independent artist for the past several years and is best known for writing Phillip Phillips’ hit single, “Home,” which sold over five million copies in the U.S. and earned him an ASCAP Pop Award. He’s also earned praise from industry staples such as Cher, Josh Groban, Sara Bareilles, Michael Bublé, Zane Lowe, TIME, NPR, and more.

Despite his early accolades, Holden has not taken his success for granted and has worked tirelessly to establish his profile as a socially conscious artist. Standout track, “The Lost Boy” (from his sophomore album, I Don’t Believe You [2012]), inspired by a Dave Eggers’ novel about a Sudanese refugee, raised over $50,000 for the Red Cross. His hit single from Chase the Sun, “Boys In The Street,” an acceptance anthem that discusses a gay son’s strained relationship with his father, directly benefited LGBTQ youth by raising money for the Everyone Is Gay organization. It’s an emotional, poignant song that Tom Hanks called “perfect.”

This summer, Holden will head back out on tour, headlining shows across Europe including notable stops in Amsterdam, Berlin, and Munich. All tickets can be purchased HERE, and a full list of shows can be found below.

“Rare is a singer-songwriter who can actually touch the lives of another person with raw, emotional lyrical poetry.” –Nylon

“Soaring, purpose-filled songs that carry real emotional weight.” –BuzzFeed

“Holden’s clear vocals give an even greater weight to his expressive lyrics when the songs are performed live.” –Paste

Greg Holden Tour Dates

July 18th – Hamburg, DE @ Nochtspeicher

July 20th – Frankfurt, DE @ Venue TBA

July 21st – Cologne, DE @ The Nomad Music Festival

July 24th – Amsterdam, NL @ Paradiso

July 25th – Hannover, DE @ Faust

July 26th – Berlin, DE @ Frannz

July 27th – Munich, DE @ Zehner Club

July 28th – Tettnang, DE @ Schlossgarten Open Air #

August 1st – London, UK @ Venue TBA

August 2nd – London, UK @ St. Pancras Old Church

# w/ Revolverheld

Connect With Greg Holden

Website | Facebook
 | Twitter | Instagram
 | YouTube
 | SoundCloud

The Glorious Sons Debut Cover of Kanye West’s “Runaway” & Begin U.S. Headline Tour March 13th in Minneapolis, MN

Los Angeles, CA – Today, JUNO-nominated rock band, The Glorious Sons, are pleased to share their cover of Kanye West’s hit single, “Runaway.” Their version of the song was recorded at Fiction Studios in London, U.K. and showcases frontman Brett Emmons’ raw and earnest vocals. This is the first of a series of stripped down videos to be released over the upcoming weeks. The track is available to stream and purchase at digital retailers.

“Chris Koster [guitar, vocals] is a gigantic Kanye fan and he’s been covering the song for years. We played it in a church once together, and my voice just kind of worked with the song,” says Brett. “I can remember listening to My Beautiful Dark Twisted Fantasy and watching the short film all the time in university. It is by far my favorite Kanye album. I had never heard rap sound like that before. In my opinion, this album is one of the most important of the 21st century, and “Runaway” is one of the most perfect pop songs ever written.”

After extensive touring across the U.S., Canada, and the U.K. last year in support of their sophomore album, Young Beauties and Fools (Oct. 2017 via BMG US), The Glorious Sons will kick off their new North American headline dates on March 13th in Minneapolis MN. On May 8th, the band will meet up with The Struts for a run of support shows that launch in Bloomington, IL and wrap in Portland, OR on May 23rd. The Glorious Sons will also hit the festival circuit this summer, performing at Hang Out Music Festival (Gulf Shores, AL),Firefly Music Festival (Dover, DE), and the esteemed Reading & Leeds Festivals (U.K.).

“You don’t know what you’re going to get night to night from us,” says Jay Emmons [guitar, vocals]. “It’s something you have to see – we try to keep it interesting and powerful,” adds Brett. A full list of shows is included below, and all tickets can be purchased HERE.

Young Beauties and Fools scored a nomination at the JUNO Awards for Rock Album of the Year. This is the second JUNO nod for the band, whose debut album, The Union, earned a nomination in the same category in 2015. YBAF’s lead single, “Everything Is Alright,” was named Apple Music’s “Best of the Week,” hit over 2.6 million streams in Canada, and was the guys’ first #1 at the Alternative format. The track is also currently streaming on Spotify’s “Rock This” playlist. Watch the “Everything Is Alright” video HERE.

The Glorious Sons have garnered over 26 million streams in North America, sold nearly 150k singles, produced nine consecutive top 10 radio singles including “Everything Is Alright” and “Josie,” and earned the title of Most Played Artist on Canadian Rock Radio. Daniel P Carter of BBC Radio 1 called the album one of his favorites of the year, and the band recently completed a Maida Vale live session on the Radio 1 Rock Show as well.

The Glorious Sons Tour Dates:

3/13/18 – Minneapolis, MN @ 7th St Entry *

3/14/18 – Chicago, IL @ Schubas Tavern *

3/17/18 – Atlanta, GA @ Atlantic Station (ALT 105.7’s Shamrock the Station)

3/18/18 – New Orleans, LA @ Gasa Gasa *

3/19/18 – Houston, TX @ House Of Blues *

3/21/18 – Kansas City, MO @ recordBar *

3/22/18 – Denver, CO @ Globe Hall *

3/23/18 – Colorado Springs, CO @ The Black Sheep *

4/14/18 – Columbus, OH @ Express Live! (CD102.5 Day) #

5/08/18 – Bloomington, IL @ The Castle Theatre ^

5/11/18 – Cleveland, OH @ House of Blues ^

5/14/18 – Madison, WI @ Majestic Theatre ^

5/17/18 – Kansas City, MO @ The Truman ^

5/18/18 – Gulf Shores, AL @ Hangout Music Festival ^

5/22/18 – Seattle, WA @ The Showbox ^

5/23/18 – Portland, OR @ Hawthorne Theatre ^

6/17/18 – Dover, DE @ Firefly Music Festival

6/30/18 – Camden, NJ @ BB&T Pavilion (Radio 104.5’s 11th Birthday Show) %

7/28/18 – Belleville, ON @ Empire Rock Fest

8/24/18 – Leeds, UK @ Leeds Festival

8/26/18 – Reading, UK @ Reading Festival

* Headline
^ w/ The Struts
# w/ Franz Ferdinand
% w/ Imagine Dragons


The Glorious Sons Is:

Vocals, guitar, harmonica, keys: Brett Emmons

Guitar, vocals: Jay Emmons

Guitar, vocals: Chris Koster

Drums, vocals: Adam Paquette

Bass: Chris Huot

Young Beauties and Fools

iTunes  |  Apple Music  |  Spotify  |  Google Play  |  Amazon  |  TIDAL

Connect with The Glorious Sons

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PVRIS Unveil Live Acoustic Video for “Heaven”, Are On North American Tour with Flint Eastwood, & to Play Coachella

Los Angeles, CA – Today, PVRIS released the live acoustic video for their hit single, “Heaven,” which appears on their sophomore full-length studio album, All We Know of Heaven, All We Need of Hell (August 2017, BMG/Rise). The record hit #5 on Billboard’s Rock Chart, #1 on Billboard’s Emerging Artists Chart, and has been praised in the press by the likes of Alternative Press, Kerrang!, Rock Sound, NME, and more. Watch the video HERE.

After headlining shows worldwide, touring alongside Fall Out Boy, Muse, and Thirty Seconds to Mars, and performing on Jimmy Kimmel Live!, PVRIS is back on the road on a new leg of headline dates. The trek takes the band across North America and wraps in San Antonio, TX on March 15th. After a short break, the second half of the tour picks up on April 14th in Santa Cruz, CA and concludes in Portland, ME on May 4th.

PVRIS is also confirmed to play the Coachella Valley Music & Arts Festival on Friday, April 13th and 20thalong with additional summer performances at Forecastle Festival (Louisville, KY), Sloss Festival (Birmingham, AL), and Panorama Festival (New York, NY). The three-piece also recently announced a headline show at The Roxy in Los Angeles on April 12th.

A full list of tour dates can be found below, and all tickets can be purchased HERE.

PVRIS North American Tour Dates:

Feb 22 – Pittsburgh, PA @ Stage AE

Feb 23 – Cleveland, OH @ House of Blues

Feb 24 – Grand Rapids, MI @ The Intersection

Feb 26 – Saint Louis, MO @ Delmar Hall

Feb 27 – Milwaukee, WI @ The Rave

Feb 28 – Lawrence, KS @ Granada

Mar 02 – Denver, CO @ Ogden Theatre

Mar 03 – Salt Lake City, UT @ The Depot

Mar 05 – Seattle, WA @ The Showbox

Mar 06 – Vancouver, Canada @ Vogue Theatre

Mar 07 Portland, OR @ Wonder Ballroom

Mar 09 San Francisco, CA @ The Fillmore

Mar 10 – Las Vegas, NV @ House of Blues

Mar 11 – Tucson, AZ @ Rialto Theatre

Mar 13 – Albuquerque, NM @ Sunshine Theatre

Mar 15 – San Antonio, TX @ The Aztec Theatre

Mar 17 – Iztacalco, Mexico @ Vive Latino

Apr 12 – Los Angeles, CA @ The Roxy

Apr 13 – Indio, CA @ Coachella Valley Music & Arts Festival

Apr 14 – Santa Cruz, CA @ Catalyst

Apr 17 – Santa Barbara, CA @ Velvet Jones

Apr 20 – Indio, CA @ Coachella Valley Music & Arts Festival

Apr 21 – Reno, NV @ Cargo Concert Hall

Apr 23 – Boise, ID @ Knitting Factory

Apr 24 – Spokane, WA @ Knitting Factory

Apr 26 – Calgary, Canada @ The Palace

Apr 27 – Edmonton, Canada @ Starlite Room

Apr 28 – Saskatoon, Canada @ Louis’

Apr 29 – Winnipeg, Canada @ The Garrick

May 02 – London, Canada @ London Music Hall

May 03 – Albany, NY @ Upstate Concert Hall

May 04 – Portland, ME @ Port City Music Hall

Jul 13 – Louisville, KY @ Forecastle Festival

Jul 15 – Birmingham, AL @ Sloss Festival

Jul 28 – New York, NY @ Panorama Festival NYC


All We Know of Heaven, All We Need of Hell

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Featured Photo (top) by Eliot Lee Hazel

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


iTunes  |  Apple Music  |  Spotify  |  Google Play  |  Amazon

Connect With LP

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Featured Photo (top) by Michael Comte

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)
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 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)
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)
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 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)
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)
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.


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)
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

Stabbing Westward, Swindy, Amnestic, There Is No Us, Paranova – Club Red 1-12-18

Photography © Looking at You Too
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

Lita Ford – BLK Live 12-16-17

Photography © Mark Greenawalt.
All Rights Reserved