Food & Beer Blogger with a passion for small businesses, Craft Beer Aficionado, Music & Concert Lover, Video Games & Sci-Fi Addict, Arizona Native, Traveler to distant lands... like Tucson. Currently owned by 5 rescue dogs.
PHOENIX — For enthusiasts of musical theatre, the name Sarah Brightman is iconic—and for good reason. A true legend, she began her career as an incredibly influential stage actress before transitioning to a highly successful classical crossover singer—just one of many remarkable stories about her. Brightman was married to composer and impresario Andrew Lloyd Webber, who – when adapting The Phantom of the Opera – wrote the part of Christine specifically for her. She also harbors a deep affection for the Christmas season, thus the “A Christmas Symphony” tour was conceived. And on a slightly chilly evening, this awe-inspiring production was bestowed upon a Phoenix audience at Arizona Financial Theatre.
The stage was bathed in soft blue light as the orchestra settled into their positions, soon joined by a 16-member choir. Just after 7:30 p.m., the concertmaster – also known as the violin first chair – raised his bow, signaling to the conductor that they were ready. The conductor gave a flourish with his baton, and the show commenced. The evening opened with a Nutcracker classic, “Act 2 Divertissement / Trepak / Russian Dance”. As the final notes played, Brightman made her grand entrance.
Adorned with a crown reminiscent of Lady Liberty and a dazzling silver gown, she commanded the audience’s attention. Her glittering dress caught and refracted the erupting stage lights, casting radiant beams into the audience. Smiling warmly, Brightman began with a breathtaking rendition of “Ave Maria,” setting the tone for the evening. When the song faded and the first of many enthusiastic bursts of applause subsided, she greeted the crowd.
With an air of utmost elegance and a voice of silky, unwavering propriety, she shared her love for Christmas and revealed that the evening would feature special guests. She then launched into “O Holy Night,” a poignant rendition that showcased her unparalleled vocal ability. Local child prodigy Markus Amdam Bang then joined Brightman for the angelic “Walking in the Air”.
Brightman’s voice must be experienced to be fully appreciated; as she has the ability to transport the listener to faraway lands and evoke memories of bygone Christmases, warm fires, and cherished stories told by generations now gone. Her voice resonates deeply, moving the most stoic hearts, and bringing childhood back to the old and infirm. Stripped of all artifice, her voice reveals a pure and transcendent beauty.
The concert was expertly curated, weaving traditional Christmas with selections from Brightman’s discography, such as “Follow Me” from her Hymn album, and a luminous cover of ABBA’s “Arrival”. She was also joined by Jay Dref, who performed on several songs, including “Carol of the Bells” and a spectacular version of “The Phantom of the Opera.”
The evening also featured covers of additional artists, such as “Colder Than Winter” by the current backing and occasional lead vocalist of the Eagles, Vince Gill, and Linda Ronstadt’s “Winter Light”. As the show neared its inevitable conclusion, Brightman saved the best for last. Following the powerful “Phantom”, she sang her timeless hit “Time to Say Goodbye,” often performed with Andrea Bocelli, earning her a standing ovation. Her incomparable version of “Amazing Grace” enveloped the audience with wonder, sending chills and awakening deep emotion—bringing a tear to the eye of the greatest cynic.
For the finale, Brightman chose John Lennon’s “Happy Xmas (War Is Over),” a song of protest – of both the Vietnam War and of the song “White Christmas”. After expressing her heartfelt gratitude, she bid the audience farewell, leaving the stage to yet another standing ovation.
Chandler, AZ — On an unseasonably warm mid-October evening, Aesthetic Perfection brought their signature blend of dark electronic and industrial sounds to the Wild Horse Pass Festival Grounds. Aesthetic Perfection is celebrated for their intense performances and thought-provoking lyrics, and on this summery evening, the band delivered an unforgettable performance while opening for Twin Temple and Till Lindemann.
Founded by Daniel Graves – who is still the lead vocalist nearly 25 years after the band first came into existence – Aesthetic Perfection has a contagious energy. Graves noted several times that they weren’t very well-known, but that mattered very little to the audience. After all, what is there not to like? Graves is indomitable onstage, a whirlwind of sound and fury, mixing his nearly non-stop movements and animated expressions with a voice that switched between a vocal-fried metal growl and smooth as butter – something one would expect to hear in a Top 40 song from back when Casey Kasem was hosting the show.
Graves was joined onstage by NOIZITH who switched between the guitar and keyboard throughout the night. NOIZITH was known as PYRCE until recently, and before that, Julia Pierce from the band Cherri Bomb. NOIZITH is an incredibly talented artist, moving from rock to being a DJ and then stepping in to play with Aesthetic Perfection. Playing a sleek black Schecter guitar, NOIZITH made the remarkable look almost routine. Pacing from side to side, posing occasionally, and doing some dancing while shredding, it would be hard to picture another artist who could play off of Graves and his energy any better.
Rounding out the band was drummer Brooke Colucci, known better as “Rock Angel” to many fans who followed her on social media as she went from a 15-year-old phenom to a touring drummer at only 21. Formerly the drummer for the band Plush, Colucci made a name for herself with her drum cover of Tool’s “46 & 2” on YouTube. Colucci was the only one of the trio to stay stationary, in no small part due to the difficulty of moving a drum kit around the stage.
The seven song setlist included a new single “Into the Void,” from the 3 song Bad Vibes EP. Casual goth/industrial music fans may note there is an undeniable Nine Inch Nails influence in the song – with perhaps some Marilyn Manson mixed in there for some good measure. They would be right, as the song was mixed by Sean Beaven, who mixed the aforementioned artists as well.
Graves also made sure to mention the heat – which has stuck around, refusing to leave, much like the first clingy middle school boyfriend who just doesn’t get the damn hint – you know the one. He noted how little it bothered him, as he is a goth who grew up in the deserts of Southern California. This, of course, was tied to the song “Summer Goth,” which has an unexpected yet very welcomed reggae feel to it until you get halfway through and the breakdown reminds you that you are, indeed, at an Aesthetic Perfection show. The song’s vibes felt especially appropriate for the atmosphere of the outdoor concert.
The final songs of the short setlist included “Gods & Gold,” “S E X,” “TOXIC,” “Rhythm + Control,” and “Love Like Lies.”
Aesthetic Perfection “Fall Goth Tour 2024” dates
Aesthetic Perfection may not exactly be a household name for the casual music lover, and this is unfortunate. If you see them on the bill, make sure to check when they’re hitting the stage, get there a bit early, and be prepared for a sonic delight. Graves, NOIZITH, and Colucci are dark, charming characters, and they will absolutely win you over by the end of the show, even if you have never heard of them. This was the case this evening, with the audience eagerly raising their hands into the air at the behest of Graves, gladly posing for a photo behind the band before their set’s finale.
In an era where the encroaching presence of AI threatens to overshadow human creativity, encountering a live performance that seamlessly blends storytelling with musical prowess feels like a breath of fresh air. Such was the experience at Valley Bar, where best friends Victoria Canal and Lucy Clearwater embarked on a joint tour, reminding audiences of the profound connection that human creativity fosters. Valley Bar, nestled beneath a building slowly transforming into the Cornish Pasty, sits at the corner of Monroe St and Central Ave, providing an intimate setting for the evening’s festivities. Clearwater kicked off the show, later smoothly transitioning into Canal’s performance as a member of her band.
Lucy Clearwater
Clearwater assumed the spotlight, strumming her acoustic guitar; later, she would accompany Canal on guitar, as well as showcase her skill on the violin. Clearwater’s multifaceted talent is evident; while many turned to baking sourdough or online tutorials during recent times, she delved into learning German, becoming not only fluent but also a singer in the language with her EP Augenlieder. With her upcoming EP April on the horizon, Clearwater captivated the audience with her ability to evoke nostalgia for experiences yet to unfold, effortlessly blending voice, lyrics, and anecdotes.
Clearwater is exceptionally talented: while the rest of the world learned how to bake sourdough or used YouTube tutorials to learn how to knit during the COVID-19 pandemic, she delved into learning German, becoming not only an excellent speaker, but also a singer in the language with her EP Augenlieder. Perhaps she was inspired by Canal, who although Spanish-American, was born in Munich, Germany. Clearwater is a California native who can claim something almost no one else in the world can: she was born in a cookie factory in Northern California, according to the bio on her website.
With her upcoming EP April on the horizon, Clearwater captivated the audience with her ability to evoke nostalgia for experiences yet to unfold, effortlessly blending voice, lyrics, and anecdotes. At one point, she asked if the audience was ready to go on an emotional rollercoaster with her, immediately apologizing as she recognized she had already started it before performing the first “angry song” she had ever written, “Reconciliation,” which is about her grandfather.
This show marked the eve of the release of “When You’re Down” as a single, set to debut the following day – March 29, 2024. The song served as a poignant response to the heartfelt tribute Canal had penned for her in “Chamomile”. Clearwater’s endearing vulnerability was palpable when she briefly stumbled over the lyrics of “When You’re Down,” only to be swiftly rescued by Canal from the side-stage. As she concluded her performance, Clearwater sealed the moment with a tender gesture, blowing a kiss to Canal, thereby emphasizing the profound bond they share.
A masterful storyteller in her own right, Canal possesses a voice that effortlessly communicates the essence of life through her music. With Clearwater added to the stage, alongside bassist James Quinlan, a synergy ignites. Canal charmingly engages with the crowd, who bask in the warmth of their bond.
Canal is well connected, name dropping Coldplay’s Chris Martin – explaining that he challenged her to write a song at a songwriting camp before removing his shirt in front of her and finishing his laps. He has hailed her “Swan Song” as “one of the best songs ever written” and even collaborated with her on a duet rendition. She has also worked with plenty of other artists and songwriters, such as the legendary Kylie Minogue, Gavin DeGraw, and Adele, and has put out an impressive body of work already.
Despite being born with a limb difference, she defies limitations, impressively playing both piano and guitar. In an interview with Gay Times, Canal said, “My limb difference is the least interesting thing about me.” This sentiment was evident in every song she performed, as each was preceded by a heartfelt backstory, inviting the audience into her world with candid vulnerability. Through her narrative and music, she fearlessly delves into topics such as body dysmorphia, gay culture, and the journey of embracing her authentic self in her sexual identity.
Together, Canal and Clearwater exuded a synergy that elevated their performance to unparalleled heights. As they interwove their narratives and melodies, it became evident that their friendship was not only the foundation of their tour but also a driving force behind their creative expression. As the evening drew to a close, it was clear that in the face of technological advancements, it is the human spirit, embodied by artists like Canal and Clearwater, that continues to illuminate the path forward.
PHOENIX — On an unexpectedly brisk February evening, amidst the peculiar backdrop of lightning streaking across the Arizona sky, an eager audience gathered to experience the second night of Tool in Phoenix, accompanied by special guests Elder, on their simply-named “Winter Tour.” It comes as no shock that Tool effortlessly filled their hometown venue for two consecutive nights. These performances were a delight for fans of progressive rock, as both bands firmly reside within this genre’s realm.
Elder
Elder’s journey began as a trio in 2006, in a quaint seaside town in Massachusetts before eventually relocating to Berlin, Germany. Evolving into the present-day roster of 4 members, lead vocalist and guitarist Nick DiSalvo stands as the sole remaining founding member. The group boasts an impressive discography, including, but not limited to, six full-length albums.
Comparisons abound between Elder and Tool, and while Elder tends to lean more toward the classifications of doom metal and stoner rock, there are undeniable similarities between the two groups. The 4-song, 40-minute set, which felt more like a mesmerizing jam session by a highly skilled and technically proficient ensemble, seemed to defy the passage of time. The band does not do very much that would be considered new, but what they do is done extremely well.
Even without the elaborate visual show that Tool brings to the table, Elder’s performance—accompanied only by their name on the screen behind them—was very enjoyable. It served as a compelling example of why you should show up early to witness the openers. In fact, DiSalvo thanked the crowd for coming early to see them. They are worth catching when they come to town, and one can only hope they will swing by again sooner than later.
Tool
Among the fans in the arena, there was a palpable sense of anticipation, steadily mounting as the clock ticked towards 8:30. Nearly every attendee had settled into their seats about 15 minutes before the lights dimmed, all eager for what was to come—and with good reason. The opening sequence offered a tantalizing glimpse of the extraordinary spectacle about to unfold before their eyes.
The lights dimmed, the crowd erupted into cheers, and a heartbeat from “Third Eye” began. As Tool’s widely-acclaimed drummer Danny Carey climbed behind the kit, a massive skull moved across the screen from right to left in an arc. A second pass gave the skull muscles and blank eyes, a third and final pass gave it skin, irises, and pupils. By this time, guitarist Adam Jones and bassist Justin Chancellor had walked out, taking up their places in front of Carey.
Tool sets the stage in an unconventional way: The bassist and guitarist stand in front of the elevated drummer, who has quite the legendary kit surrounding him. On each side, slightly set back, are platforms mostly shrouded in darkness. Behind Carey, there is a walkway, serving as the domain of vocalist Maynard James Keenan, who adamantly prefers not to be at the forefront of attention. He has been known to face away from the audience to immerse himself in the right mindset for certain songs, but he did not do so this evening.
As the notes for “Fear Inoculum” began, Keenan could be seen pacing in circles on the stage-right platform. Keenan rarely stops moving during the show, and can be seen frequently crouching down as if he is preparing for an unseen opponent he could employ his Brazilian Jiu-Jitsu skills against, given his black belt proficiency. He also rhythmically slaps his legs or pounds his chest to the beat when not singing. In essence, Keenan is a spectacle unto himself, captivating the audience with his dynamic presence.
There is an old adage that everyone knows by now: The only things certain in life are death and taxes. But nowadays, it seems almost incomplete without adding a third certainty: Maynard James Keenan’s disdain for all manner of cell phone usage at concerts. No matter which side you fall on the issue, there is no denying that as a concertgoer in these times, you are likely to partially watch the show through the lens of someone in front of you as they hold up their phone to record a video. Keenan has no problem letting you know how he feels about this, and in fact he insists that venues eject people who have their phones out. 30 or so people were reportedly kicked out during the prior night’s show for violating this rule, and at least 4 were spotted being escorted from the floor on this night.
After “Fear Inoculum” ended, Keenan addressed the ban on cell phones by laying into the culture of addiction to false connections, informing people if they could not put their phones away for 2 hours, they should seek help. His reasoning was that he—and the band—wanted everyone to be present in the moment as they were taking the crowd on a journey. With the exception of the few who discovered that yes, it was still chilly outside, and yes, security was dead serious about enforcement of the policy, the audience as a whole respected the artists’ wishes.
Keenan was not using hyperbole when discussing the journey to come. The show truly is a transformative experience, with visuals that sometimes evoke the sensation of a particularly intense trip on psychedelic mushrooms. A prime example occurred when the screen behind the band abruptly showcased towering, 40-foot-tall aliens peering out at the crowd. Overall, the visuals behind the band are absolutely incredible to see, and there is no denying that they immensely enhance the experience. It should also be noted that Jones is an accomplished makeup artist and set builder—including work on Jurassic Park—and as such, some of the visuals came from him.
Tool has a decent-sized body of work, with just over 50 songs in total, but the shows tend to have somewhat sparse setlists due to the length of their songs. This show was no exception, with just 11 songs, five of which came from 2019’s Fear Inoculum. There was a 12-minute intermission after the first 7 songs, where seemingly the entire arena made a mad dash to offload trash, visit concessions for some more food or drinks, and/or make a pitstop in the restroom.
For those who managed to return in time, they were treated to the sight of Carey—sporting a personalized Phoenix Suns jersey and basketball shorts—standing before a colossal gong. After gently massaging the gong’s surface with his drumsticks, Carey took a mallet, pointed back toward the crowd, and delivered a resounding strike. Following this striking display, he settled behind his drum kit and unleashed a multi-minute drum solo, captivating the audience as it was magnificently showcased on the towering screens behind the stage.
Carey’s drumming prowess is unparalleled, a true maestro behind the kit. It’s not only enthralling to watch but also a delight to listen to him weave his rhythmic magic.
Next up was Chancellor, who delivered a relatively swift bass solo. Despite its brevity, witnessing him coax sounds from the bass that seem impossible was incredibly impressive.
Lastly, but certainly not least, was Jones, who effortlessly shifts between styles, making it a bit more challenging to emulate him. However, witnessing someone defy “traditional” styles in such a remarkable manner is truly awe-inspiring. It’s a sheer pleasure to observe this trio craft music in ways that most can only dream of replicating.
There would be a total of 4 more songs, including “Flood,” which saw confetti dropping from the ceiling during the intro. Right before the final set, Keenan informed the crowd – almost resentfully – that since they had been good, they could film the final song. He also brought up the fact that he would be touring with A Perfect Circle and Puscifer, with a return to the valley in April. He then told the audience that they could take out their “stupid” phones, but warned that if they used their flash while taking photos or had their light on while filming, he would come down and “kick them in their vaginas.” As if on cue, someone immediately held up their phone with the light on, which drew Keenans’ wrath, as well as the attention of security.
What other song is better to close the show with than one of the most recognizable songs in rock, “Schism”? The opening notes may not be quite as recognizable as the riff, but almost any rock fan is immediately going to recognize those notes. It is fun to watch Tool live; every facet of the show is nothing short of entertaining, and the journey that Keenan promises to take the fans lives up to his word. As the final notes faded, Keenan left his perch for the first time, fist bumping each of his band mates before exiting the stage and allowing them to take the final bows they deserve. Keenan is an anti-star, if you will, and yet he certainly has the gravity of one.
Do yourself a favor and go see Tool next time they come to town. And if you are able, go see Puscifer and A Perfect Circle with Primus in Phoenix on April 16th or 17th (SOLD OUT) as well. Especially considering it will be Keenan’s 60th birthday celebration, we have every confidence they will not leave you disappointed. More Tool and Sessanta tour dates on Live Nation.
PHOENIX — On a late October evening in Downtown Phoenix, in a venue named for the street it sits next to – Van Buren – an audience gathered to witness an incredible night of musical diversity, and the final stop on the “Warrior Souls” tour. Three dynamic bands would take the stage this evening, bringing the desert night to life with powerful metal riffs and the pulsating rhythms from these unique bands: The HU, Blind Channel, and NERV. The HU is renowned for blending Mongolian tradition and metal, transporting the audience to far off horizons. Finnish nu metal band Blind Channel ignited the stage with incredibly kinetic music, and the hybrid genre band NERV left a lasting impression with their performance. It was an evening where boundaries were transcended, and as a result, the crowd was left craving more.
NERV bills itself as a genre-bending rock band, which is an apt description, as their music crosses boundaries between emo and metal, and some pop mixed in for good measure. Formed in 2016, the Sacramento, CA-based band is rather new to touring life, as they have only toured three times since forming. They released their first album We’re All Patients Here in October of 2022. However, while newer to the touring life and new to the majority of the audience, the band managed to do something that all openers dream of: win over an audience who has never had any exposure to them.
Lead vocalist Dillon Jones and guitarist and back-up vocalist Scott Buchanan took turns bantering with the audience, with Buchanan immediately gaining fans by wearing a Steve Nash Phoenix Suns jersey on-stage – unfortunately, the Suns would fall to the Lakers shortly after the NERV set ended – and both Jones and Buchanan made sure there was never a dull moment or awkward pauses during their set. Buchanan brought up the Arizona Diamondbacks’ improbable World Series run, which drew loud cheers. Jones also mentioned that singing karaoke until 2 in the morning was a really bad idea, apparently alluding to an incident earlier on the tour where the group had a little too much fun – if that’s even possible.
Buchanan and Jones are joined onstage by guitarist Jordan Grokett and drummer Tyler Clark, and the band put together a 30 minute set that was, in short, extremely enjoyable, and left many hoping for more from the group. Jones has vocals that switch from a buttery-smooth emo style to a gritty sound that would fit in well with Breaking Benjamin, as well as other giants of metal. There is a bright future for this band, and if spotted on a bill as an opener, it is well-worth your time to show up early. You will not be disappointed.
Up next was Blind Channel, a Finnish nu metal band that formed in 2013, and represented Finland in the 2021 Eurovision contest. They would finish in sixth place in the competition with their song “Dark Side.” The organizers of the Eurovision contest asked the band not to flip the audience off – something that did happen during this show, with both the audience and the band playfully flipping each other off – as the Eurovision contest is a family friendly show, so to get around this, the band painted their middle fingers red.
The show started off with “Happy Doomsday,” sung to the tune of “Happy Birthday,” with the band wasting absolutely no time in cranking the energy all the way up to 11 as soon as they started the show off. The band was heavily influenced by Linkin Park, and watching co-vocalists Joel Hokka and Niko Moilanen sing using screams that would have made Chester Bennington proud, it becomes very apparent just how influential Bennington and Mike Shinoda were.
In fact, “Scream” from their 2018 album Blood Brothers was dedicated to Bennington following his tragic passing. The lyrics make it very clear just how much they admired Bennington: “My hero, where did you go?/You still echo deep inside my bones…You gave a choice to those who wanted to bleed/You gave a voice to those who wanted to scream.” The band also did a cover of “Numb” on video, but the song was never released as a standalone.
Hokka and Moilanen are joined onstage by guitarist Joonas Porko, bassist Olli Matela, drummer Tommi Lalli, and DJ/percussionist Aleksi Kaunisvesi.
The band expressed gratitude for being in town, for being on the tour, and made sure to inform everyone where they came from. The band is known in the EU, but had not made a name for themselves stateside. They call themselves the “Backstreet Boys of the metal scene,” and in fact ended their show with a short singalong to the song “Everybody (Backstreet’s Back),” which may have been a bit confusing to anyone who is unfamiliar with the band and unaware of their nickname. There is a bit of a boy band element with the group, so it does fit, but they are far more than a boy band.
Blind Channel, like NERV, should be a must-see when spotted on a bill. The blast of pure energy and fun that comes from this group had a profound effect in bringing up the energy level of the crowd. You could not help but have a great time with these guys. The stage presence, the interactions, the ability to get the entire room to do what they asked with absolutely no hesitation (at one point asking the entire audience to crouch way down until given the word to go back to normal), were remarkable. It is just genuinely fun music with a band that is very good at what they do.
To say the crowd was buzzing, ready for The HU would be a bit of an understatement. The HU (which translates to the Mongolian root word for “Human being”) burst onto the scene in 2016 and has grown steadily in popularity ever since.
They are unique in that they only sing in Mongolian, including their Metallica covers, which are arguably significantly better than the originals due to the depth of sound that the traditional instruments provide, as well as the throat singing that provides a unique sound that builds on the growl of James Hetfield. Part of this success comes due to their extensive touring, including quite a few tours throughout the US. They are relatively frequent visitors to Arizona – frequent, that is, for a band that is based in a country half a world away from the Sonoran Desert. The band visited twice in 2022, once this year, and will undoubtedly be back many more times.
The band expands on tour, from the four core members up to a total of eight, which allows them to bring their immense depth of sound to life. The band uses traditional Mongolian instruments and Tuvan throat singing, or Khöömei, as well as the more modern electric guitar and electric bass.
Galbadrakh “Gala” Tsendbaatar, the lead vocalist and one of the throat singers, who also plays the morin khuur. This instrument is known as the national instrument of Mongolia and is sometimes called a horsehead fiddle.
Nyamjantsan “Jaya” Galsanjamts, another throat singer, who plays the tsuur, an important instrument in Mongolian music culture, as well as the tumur hhuur, which is similar to a jaw harp in the US.
Enkhsaikhan “Enkush” Batjargal, who is also a throat singer and plays the morin khuur.
Temuulen “Temka” Naranbaatar, responsible for backing vocals and playing the tovshuur. The tovshuur is a handmade instrument with two or three strings and may resemble a guitar at first glance.
The four touring members include:
Unumunkh “Ono” Maralkhuu, who plays percussion, tumur hhuur, and provides backing vocals.
Jambaldorj “Jamba” Ayush, the guitarist and backing vocalist.
Nyamdavaa “Davaa” Byambaa, the bassist and backing vocalist.
Odbayar “Odko” Gantumur, the drummer.
The HU played a 15-song set, drawing mostly from their 2022 album Rumble of Thunder, including “Black Thunder,” “This is Mongol,” and “YUT Hövende,” which they dedicated to the indigenous people around the world, but especially to those affected by the Maui wildfire.
The lyrics of their songs are often about war and the old ways, with references to war in the song “Wolf Totem.” The wolf is a sacred symbol in Mongolia, with the Mongols considering them the messengers of heaven, and folklore holds that the great Chinggis Khaan – known to the west as Genghis Khan – came from a union between a wolf and an elk. As such, the song sounds like a war chant, one that would strike extreme fear into the hearts of any unfortunate foe who happened to hear it coming over the horizon, while simultaneously giving the army the ability to run through walls for their leader.
Throat singing was banned during much of the 20th century by the communist regimes that held the areas that the Mongolians call home due to the fact it was considered “backwards,” and the desire to eliminate all traditions and rituals from a culture before being forcibly assimilated by every communist regime in history. This changed in the 80s, and there has been an explosion of throat singers since the ban was lifted, allowing the general public to once again take part in their traditions.
There is another layer to the greatness that is The HU: The music videos are absolutely gorgeous, showing off the beauty of the Mongolian steppes, telling an incredible visual and audio story. Each music video, each song leaves you wanting more.
The same can be said about the shows: they are loud, they are fun, and if you are a fan of metal, you will absolutely have an amazing experience. The show ended with a cover of Metallica’s “Sad But True,” the only song in the encore, and the perfect end to an incredible show.
The HU and NERV have not yet announced new tour dates, but Blind Channel will spend much of spring 2024 touring Europe. While there are no current tours or local shows announced, it is well worth your while to listen to the catalogs and music videos from these extraordinary bands.
Photo Gallery
Photographer: Rodrigo Izquierdo
The HU, Blind Channel, & NERV – The Van Buren 10-23-26
PHOENIX — On a mild mid-October evening, with the first signs of fall evident throughout town – as seen in the changing colors of license plates, and the exchange of the brutal dry heat for a slightly less intense dry warmth – a crowd assembled at Arizona Financial Theatre in downtown Phoenix. Next to fine examples of how architecture should not look (brutalist architecture is the unsalted saltine cracker of the construction world) sits the theater. The crowd gathered here this evening had braved the traffic and lack of downtown parking to bear witness to a metal show like no other: Dethklok and BABYMETAL teaming up as co-headliners on the “Babyklok” tour, with Jason Richardson opening the show up. Dethklok – a fictional band that is surprisingly very real – was touring in support of their newest album, Dethalbum IV, and the new movie Metalocalypse: Army of the Doomstar. BABYMETAL was touring in support of the latest album The Other One, released earlier this year.
Jason Richardson
Jason Richardson took the stage first. Richardson first broke into the music industry at 17, when he took over for Chris Storey in All Shall Perish in 2009. Since then, he has played in Born of Osiris, Chelsea Grin, and currently plays in All That Remains, filling the massive hole left when Oli Herbert mysteriously and tragically passed away in 2018. He has toured as a solo act, and puts on an absolute masterpiece of a solo show. He played for around half an hour, playing a total of 7 songs, including “Tendinitis” and “Ishimura”.
The history of BABYMETAL is an interesting look into the culture and entertainment of Japan. Formed in 2010 with then-13-year-old Suzuka Nakamoto (stage name Su-metal) as the lead singer, 11-year-old Moa Kikuchi (stage name Moametal), and 11-year-old Yui Mizuno (stage name Yuimetal), the group was a subunit of a group named Sakura Gakuin. Yuimetal left in 2018 due to an illness, and was replaced in 2023 by one of their back-up dancers, Momoko Okazaki (known as Momometal). The idea was to fuse the Japanese idol genres with heavy metal, with the result being a new type of metal called “kawaii metal”. There is a very strong J-pop sound to the vocals, layered over thunderous, earth-shaking metal music.
This is combined with choreography that has near military-like precision, with the trio seldom, if ever, being out of sync. The show is equal parts entertaining and organized chaos, and BABYMETAL fans enjoy every second of it.
The chaos began at exactly 8 p.m., with the words “BABYMETAL WORLD TOUR 2023” coming up on the massive screen behind the band. The introduction drew inspiration from Star Wars, with the opening lines being ‘A long time ago in a heavy metal galaxy far, far away,’ followed by a tale of how the FOX GOD chose the heavy metal spirits to make up the band. At the conclusion, the band erupted into a riff that would make Rammstein proud. Even with the band attempting to rearrange the molecules of the audience members with a sustained sonic blast, the cheers from the crowd could still be heard.
BABYMETAL has released 4 albums over the years, starting with 2014’s BABYMETAL, 2016 saw the release ofMetal Resistance, 2019 brought Metal Galaxy and earlier this year the band released The Other One. They leaned heavily on BABYMETAL, opening the show up with “BABYMETAL DEATH”, and following that up with “Gimme Chocolate!!”.
Su-metal and the band said little beyond greeting the audience and giving instructions that were eagerly followed, such as having the crowd turn their phone lights on, getting low (which, in most cases, simply meant taking a seat before jumping back up), and a couple of other actions. While little was said, it is clear that the band has mastered the art of stage presence and crowd interaction. It should also be noted that unlike many recent metal concerts, there was a circle pit from the jump at this show. Watching the dynamics of said pit when the screen showed an overhead view of the audience was also an interesting study. Watching fully grown men slam into each other at full speed while listening to kawaii metal is not something I thought I would write about.
Dethklok answers the question, “What would happen if Weird Al were a metalhead who decided to write NSFW lyrics?” The answer is a bizarre and yet utterly enjoyable hour-long show. The birth of Dethklok came in 2006, when Metalocalypse premiered on Adult swim. The fictional band would soon release a very real album – The Dethalbum – in 2007, which shot to number 21 on the Billboard top 200 list. Lead singer and founder Brendon Small played all the instruments from 2006 until he was joined in 2007 by Gene Hoglan, one of the greatest metal drummers to ever grace the stage.
While the premise may seem a bit odd to an outsider, don’t be fooled. It is pure, silly, and rather metal fun. The show begins with the band members walking to their positions in backlit darkness. Then, the screen behind them plays scenes from the Metalocalypse TV show, including scenes from the full-length movie Metalocalypse: Army of the Doomstar, which was released on August 22nd of this year, while the real-life band performs. If you are not familiar with the show, it can be summed up as an over the top world where the fictional band accidently murders thousands of people with every show, and is also a massive economic powerhouse, but they can’t buy groceries or cook a meal due to their incompetence.
None of that previous sentence is made up, and the over the top moments mixed with the over the top songs attracted a die-hard following that happened to have quite a crossover into the BABYMETAL fanbase. This should be no surprise, as both bands produce some face-meltingly amazing metal, with a twist.
Oh, and Facebones, an animated skull featured in concerts and the TV show, serves as a well-intentioned character, often tasked with providing guidance and explanations, but invariably finds himself unable to convey valuable information before things inevitably go completely off the rails. He makes a couple of appearances, reminding the audience about concert etiquette, such as the importance of not indulging in excessive pot smoking, as no one wishes to take on the role of caretaker.
It gets very weird very quickly, but that seems to be par for the course considering one of the song names is “I Ejaculate Fire,” with an incredibly bizarre music video that redefines the idea of how destructive an STD can truly be.
Your aunt is likely to pray for your immortal soul upon discovering your attendance at a Dethklok concert. You might feel a tad confused and uncomfortable, but the music is undeniably absurd in the best possible way, with a real-life band producing some of the finest metal sounds you’ll ever encounter. Just don’t pay too much attention to the lyrics, or you might realize you’ve been headbanging to a coffee jingle. Not that anyone could fault you; “Duncan Hills Coffee Jingle” is undeniably a banger that leaves you uncertain about whether to charge through a wall to get some coffee or flee, especially since the video playing behind the band strongly suggests the brand has mistaken “waking up” for “burning alive in a pool of superheated coffee.”
The Babyklok tour ended on October 12 in the Los Angeles area, and while BABYMETAL will continue on with another touring partner in Europe, fans will have to wait for Dethklok to announce their next steps. It is, after all, a concept band that just released a film to conclude the Metalocalypse era and has wrapped up their first tour in 11 years. The fandom can only hope to see another tour or two, but if there are no more, it would be difficult to argue against the idea that they truly exited stage left on a high note.
Scottsdale, AZ — On a mild Saturday night – one of the last mild evenings before the Arizona summer heat really sets in – a crowd gathered at Pub Rock Live to watch the final show of LA-based band AL1CE’s “Shadows and Light” tour, with Portland-based Adrian H. and the Wounds and AZ local bands Don’t Panic and Mike and the Molotovs opening the show up.
The venue sits less than half a mile from the border of Tempe and Scottsdale, situated in a low slung strip mall, a victim of the questionable design choices architects tended to make over half a century ago. A quick glance tells the viewer that form and function stopped talking to each other halfway through the design process, and at some point, form was found badly beaten in the alley.
It is a minor miracle that this plaza has survived the development of South Scottsdale, something that could perhaps be attributed to being consistently filled with tenants. Today, one can visit and find an smorgasbord of eclectic tenants: two churches, two gyms, a mattress store, three restaurants – including one that is also one of the best places to buy fresh seafood in all of Arizona – and a barbershop that doubles as a time capsule. The interior appears to have had few upgrades since the early 80s, and the owner – Justin, who the shop is named after – will only charge you $12 for a haircut and a conversation.
Around the corner from the barber shop, one will find the destination for this evening. Above the doors, you will be greeted with a simple sign that says “Pub Rock,” with an old-timey radio microphone dividing the words. Below, to the left of the double doors, there is a warning that you’re about to enter the AZ (Kansas City) Chiefs Kingdom.
Pub Rock started life as Atomic Café in the early 90s. Grey Daze – with Chester Bennington – reportedly played there around 1995. In 1998, the name changed to Chasers, and the clientele and music styles changed as well. In 2012, Chasers was sold, and became Pub Rock, hosting some broadcasts from the very short-lived revival of KUKQ. You will now find an autographed Joe Montana jersey hanging over the bar, surrounded with plenty of other memorabilia. There is a wall of CDs next to the stage, and neighboring that, the merch table. You will also find a security guard who may very well ask you to pet her by the end of the show, as she is a Great Dane named “Gucci,” who is exceedingly well behaved.
Mike and the Molotovs
Mike and the Molotovs (MATM) took the stage first, with frontman Mike Lee saying “Let’s get this shit started! Give it up for AL1CE! Thank you guys for making it out here, we’re gonna close your tour out right.” Lee, for those who are not acquainted with his work, deals in satire. One of his previous bands is Goth Brooks, a Phoenix-based band with a sound that combines the goth metal/industrial and country genres.
Some of the work of MATM is slightly more subtle than other pieces, but the opening number lacked all subtly, and instead reminded you that he is also not the biggest fan of capitalism. The opening line contains the excellent advice of “Don’t let your babies work at Wal-Mart.” The band bills itself as “Spaghetti Punk,” an apt description for the style. There is an undeniable country undertone with a dose of Flogging Molly with the fiddle – played by special guest Tim Sadow – over the guitars. As the first song came to an end, Lee urged the crowd to come a bit closer to the stage, telling them “we don’t bite,” to which guitarist and back-up vocalist Ivan deadpanned, “I bite. Don’t get too close to me.”
After informing the audience that they didn’t have a choice in if they wanted another song, Lee announced that the name of the next song was “If You Want To Be My Lover, The Two Party System Must End.” A glance at the song title may give one the impression that they are about to hear a cover of the well-known song by the Spice Girls named “Wannabe,” but nothing could be further from the truth. There are elements of “American Idiot” hidden in the first few bars of the song, and lyrics that are rather unlike the bubblegum pop that the Spice Girls were known for, save for the line “I’ll tell you what I want, what I really really want!” yelled by Ivan.
There were some surreal moments, including a song about Burger King that involved Ivan slowly ramping up to yelling, “Whopper whopper whopper WHOPPER,” into the microphone, much to the delight of the crowd. This is what makes seeing Mike and the Molotovs a fun event: the band has a message they take seriously, but they don’t turn it into an overly preachy event; instead you’ll have a bunch of fun with listening to a rather fun anti-capitalist band.
Don’t Panic
Don’t Panic took the stage next. Formed back in 2014, the band name is a reference to The Hitchhiker’s Guide to the Galaxy. This is reflected in their latest album – 42 – released in August of last year. If you are unfamiliar with “the Guide”, the number 42 is the answer to life, the universe, and everything. Unfortunately, no one knows what the question is. Why? Well, I would tell you, but I think you should read the book.
As the band took the stage, your eye could not help but to be drawn to the bejeweled mesh mask that lead vocalist Dylan Rowe wore. It would catch the light throughout the show, throwing it back into the audience, adding to the enchantment of the performance. Don’t Panic is a mix of genres, sounding a bit like rock some moments, then some dance, and weaving it all together is Rowe and the back-up vocalist Jeffery Robens, who is also the guitarist. Bassist Ryan Obermeit and drummer Jesse Mitchell round out the band.
There is a bit of Evanescence hidden away in the band, with Rowe and Robens sometimes sounding a bit like Amy Lee and Ben Moody from the very early days of the band. One must also recognize those who do not get nearly enough credit as well: whoever programmed the light show. The stage was small, but the production value punched way above its weight class, and it is impossible not to be impressed by the ethereal short set, which leaves you yearning for an encore.
Adrian H. and the Wounds
Adrian H. and the Wounds joined AL1CE on their continent wide tour, marking one of their first tours since the pandemic began. The band has garnered a bit of a cult following locally in Portland, though they haven’t been quite as active as before the pandemic. They have played with AL1CE previously in October of 2020, and at festivals and internationally, but have been a bit quiet when it comes to touring for the last few years.
Their sound – according to their website – is sinfully soulful. It could also be described as darkwave, mixed with a bit of Nine Inch Nails. It was a nearly blackout, smoky set, with the fog machine getting a bit of a warmup for AL1CE. The band was backlit, with Adrian H hunched over the keyboard on stage left, and the rest of the band cracking out the paradoxically pleasant and yet somewhat monotone EDM and goth metal music.
One could not help but – at the very least – sway along to the music, if not join the others in the audience on what was now a dance floor. The final song of the set brought vitality to the performance as the frontman stepped out from behind the keyboard and had a much stronger stage presence than before. The band was enjoyable as it was, but the change in pace and flow elevated the finale. The set ended without much said, and while it was not the most overwhelming set of the night, they had joined AL1CE on a marathon of a tour and undoubtedly felt all of the miles they traveled. Adrian H. and the Wounds kept the dark atmosphere strong and served as a good segue between Don’t Panic and AL1CE.
AL1CE
AL1CE would finish the night off. In spite of a massive 25-day, 10,000-mile, 24-show tour, there was no indication of exhaustion throughout the set. Even though the band is based in the LA area, they have strong ties to the Phoenix area. Jonah Foree – a bandmate of Mike Lee in Goth Brooks, and the goth metal side of the band – was a prolific and well-loved musician who left us entirely too soon in 2022.
Foree, who was also a member of Ikonoklast and HARDWIRE, organized an annual free show called Mustache Massacre which fostered a collective bond of the gothic community for over a decade. It often featured his bands along with the AL1CE members’ previous project Mankind is Obsolete, and strongly supported other local industrial, metal, and punk music groups as well. This tour marked the first time AL1CE returned to Phoenix on tour after his passing, and a song written by Foree himself called “Drown” was played during tonight’s show. Vocalist Natasha “Tash” Cox was close friends with Jonah, and performed at the memorial show for Foree.
AL1CE is an experience. It is not just the music, it is also the feeling of being welcomed, of feeling like you know those on stage, even if you’ve never met them before. While one can eventually learn how to have a stage presence that will capture your attention, making the audience feel at home is not a talent that can be taught. There was nothing forced the entire night, nothing felt awkward or unnatural. Instead, you are welcomed into the venue, and you become a family of sorts with the band, even if you do not realize it at first. The band wears masks, they wear costumes, and it would be easy to think that they may be a bit different off stage, but that could not be further from the truth.
Cox is joined on stage by vocalist Sasha Travis, bassist and keyboardist Gordan Bash, drummer Steve Kefalas, percussionist Carl Garcia, and Scott Landes on the guitar. The band calls the music “dark electronic rock,” which is definitely true, but there is more to the band than just that. Their cover of “Land of Confusion” is nowhere near as abrasive as the Disturbed cover that most as used to, and is instead a heavy and enjoyable listen. Audience participation came halfway through the show, as a high hat was taken from the stage, put into the crowd, and those who wanted were handed a drum stick to hit the cymbal while one of the band members played a tambourine. While that may seem like a bit of a surreal experience, in context it made perfect sense, and was a unique experience.
AL1CE also performed an impressive cover of Bjork’s “Army of Me” in their unique and enthralling way. It takes talent to take a song, leave a major nod to the original artist, and yet add your own sound on top, a musical cake if you will. This is what this unique and lovely group of humans do: make music feel familiar in a show that feels like home. The show ended – this is the tragedy of all shows; they begin, and thus must also end – and the band stepped off the stage to mingle with those in the audience. And so, in that low-slung building that has witnessed history for the last half-century or so, another chapter closed, another show ends, and we all disperse into the night with gratitude for the memories made and the opportunity to remember Jonah Foree once again.
PHOENIX – In a city where history seems to be but a suggestion, where a shrinking number of hundred year old buildings sit in the shadow of cranes that throw tons of steel and glass into the arid desert air, hoping that unsuspecting outsiders fall in love with the 3 days of reasonable weather per year – which seems to work at an alarming rate – one can still find the echoes of the past, if you look hard enough. One of these echoes is a building on the corner of Monroe and Central Ave, where one door will lead to a dizzying amount of Cornish pasties, another will lead to a jewelry shop where you will be greeted by a 102 year old man who walked through those doors 68 years ago and hasn’t left yet, and yet another leads down a flight of stairs.
Down these stairs, you will find the destination for this evening: a music hall and bar that is collectively and aptly named Valley Bar. At the foot of the stairs, you can turn to the left and find the Rose room, named after the first female governor of Arizona, Rose Mofford, or go straight ahead and enter the music hall. Within the music hall, fans of Phantom Planet and AVIV gathered to witness a new piece of history: one of the seven different ZONA night events, put on as part of the brand new ZONA Music Festival. Both bands would make an appearance the next day at the festival, which they both noted, asking the fans to come join them the next day during their sets.
After a quick greeting, AVIV jumped into her set, immediately commanding attention. While she is not very well known in the US, the 16 year old has quite the impressive resume: She opened for Imagine Dragons during their tour through Canada at age 15, has appeared on TV as an actress (including a scene in American Gothic where she fires a crossbow at one of the main characters) and she toured with the Mini Pop Kids – a band well-known in Canada. To say she is an up and coming solo musician appears to be quite the understatement.
AVIV also recently released her first EP: an 8 song record titled Drowning in the Culture. Between her stage presence, vocals, and rather on-the-nose and relatable lyrics, she shows flashes of Billie Eilish while also charting her own course. After the first song, she thanked the crowd, and then told them, “I love it here! The last time I was in Arizona, I was 5 years old, so a little while ago, but I just remember for the next decade I talked about how it was the most extraordinary trip of my life.” She spoke about the beauty of the state – an opinion that perhaps changed after rain fell for almost 24 hours straight on the festival that followed over the weekend, turning it into a muddy pit of pure fun.
Afterward, she played “Girl in Red,” the song that garnered the attention of those in the music world, leading to her signing with a label. A few songs later, she stopped to discuss the songwriting process of “Sleep it Off.” She explained that the song was written in LA about a time in her life when she was “about 8 or 9,” when someone in her community passed away. The song was based on the reply her mother gave her, which was to “sleep it off.” As she began to explain the process, she wavered a bit as a man in the crowd decided to bless the entire room with his loud, one-way conversation with his apparent date, who did not seem overly impressed with his uninterrupted desire to talk. Fortunately, AVIV is quite the pro, and moved on quickly – hopefully this guy’s date followed suit.
AVIV moved around the stage with grace, dancing as she sang, moving to a keyboard, shining flashes of a superstar in the making. It is likely that those in attendance that night will look back and remember the time that they were fortunate enough to see a superstar in such an intimate setting. Before leaving, AVIV mentioned the ZONA festival, stating that she would be “on the stage under the bridge.” This was the Eddy stage (all four stages were named after local musicians) and it appeared to be the driest stage in the festival, while also being the smallest.
ZONA was held less than a mile from Valley Bar, in a park that was only made possible by another piece of Arizona, and, really, national history: On August 10th, 1990, on a brutally hot summer day, the final piece of the I-10 – a 2,500 mile highway stretching from coast to coast – opened up. This piece was the Deck Park Tunnel, a tunnel that isn’t actually a tunnel; it is instead 19 bridges side by side. On top of this not-a-tunnel sits Margaret T. Hance Park, named after the first female mayor of Phoenix. Who better to open this park than the first female governor of Arizona, the aforementioned Rose Mofford? Sadly, Hance passed away just a few short months before the park bearing her name opened, but her name and legacy will live on.
With the music hall now nearly full, Phantom Planet took the stage. Formed in 1994, the band chose their name from a movie that gained second life when Mystery Science Theater 3000 chose to use it in the 9th season of the show. They have taken two hiatuses over the years: The first lasting from 2008 to 2011, and the second was 2013 to 2019.
In between those breaks, they have done just about everything a band could hope to do: put out 5 albums,Alex appeared on two TV shows and a movie, and their song “California” became the theme song for The O.C.
In between all of that, they have had numerous songs show up in movies and TV shows, and have also toured extensively with a rather eclectic mix of bands, including Guns N Roses, Blink-182, and Panic! At the Disco. They have appeared on enormous stages, yet seem to remember the smaller ones more. They even mentioned the time they played in a smaller stage in Arizona, and while they couldn’t agree exactly where it was, however the general consensus was that it was at the Mason Jar, now the Rebel Lounge.
While they have the pedigree of major bands, they also are one of the more relaxed and tight-knit groups out there, and seeing them in a small space was quite the treat. As the evening progressed, the band joked with each other and the fans, at one point noting that a cable came unplugged during their song, which led to the joke, “Why do we always talk after this song? It’s supposed to be the next one!”
The night was rife with technical interruptions and quick thinking and fixes by the band. At one point, lead singer Alex Greenwald broke his guitar string, and a discussion onstage about how to handle it was rather amusing and charming. Lead guitarist Darren Robinson grabbed the guitar from Greenwald, handing Greenwald his guitar, and giving bassist Sam Farrar and drummer Jeff Conrad a break as Greenwald decided to move “California” from the encore to the middle of the set. Greenwald played solo, singing along, while Robinson quickly changed the string, tuned the guitar to the best of his ability, and handed it back to Greenwald upon completion of the song. More lighthearted banter would follow from the band, between each other and the fans who could not get enough.
The set – which lasted about an hour and 15 minutes – saw the band squeeze in an incredible 13 planned songs and two requests from the crowd at the end. At the height of the performance, the frontman entered the crowd and allowed fans to swarm around him as they thrust smartphones forward, recording video inches from his face. As the night drew to a close, he reminded the audience that Phantom Planet would be playing the next day at the ZONA fest on the Ronstadt stage – a day that might’ve had fans of the band singing “One Ray of Sunlight”. While the crowd cheered with great enthusiasm, the band members radiated smiles as they left the stage.
Phantom Planet setlist – Valley Bar 12-2-22
This night was a confluence of history: The forming of a new festival, the gathering in a building where history oozes from the walls themselves, and the memories made during the time the two immensely talented bands were on the stage. While it remains to be seen if 2023 will bring another ZONA Music Festival, the hope and plan is that it will. When it happens, one would be amiss to hesitate in purchasing tickets to see history made once again.
PHOENIX – Panic! at the Disco returned to the Valley of the Sun for the first time in over 4 years; the longest absence from the state since the group was formed. At one point – between Valentine’s Day 2014 and March 29th, 2017, Panic! at the Disco (Panic) visited the Phoenix area a whopping 7 times, so the 4 year absence – in part due to the pandemic – meant that the fans in this area were hungry for the pageantry that comes with a Panic stage show. Opening for Panic was Jake Wesley Rogers, who catapulted into the public’s eye in 2012 when he competed – and was unfortunately eliminated in the quarterfinals – on America’s Got Talent. Following Rogers was MARINA, a Welsh-born singer/songwriter who started on her path to stardom across the pond in 2005.
The three artists visited the valley on the “Viva Las Vengeance” tour, in support of the latest album – of the same name – from Panic! at the Disco. Together, the three bands promised to put on one entertaining show. The stage was a bit different than what most are used to with a square catwalk surrounding a standing room only pit for the lucky few who were able to score those prize tickets. If one were to stand in the middle of that area, it would only be around 15 feet from the stage in all directions, making it an incredible place to view this show.
As his accompanying band started up, Rogers emerged wearing a white, sparkly suit with ruby red high heeled boots. It was a triumphant entry, his hands held high as he spun around before he took a seat at the piano.
Rogers may not be the most recognizable name on this tour, but he was an excellent choice to join Panic! He was an entertainer though and through, projecting some Freddie Mercury vibes when he whipped off his jacket, revealing a tank top. It would be easy to get lost in the majesty of his stage presence, but he is not only great at setting a scene and then chewing it right up, he is also a staggeringly talented vocalist.
At one point, he performed a cover of My Chemical Romance’s “Welcome to the Black Parade,” to the delight of the crowd. The mix of his vocal talents and his ability to impressively emulate Gerald Way shows that Rogers is the consummate entertainer, and we will likely see him quite a bit more on tours – perhaps even headlining on the scale of Panic – in the future.
Mid-set, he introduced himself and explained he was from Missouri, “You know…the Bible Belt,” and, chuckling, he showed off the soon to be infamous high heeled red boots – perhaps a nod to Brendon Urie’s time in the Broadway musical “Kinky Boots” – and stated “I like to think I was the rhinestone on the belt buckle.”
The 30-minute set was capped by “Pluto,” the title track of the album he released last year. As his performance was coming to an end, he announced he was putting his phone number up on the screen, and he would select one person to upgrade their seats. This was his way of giving back, as he had told the story of how, growing up, his mother took him to concerts, but they ended up sitting in the nosebleeds. This was his way of taking someone who was in the same type of situation, giving them a night they wouldn’t soon forget.
As the stage change occurred, a banner with “MARINA” was raised. This act alone caused a cheer to rise from the crowd, and it became clear that there is a huge portion of Panic fans who are also MARINA fans. It’s easy to see why, as they both share the flair for the dramatics.
While there are no pyrotechnics that back up vocalist Marina Diamandis, she truly does not need them. She came out wearing a pink dress, slinking onto and owning the stage, and she launched into “Ancient Dreams in a Modern Land.” Standing on a white platform, Diamandis commanded the attention of the audience, keeping them in awe for the entire performance.
She greeted the crowd before “Man’s World,” saying “Phoenix! How are you feeling tonight? I’m so, so happy to be here, thank you for the warm welcome! I wasn’t expecting it.” Diamandis was extremely grateful for the love that the crowd showed her, thanking them between many of the songs, and also seemed a bit surprised at how well the crowd knew her music. Her mix of confidence and humbleness endeared herself to the crowd even more. It was hard to walk away from her set and feel anything but awe for her performance.
When she started out, she had stated she was influenced by Britney Spears and The Distillers’ singer Brody Dalle. She is now an influence herself, and there are undoubtedly many musicians and vocalists who are inspired by her for good reason: Her voice is stunning, she has the stage presence of a superstar (making the most of a minimalist background), and her lyrics are sharp and pointed, even with the upbeat sounding music. In short, it is no wonder that so many knew her music, and no wonder that she was given such a warm welcome from the crowd. Over the course of a 12-song set, she moved between the platform, her piano, and walked the stage with a fierce confidence. She closed her portion of the show with more gratitude to the audience, followed by “Bubblegum Bitch,” which drew the biggest cheers of her set.
After MARINA’s set ended, the temperature in the arena started to plummet. Signs on the pillars on the way in warned that there would be flashing lights, smoke, and pyro effects. When you see a sign about pyro in an arena, and you feel the temperature dropping, it is a good sign that you’re about to get a lot warmer, and not just because you’re going to be dancing yourself into a frenzy. Panic! at the Disco is well known for their stage shows, which are always over-the-top and some of the most fun you can possibly have at a concert.
There is also a build-up of anticipation before the show starts: on the sides of the stage, a clock counts down from 10 minutes, giving fans plenty of warning so they could return to their seats. During this countdown, various songs were playing, and as the last couple of minutes ticked by, the newly rediscovered masterpiece of a song “Running Up That Hill (A Deal with God)” by Kate Bush. As the song ended, the lights cut out, and a simulated thunderstorm started.
Lights flashed, thunder rumbled, smoke poured from the stage and the cheers started. And then seemingly out of nowhere – due to some fantastic misdirection – Urie stood on the outer edge of the stage with a huge grin and a microphone. As he began to sing “Say Amen (Saturday Night),” he also began to slowly make his way around the loop up to his ultimate destination of the main portion of the stage.
For those who have not attended a Panic show, Urie is a showman to the core – a flashy entertainer who will make sure you’re having the time of your life. The first 6 songs of the set were quite familiar to the fans, ranging from “This is Gospel” to “Emperor’s New Clothes,” the song when the pyro really kicked in. As the skulls on the screen behind Urie and the band laughed, flames erupted across the stage. 30-foot flames produce massive amounts of heat, and with multiple fireballs erupting, it became very clear why the arena attempted to turn the massive room into an icebox.
Once the first portion of the show ended, Panic proceeded to play the entire new album, starting with the title track “Viva Las Vengeance.” Not all of the songs were overly impressive, but the presentation is what mattered most here. Joining Urie on stage was a guitarist, bassist, a small brass section, and stringed instruments. The three stringed instruments – two violins and a cello – were thrust into the spotlight during the openings for most of the new songs. The brass section would get their chance to shine during “Death Of A Bachelor” later in the show, as everyone – including the drummer – left the stage beyond the saxophonist, trumpeter, and the trombonist, who all joined Urie at the outer edge of the stage.
The tracks off of Viva Las Vengeance range from the tragic in “Don’t Let The Light Go Out”, to the bouncy “Sad Clown” – which sounds as if it was pulled straight from a musical. There is even a song that might make some imagine that Will Ferrell and Christopher Walken are about to burst onto the stage: the cowbell content of “Sugar Soaker” is excessive perfection – which is perhaps a paradox – but unlike “Jumbo Shrimp,” this makes sense once one sees a live performance of the song. Many bands don’t showcase their entire album at once, so it was a bit unusual to have 12 songs sandwiched between classics that all Panic fans know and love.
The new album also shows off the incredible, unearthly vocal range that Urie has. The 4-octave range is used throughout the previous albums, but to witness it in person is breathtaking. There seems to be very little that Urie cannot do, and he appears to relish each moment up on stage. The fans relished it as well, and the Shakespearean saying “parting is such sweet sorrow” would apply here. Fans in Phoenix will undoubtedly eagerly await the next show, which hopefully will not require another 4-year wait for Urie and his crew to give us a dazzling spectacle of lights, sounds, and imagination.
PHOENIX – In support of their new album Omens, Lamb of God performed with Killswitch Engage at the recently renamed Arizona Financial Theatre. Nearing the end of the approximately 2-month long “Omens” tour, an impressive slate of east coast bands was completed with acts Fit for an Autopsy from New Jersey, and the Washington D.C. progressive metal band Animals As Leaders.
There are certain elements that are expected at every metal show: One is a circle pit, which – for the uninitiated – is what it sounds like: a moving circle of humanity, some slamming into others, and others just there to run around and avoid those hits. Most in those pits walk away with mutual respect for everyone else who partook, and it is a staple for most shows no matter the size. Another would be passing by religious protests outside of the venue. While the protesters are mostly there to yell at attendees, they also provide comic relief for the fans of a band that used to be named “Burn the Priest.” There is also an unwritten rule that a metal show should have fire of some sort, and to the delight of the pyros in the audience, this show delivered.f
Smoke rose from the stage as the pit filled and fans trickled to their seats. Drummer Josean Orta, guitarist and backing vocalist Pat Sheridan, guitarist Tim Howley, and bassist Blue Spinazola of Fit for an Autopsy (FFFA) took to the stage, with the first note of “Sea of Tragic Beasts” shortly following. Lead vocalist Joe Badolato erupted onto the stage, yelling out “ARIZONA!” before singing the first lines of “Tragic Beasts.”
FFAA have previously stated that they get their inspiration from Lamb of God (LoG), and in fact, Badolato temporarily replaced LoG lead vocalist Randy Blythe when he contracted COVID-19 earlier this year. Fit for an Autopsy released a cover of “Walk With Me In Hell,” whichMetal Hammer postulates is even heavier than the LoG original release.
Indeed, while it is possible to draw parallels between the two, FFAA is often heavier than their idols. Badolato stalks the stage, headbanging between lines, and implored the crowd to bring their energy levels up. For some, a 4-hour long metal concert means a slightly less than energetic reaction to the opener, no matter how heavy they are. Badolato did his best to bring up the energy in the venue, so at one point – right before “Pandora” – he told the crowd that the song “involves a very massive circle pit, the biggest one this room has ever seen.” The fans gladly placated him, quickly forming a circle pit for the duration of the song.
As the set drew to a close, Badolato spoke about his time in the Phoenix area, mentioning he had lived there for a year during the pandemic, and noted his mother was currently at the concert. What Badolato didn’t mention was the fact he had owned a barbershop next to The Nile in downtown Mesa during his time in Arizona. He is a talented barber who regularly gives those on tour with him haircuts and beard trims.
The next band to take the stage was Animals As Leaders (AAL) – a trio of exceptionally talented musicians: Guitarists Tosin Abasi and Javier Reyes, and drummer Matt Garstka. There was but a single microphone on stage, set in front of Abasi, who used it sparingly. The music speaks for itself, with Garstka putting on an absolute clinic behind the kit. The ease at which he plays complex and technical beats are borderline unfair, and he is known as something of a prodigy. Currently just 33, he joined the band at 23 and has been blowing the minds of audiences ever since.Drum Magazine wrote an article – albeit nearly a decade ago – about the technical prowess of Garstka, and it seems the only thing that has changed is his skills have simply increased.
AAL being a three-person band means that each member needs to be able to perform at the top of their game, night-in to night-out. Reyes and Abasi do just that, and what these two wizards do with their 8-string guitars is something that no one would want to miss. In fact, as soon as they left the stage, the many in the pit – and the audience in the seats – made a beeline for the restrooms and concession stands. In a genre where it is not surprising to see two or three guitar players and a bass player, watching these two execute some incredibly complex patterns with no margin for error, producing sounds that normally take full bands to accomplish, it is no wonder that the theater stood in rapt attention, watching and soaking up every single note that poured forth from the trio.
Compared to the other three frontmen in the night’s lineup, Abasi was a soft spoken – yet firm – and calm voice between the 6 songs the band performed. The set opened with 2016’s “Arithmophobia” – a song first performed live at the now defunct Livewire in Scottsdale, Arizona – and then showcased 4 songs from their newest album, The Madness of Many, before the band circled back to “CAFO” from their 2009 self-titled debut album. Before CAFO started, Abasi asked the crowd to give the crowd a round of applause for each of the other bands before saying, “this is going to be our last one of the evening. We’ll catch you next time we’re in Phoenix, take care.”
Killswitch Engage seemingly has become a staple in the Phoenix music scene, even though they’re based far across the country. This was the third time in this past year that they had performed in the Phoenix area, but there was no sign of fatigue from fans. The repeated appearances could also be due to the tour manager having roots in the area; a bonus for the band since the manager has contacts with local businesses and can get some great local brews delivered.
As they took the stage, the difference between the size of the drum kit that AAL’s Garstka uses and that of Killswitch Engage’s drummer, Justin Foley, is notable. Foley prefers a smaller drum kit – a simple set-up compared to the monster that Garstka uses – but he is a master behind the kit. Literally; he has a masters degree from Hartt School of Music and has played with symphony orchestras in the past. It cannot be emphasized enough: Garstka and Foley are genius drummers, and to see the two back-to-back is a rare treat.
The rest of Killswitch Engage is vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, and bassist Mike D’Antonio. Leach, while an intense presence onstage, does not have the angry, caged-animal style Badolato and Blythe share. Instead, he moves around from side to side with something that could be considered grace if one were to compare him to his contemporaries.
There is a mutual interaction – something unspoken if you will – between Leach and the fans. It is not to say the other bands cannot connect with the audience, it is instead that Leach focuses on connecting to the fans onstage, and his charisma shines through naturally. At one point, he stated that “At the end of the day, it’s all about unity man, it’s all about us coming together to have a good time.” He also made a point to ask how the people up in the nosebleeds were doing, and after asking if they have a bar up there, he said, “At least they’re taking care of you up there!”
As the night drew to a close, the band jumped into their cover of Dio’s “Holy Diver”, a song they released in 2007. After it finished, Leach acknowledged the fans who sang the entire song, and then paid tribute to Ronnie James Dio by saying, “You have to pay respect for the masters, the ones who have paved the road for us.” Leach closed the night out by dedicating “The Signal Fire” to their managers, saying they had taken care of them in their 20s, and now they’re “old pricks.” As that song wrapped, Leach told the fans, “We love you!” before leaving the stage.
As the crews rushed out to set the stage for Lamb of God, a curtain was lowered, covering the stage and raising the anticipation for this upcoming spectacle. The song “Memento Mori” began to play as the lights fell – inciting cheers as a backlit, swaying silhouette of Blythe appeared. He sang the first few lines of the song in a surprisingly controlled, quiet – relatively speaking – manner. Then, a concussive pyrotechnical effect exploded, the curtain fell, and the night devolved into a maelstrom of noise, fireballs, and screaming guitars.
As mentioned, Blythe has the stage presence of a caged beast; one that prowls in open, plain view, looking for his next prey to pounce on. His audience is utterly captive, and responds to his commands with glee. Circle pits opened, grew, shrank, and bodies surfed to the front of the stage where security helped them down to safety. Those who made it up to the front would then run back around and join the pit, where the entire process would start all over again.
There was a sense of euphoria in the air during this show, mixed with the overwhelming sonic boom that LoG produces. Blythe is joined onstage by guitarists Mark Morton and Willie Adler, drummer Art Cruz, and bassist John Campbell.
It is hard, if not impossible, to overstate just how much talent crossed the stage on this night. There is a bit of duality with Blythe; the character you see on stage is diametrically opposed to the person who he is offstage. The angsty, stalking beast exists in the way he approaches the issues of social justice – directed at the oppressors – but he is also an example of integrity. His arrest in the Czech Republic in 2012 is an example of this, and he made brief mention of his arrest before the start of “512,” which was inspired by his experience. An excerpt from his book on this matter can be found in the Rolling Stone article, “Lamb of God Singer Reveals What He Remembers of Deadly 2010 Czech Show.”
Once “512” ended, he announced – to the frenzied cheering of the crowd – that they would be playing “Grayscale,” the 8th song off of Omens, live for the very first time. In typical LoG fashion, the entire album is a ridiculously incredible display of lyrical mastery as well as the artistry that comes from the masters of guitar and drum, providing Blythe a wonderful tapestry to weave his vocals onto. The album is a must have for anyone who even remotely enjoys LoG, as it is another banger of an LP from the legendary band.
Throughout the night, Blythe made mention of the first show that the band had played at this venue 16 years ago with Megadeath. In the 16 years since first playing at the venue, LoG has returned 7 times, and is currently one of the few – if not the only – bands to play under all four names the theater has had. The venue currently known as “Arizona Financial Theatre” has had the names Dodge, Comerica, and Arizona Federal over the 20 years since it opened in downtown Phoenix. It is a very popular spot for LoG, as they have played half of their Arizona gigs in the venue since 2006, for a total of 8 shows there in 16 years.
The end comes even if no one is ready for it or really wants it to happen, and after thanking the crowd, jumping off the stage and singing with the front row of the mosh pit, and after the fiery stage show, it was time for Lamb of God to say goodbye.
The last song of the night was “Redneck,” off the 2006 album Sacrament, released shortly before the first show they played at this theater known by many names. As the song came to a close, another concussive blast shook the venue, and the night officially ended. With quite a large fanbase in the area, there is little doubt that Phoenix will again see these four bands that are exceptionally technically adept and soul-shaking.
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