Burning Hot Events

While tours can start anywhere, it felt like Glendale had an honor bestowed upon them by Swift choosing it as the kick off for this tour: her first tour in nearly five years (her Reputation Stadium Tour ran from May to November in 2018) and her first live performance since she played the City of Lover album release concert in Paris on September 9, 2019. There was not one person out of the 70,000 people in attendance who took for granted how special these moments were. While many people took the break between Paramore and Swift to try to rush to the merch stand (which was practically decimated by the end of the show) to snag a tour shirt or the sweet tour poster that was exclusive to the opening night, when the graphic switched from the collage to a two-minute countdown, accompanied by a giant clock approaching midnight, everyone rushed back to their seats.

The cheers started with the countdown and grew louder and louder with each passing second. When the timer hit zero, the clock struck midnight, and the stage went briefly black, there was a roar that likely eclipsed any the stadium had heard before, even at the Super Bowl – which the stadium hosted just a little over a month ago. Individually appearing, various rooms hinting at the different eras of Taylor Swift’s career filled the screen. As each room materialized, the audience recognized it with a pop of excitement before it floated away, making way for the next one, providing a tantalizing glimpse into the evolution of her music.

Finally, a large door in the center of the stage rolled up, pouring out white light, and from it came a parade of Swift’s dancers covered by a large sails swooped over their bodies that they then each unfurled, one by one, into giant peacock-like tails. As they moved in cadence to the center of the massive catwalk, they encircled a portion of the stage, collapsing in the sails for a moment before pulling back to reveal Taylor on an ascending riser as she went into the first song of the tour: “Miss Americana & the Heartbreak Prince” from Lover. This was her first live performance of the song – in fact, her set included 12 songs making their live debuts.

Though some might argue this point, Taylor Swift is the biggest artist in the world right now. She has moved into a rarified position of success that places here alongside luminaries such as Madonna, Bruce Springsteen, Prince, and Beyoncé; artists whose tours will sell out the moment tickets are available, and artists whose tours are more than just live performances of their catalogs but something more akin to a cultural event. “I just want to welcome everyone to the Eras Tour,” she greeted the crowd after her performance of “Cruel Summer” from the Lover era portion of the show. “We are going on an adventure, one era at a time, across the 17 years that I’ve been making music,” she told the crowd. “Thank you from the bottom of my heart for making it here tonight,” she added, acknowledging the effort fans went to to get tickets to the show. Demand was so high that this night ended up being the opening night of the tour, after tonight’s show on March 18th sold out so fast that she added last night’s show.

Though it is difficult to process this, primarily because she seems so forever young, Taylor has been releasing albums for 17 years now, and the tour is called the “Eras Tour” because across those 17 years are distinct eras of her career. If you want to talk about the company she keeps, how many artists have had a career so long and so successful that it can be defined by distinct eras of the career? That would be Madonna, Bowie, and Prince, but beyond that, though, there are no others that immediately come to mind. “I’ll be your host this evening. My name’s Taylor.”

Even if she had simply built the tour around playing songs from each album, from each era, it would have been an incredible concert experience, but her stage show cannot be understated. It was the most singularly impressive stage show, perhaps ever. Every aspect of it was designed to add depth and nuance to the performance of each show. From the massive screen that projected visually stunning videos to accompany each song to the catwalk that was so long and so wide it felt like an airplane could have safely landed upon it. In fact, as she heaped praise on everyone involved with the production of the show, she regularly mentioned the crew, who deserved a moment to take a bow themselves, as the show featured multiple massive set pieces and some of the quickest costume changes any artist has pulled off without missing a beat in the show.

Of the many impressive set pieces, during the Evermore era, an exquisite grand piano, covered in moss rose up from the stage in front of a grandiose willow tree onscreen. As Swift took a seat at the piano to perform “Marjorie,” and even her microphone at the piano looked like it was a part of a tree branch, fashioned into a microphone. What other artists have that attention to detail? “We have so much to catch up on,” she said to the crowd after the song faded. In the five years since her last tour, Taylor has released four records, which in itself is an impressive feat to marvel, and three of the first four eras covered during the concert spotlighted some of those albums: Lover, Evermore, Reputation, and re-recorded versions of Red and Fearless, with many of the songs making their live debuts.

For “Tolerate It” a full dining room table was brought out the video behind it projecting an impossibly long dining room descending deep into a vanishing point of blackness, emphasizing the distance between Taylor and a lover in a quickly-fading relationship. She sang at one of her dancers, standing in for this disengaged boyfriend, as he looked everywhere but at her. She sang at him, crawling across the table in an aggressive plea to get his attention. Her show is made up of so many living music videos. Next up was the Reputation era, with electric performances of “…Ready for It?,” “Delicate,” “Don’t Blame Me,” and “Look What You Made Me Do,” before a brief stop in the Speak Now era for “Enchanted.”

Though there was no point of the show that lacked for even a second in vibrancy and emotion, the Red era was nonetheless a highlight of the show, with even Taylor acknowledging how special it was, “You might be able to tell by the aggressive color blocking, but we are now in the Red era,” she told the crowd after “I Knew You Were Trouble.” She also made light of her re-recording of it as a part of her “Taylor’s Version” series of albums, as she reclaims her early albums that in effect had been stolen for her. “I’d like to play one more song from it, if you have 10 minutes to spare.” The mention of “10 minutes” made clear what was coming, as she closed out this era with a gorgeous solo performance of the new 10-minute version of “All Too Well,” from the “Taylor’s Version” of Red. Though it would be hard to pinpoint exactly, it felt like a pinnacle emotional moment for Swift and every person in attendance.

Though this show was described by Hayley Williams as “a celebration of Taylor,” Swift used it in many ways to celebrate her fans who have loved and supported her across those 17 years. A recent Forbes article identified her fanbase as being “mostly” white female millennials, but to look around the 70,000 fans packed into State Farm last night, you realize truly what makes Taylor’s appeal so special: it isn’t just one thing. Just before her performance of “All Too Well,” she took a moment to greet the crowd, saying “Welcome all my guys and gals and non-binary pals,” which elicited a huge cheer from the crowd. Her shows have potentially the most-inclusive audience in music at the moment. Everyone felt equally represented and equally welcome at the Eras Tour. From those white, female millennials to every gender, race, nationality, orientation, and so on. Spotted in the crowd, at one point was a tattooed man with a sparkly, sequined shirt that said “This Hardcore Dad 💓Taylor Swift,” as he walked to his seat with his wife and children.

It was indeed a celebration of Taylor but most definitely a celebration of the fans. To understand the relationship she has with her fans, as one fan put it, “Taylor manages to communicate and really connect with her fanbase on such a personal level, making her one of the most relatable and inspirational artists of our generation.” These sentiments were felt and echoed from every corner of State Farm Stadium.

During the Folklore era, Taylor told the crowd about starting to write the album “about 2 seconds into the pandemic,” and treated the writing process like a living journal of her life and experiences during that time. My albums have been excruciatingly autobiographical, she added with a laugh, before the more serious acknowledgement that this often meant her work was “dissected like a live public autopsy,” being minded for details about her personal life.

Her Folklore era was performed on one of the night’s most impressive set pieces: a full cabin that she performed in, around, and on top of throughout the songs from that album. She performed “Invisible String” while sitting on the roof of the house, like a woman staring at the stars and contemplating life. After coming down to the second story of the cabin (yes, it had an up and downstairs), she told the crowd about how she’s spent her career trying to teach men how to apologize in one of the funnier but true moments of the show. “If they’d only listen, I have laid out for them in three minutes exactly how to do it,” before her performance of “Betty.”

The 1989 era had some of the biggest dance numbers of the night. Of the many people who deserve a mountain of credit, Taylor’s dancers brought an extra kick of life to each song throughout that era. It should be noted at this point that she had well past the two-hour mark of the evening and had played 30-plus songs of her catalog, ranging from the hits to some deep, deep cuts, with all gracefully appreciated by the crowd who sang along and cheered every number. In this stretch of the show, even the most-recently converted Swifties were singing and dancing along to “Shake It Off” and “Bad Blood,” which was accompanied by fire bursts from different points in the arena adding a shot of warmth felt by all.

Never one to stick to a particular style or tone, she followed the adrenaline kick of the upbeat 1989 bangers with two solo acoustic numbers. With the dancers off the stage, she pulled on her acoustic guitar and told the crowd that on each stop of the tour, she intended to play a different song during this portion of the show, so that each crowd got something special. The tour kick off Glendale crowd were treated to a beautiful take on “Mirrorball” from Folklore. She followed it up with her sole song from her 2006 self-titled debut “Tim McGraw.”

Afterwards, in one of the most impressive moments in an evening full of them, the sounds of incoming flood waters poured from the speakers around the stadium, growing louder and closer with each wave. Taylor, with a brief worried moment on her face, said, “Uh-oh,” and dove forward, disappearing on the stage. An aerial camera ran the length of the catwalk showing Taylor “swimming” beneath the incoming flood waters. On the big screen were images of tidal waves crashing down on the stage and signaling the final era of the evening: the Midnights era.

As this was the kick off of the tour, the seven songs making up this era were all making their live debuts. It also brought back her impressive array of dancers who went for it on every song with joy spread across their faces. As the show surpassed the three hour mark and passed 40 songs, Swift, the dancers, and her backing band showed no lack of energy and enthusiasm, as they ripped through “Lavender Haze,” “Anti-Hero,” “Midnight Rain,” “Vigilante Shit,” “Bejeweled,” and “Mastermind.” At 42 songs, she asked the crowd, “Do you have time for one more?” The cheers indicated that of course they all did, and honestly would have stayed all night if she just wanted to finish performing the rest of her discography that she hadn’t gotten to yet. She closed out the evening with “Karma” and took a final bow with the dancers before finally exiting the stage.

Taylor Swift has had a 17-year career and still somehow feels like she has not yet reached her apex mountain. Even some of the most successful artists had their time in the spotlight come and go in less than 17 years and have moved into the legacy point of their career, but not Taylor. She is firmly in the conversation for biggest artists of all time. She is truly, firmly in rare company in the history of pop music across all eras. This is her moment and yet it is still just the next era of her career. No doubt, she still has yet to peak and will for sure some day play another Eras Tour to celebrate the next 17 years. The crowd at State Farm Stadium will line up for those tickets too for sure. She might have to add a third night for it.

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Albums, Albums & EPs, News, Reviews

REVIEW: Distant is Out to Destroy Everything in Their Path with the New Album Heritage

February 10, 2023 Ryan Novak Leave a comment

Heritage, the album released today by five-piece downtempo deathcore band Distant, is the band’s third album, and the second with their current line up – joined by Jan Mato on drums and Eise Smit on guitar in 2020. While their second album Aeons Of Oblivion showed what the band was capable of, especially on the four-part “Ritual,” an almost deathcore suite, Heritage is the band at their full power.

While the band is legendary for the brutality of their music, the opening track “Acid Rain” is almost beautifully melodic with an undercurrent of doom, like a fairy tale that starts with a welcoming path in the forest but portends darkness buried deep in the woods.

That darkness erupts on “Paradigm Shift,” and if a paradigm shift is a fundamental change in approach or underlying assumptions, then the song represents that for the band. Building off of “Acid Rain,” the track announces the band’s new direction, like their first two albums were the hunt, and now with Heritage, they’re here for blood.

The third track, “Born of Blood,” builds slowly, propelled by guitarists Vladimir Golic and Nouri Yetgin’s twin-assault pulverizing riffs. In the background of the song, though, is a swirling rhythm pulling the listener upwards with the song. Alec Grnja’s vocals seem to swirl throughout the song’s vortex before casting you out of the apex into the ether.

The centerpiece of the album is “Agent Justice,” a seven-minute epic that sounds like the score for an cult-classic horror film. The video for the song sees the band performing live, trapped behind a staticy red and black color palette, like you’re seeing it on a channel you’re not meant to watch, and the band is fighting through the static to the surface. While everyone shines on the track, Jon Mato’s blast beats are so relentless that it is astounding to realize a human being is capable of maintaining such a persistent beat. The song is a rollercoaster, taking you to its very peaks and then dropping you, screaming face-first into an almost-calming piano interlude that only gives to another sharp climb. Grnja’s vocals threaten to tear you in half as they run at you full force.

Tracks such as “A Sentence to Suffer” and “Human Scum” are played at such furious intensity that you can feel blood dripping from the tracks, with each member of the band going hard on both songs. The one-two punch of closing tracks “Orphan of Blight” and “Plaguebreeder” both start with the same kind of haunting, almost orchestral sound that then pulls you down sharply into an audio demolition derby, throwing you around and around until the merciless conclusion.

For a band that describes their own sound as “bone-crushing, thick-as concrete heaviness,” Heritage might as well be a hydraulic compactor, the kind that could pancake a military vehicle. The band has never sounded tighter and more in tune with each other than ever before. Grnja’s vocals are intense, working in conjunction with Golic and Yetgin’s guitars – which would be intense enough on their own, but combined with Elmer Maurit’s steady basslines and Mato’s blast beats, they are out to destroy everything in their path. Distant is at the forefront of European deathcore for a reason, and Heritage moves them firmly to the top of the mountain .Heritage was released on February 10th on all platforms, with physical copies available on Distant’s website, including a badass limited edition Heritage vinyl pressing on marbled white and red smoke – with only 500 copies available.

Be sure to catch the band when they play The Underground in Mesa on March 13th, along with Bodysnatcher, AngelMaker, and PALEFACE (CH).

More tour dates here.

Distant online:

Concerts, Reviews

REVIEW: Phantom Planet & AVIV – Warmly Welcomed Musical Guests Whet Appetites for ZONA Music Festival (12-2-22)

December 11, 2022 Nate Wert Leave a comment

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.

AVIV

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 10^th, 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.

Phantom Planet

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 9^th 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.

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.

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Photographer: Katherine Amy Vega

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Phantom Planet | AVIV

Phantom Planet & AVIV – Valley Bar 12-2-22

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Concerts, News, Photo Galleries, Reviews

REVIEW: Sad Night Dynamite Brings a Unique Spin on Trip Hop to Valley Bar (11-13-22)

November 15, 2022 Ryan Novak Leave a comment

PHOENIX — England’s Sad Night Dynamite has had two full length albums, both dropping in the last two years, but based on the fevered crowd reaction to their Sunday night concert at Valley Bar, with support from The Color 8, you might believe they are a group whose rabid cult-following stretches across decades and multiple albums. Valley Bar was the perfect venue for the show, as its location around the back of a building, and down an old staircase into the basement of the building felt like a secret show that only the coolest people know about. It’s a vibe that Sad Night Dynamite’s set kept going, in a set heavy with crowd interaction

The Color 8

Phoenix’s The Color 8, for those unfamiliar, are a band that defies all expectations their first appearance may give an audience. From the first note of their opener “Galaxy,” one might expect a set of modern-day jazz-funk fusion, like The Meters’ Cabbage Alley album was pulled through a time warp and reimagined for a new generation. That on its own would have been incredible enough, but this is where The Color 8 swerves instead of staying any particular course.

“Is it alright if we switch things up a little bit?” asked guitar player Kal (stage name Kal The Guitar Hero). With that, Kal and bassist Jeremiah Smith laid into a heavy (with emphasis on heavy) metal riff for the song “Whoa,” joined by drummer Wisco 3’s heavy beats. His jazzy tempo from “Galaxy” gave way to a drumming so intense it sounded like he was hitting the drums with cinder blocks instead of sticks. Ashton Vaughn Charles, who was playing the saxophone just a song before, let loose with vocals that felt like a cross between the metal of System of the Down’s Serj Tankian with a splash of the hardcore punk of HR from Bad Brains. It was gloriously intense.

They followed up jazz-funk fusion and metal with the post-reggae island track “Know the Plan.” They invited the audience to join in with each track and be a part of the experience (the band are veterans of First Friday Art Walk, where they were routinely joined by a bevy of different musicians which has lent itself well to their eclectic style). The new song “No Sleep” was a set highlight, featuring some gorgeous harmonies in the shared vocals from Wisco 3 and Jeremiah. Following the metal track “Run It Back,” with more audience participation throughout the song, Kal joked to the audience “We’re a bit bipolar ‘cause we go up and down,” before they launched into the R&B-soul groove of “X.” They closed out their set with “Savage Season.”

Sad Night Dynamite

Playing their first show in Phoenix, Sad Night Dynamite from Somerset, England immediately proved to have built a strong fanbase in The Valley of the Sun. With the house lights down, the duo of best friends Josh Greacen and Archie Blagden joined their band to the appropriately named track “Intro.” As soon as they launched into “Demon” from this year’s album Volume II, the audience collectively lost their minds. As the two traded off vocals and weaved back and forth around the stage, they were musical puppet masters, moving the crowd this way and that at even the slightest of directions. During the song and throughout the night, Greacen rapped through a megaphone into his microphone, which is never not cool.

For “Black & White,” Greacen played guitar while Blagden went into the crowd (shout out to the member of SND’s crew who stood on stage holding the mic chord high up, so that he could stand in the crowd without the mob of fans around him inadvertently unplugging the mic). Following “Icy Violence” from their self-titled debut, it was Greacen’s turn to go into the crowd for “Smoke Hole.” As he waded out into the middle, he prompted the crowd with “Alright Phoenix, I want you to break my bones! On my count: 1, 2, 3… 4!” As Blagden and the band launched into the song, the crowd launched into Greacen, seemingly trying to follow through on his request, bouncing him around the circle pit like a pinball. Returning to the stage a little beat up, he jokingly opined “That’s more like a 10, Phoenix… I think I broke some ribs!”

“We’re from this sad little island called England,” Greacen told the crowd after recovering from his circle pit beating. “Do you know what’s good about England?… Sad Night Dynamite,” Blagden responded, with the crowd roaring in approval. Excluding The Beatles, Bowie, and Monty Python, Sad Night Dynamite certainly made a compelling case throughout the night.

The duo changed the mood with the beautiful, atmospheric “Tramp” from Volume II, with Greacen on keyboards. Their 13-song set featured seven of the nine songs from their debut Sad Night Dynamite, and four of the seven songs from their new album. They closed out their set with the chill dance groove of their new song “What Does That Make Me?” and “Krunk”. Sad Night Dynamite traveled approximately 5,186 miles to play their first show in Phoenix, and for this crowd, they truly brought the best thing in England to the Valley Bar.

Photo Galleries

Photographer: Rodrigo Izquierdo

Sad Night Dynamite & The Color 8 – Valley Bar 11-13-22

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Photography © Reagle Photography
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REVIEW: The Who’s Icons Roger Daltrey & Pete Townshend Front a Symphony of Sound at Ak-Chin Pavilion (10-30-22)

November 3, 2022 Mark Greenawalt 5 Comments

PHOENIX — The Who is a band with a pedigree worthy of selling out stadiums, but this night held the ambiance of a relatively intimate venue at Ak-Chin Pavilion. Opening the show was Mike Campbell and The Dirty Knobs. This same large stage that can look almost empty for a quartet was filled to the brim with a full orchestra and ten times as many musicians. The publicity for this concert seemed to ‘fly under the radar.’ Many long time fans were there to see the legendary singer Roger Daltrey and guitarist Pete Townshend, and it was like ‘tasty icing on the cake’ to get a symphony of sound to elevate the band that coined the phrase rock opera. The setlist took advantage of the cacophony of instruments with selections from Tommy and Quadrophenia.

Mike Campbell and The Dirty Knobs

Campbell may not be a household name to everyone, but he was the right-hand-man to world renown Tom Petty, and as part of the Heartbreakers, Campbell entered the Rock and Roll Hall of Fame in 2002. He will forever be associated with and compared to Petty, and tonight was no exception. He looked the part, wearing a raggedy ‘Mad Hatter’ top hat and a frumpy pin-striped coat, and speaking the same register, timbre, and Florida dialect as Petty.

They were only allotted a short 6-song set and a mere sliver of the stage, but they made the best of it and kicked the night off with two Dirty Knobs original songs from their 2020 release Wreckless Abandon. The rest of the set was like seeing the ultimate tribute band playing Tom Petty “covers.” Except, this was authentic. You’re hard pressed to call them ‘cover’ songs when Campbell co-wrote the biggest crowd pleasers “Refugee” and the closing anthem “Runnin’ Down A Dream”. It’s a safe bet that some of Campbell’s songwriting prowess will fill this venue again next week when Stevie Nicks sings “Stop Draggin’ My Heart Around.”

The Who

The stage was set and the multitude of supporting musicians were their places. Dim blue lighting washed over the many instruments that were foreign to most rock concerts and the crowd swelled with anticipation. The spotlights cut through the monochromatic background to reveal the colorful pair of superstars known as Daltrey and Townshend.

Daltrey was wearing an unassuming sage t-shirt and signature blue-tinted glasses. Townshend, ever the showman, was dressed in a black sports jacket with a crimson handkerchief in the pocket and sporting rockstar sunglasses. The night was divided into three acts, and the first act was a celebration of Tommy that included “Overture,” “1921,” “Amazing Journey,” “Sparks,” “We’re Not Gonna Take It,” and of course, “Pinball Wizard.”

It did not take long for Daltrey to shift from wielding a pair of goatskin tambourines to commandeering the microphone and spinning it around like a giant lasso, like he has for decades. He has had some vocal issues to attend to in the past couple of years so the verdict was out as to how he would sound. It was a resounding yes, he was back to full throttle and sounded absolutely incredible. Full range, impeccable pitch, and that unique rasp that makes him a one-of-a-kind.

The sound that the orchestra added was so full and powerful and perfectly mixed. Apparently, there were technical things on stage that were a nuisance, from Daltrey saying that there were a bunch of “mice in his in-ear monitors” to Townshend having monitor issues, and a guitar that completely ambushed the start of one song. Townshend remarked in his humorous snarky way that this venue was “a shit hole, parking lot of a venue” and that they “deserve better.” Daltrey’s reaction was priceless as he looked down and grinned, assumingly amused at the guitarist’s outspoken candidness. They soldiered-through the sound issues and made sure that the fans knew how much they truly appreciated them.

The orchestra remained on stage for “Who Are You,” “Eminence Front,”, and “Ball and Chain” to round out the first act. The conductor, Keith Levenson and a core of four musicians tour with the band, while the remaining members of the up-to-48-piece orchestra are a specially handpicked group of players from each city.

The touring members included Katie Jacoby, the violinist that stole the show for the “Baba O’Reily” solo, Audrey Snyder on cello, Randy Landau on contrabass, and Emily Marshall on symphonic keyboards. The local musicians are the best of the best from the Phoenix Symphony, Arizona Opera, and other chamber groups and recording session players.

We spoke with cellist Melanie Yarger about being selected for the show:

“This was by far one of the most epic experiences of my career,” she said. “Being onstage with an iconic band like The Who is mind blowing in itself, but their presentation with the thick orchestration is just next level. There is a reason why they are the benchmark for rock and roll.”

For the second act, the orchestra left the stage for the core band to perform “You Better You Bet,” “The Seeker,” “Naked Eye,” “Another Tricky Day,” “Won’t Get Fooled Again,” and “Behind Blue Eyes.” The influence of two members of the classic lineup of The Who were ever present throughout the night, but sadly they could only be there in spirit. Drummer Keith Moon passed away in 1978 and bassist John Entwistle passed away in 2002. These are very large shoes to fill, but drummer Zak Starkey (son of Ringo Starr) has toured with them since 1996 and bassist Jon Button since 2017 and, pardon the pun, but these kids are alright.

“Won’t Get Fooled Again” started with an explosion (and no audible count in) and then all eyes were on keyboardist Loren Gold for that groundbreaking sequenced keyboard exposition originally crafted by the mad scientist (Townshend). And, oh yes, Townshend is not too old to show off the windmill guitar attacks on this song. What a treat to see this live! There may only be one Pete Townshend, but there were two Townshends on stage. Pete’s little brother Simon has toured with them since 1996 as the second guitarist and backup vocalist.

Speaking of vocals, so many of The Who’s catalog has wonderful vocal harmonies supporting Daltrey’s melodies and they were able to replicate them live with the help of Billy Nicolls, who was dedicated to vocals, both keyboardists, and obviously both of the Townshend brothers. Pete Townshend’s reported issues of hearing loss might have made one question if he would be able to hear well enough to sing on key, but rest assured that he sounded as good as ever taking lead vocals on “Eminence Front” and “I’m One” from Quadrophenia.

Act three was the ode to Quadrophenia and saw the return of the orchestra to the stage. I wish Entwistle could have been there to hear the horn section blasting out his arrangements on “The Real Me.” It was just a little too loud…exactly as it should be! Townshend composed Quadrophenia, The Who’s third rock opera, just shy of 50 years ago, and these songs are still getting airplay on classic rock stations today and reaching new fans. Songs “5:15” and “The Rock” fed the nostalgic thirst, but it was “Love, Reign O’er Me” that was more like an out-of-body experience… with a full symphony! It was an honor to be there and it is a memory that we collectively carried with us.

With such a deep discography, it is no surprise that quite a few fan favorites had to be left out. This tour decided to leave out the whole era of the early years. It seems almost criminal that they didn’t play “My Generation,” “I Can’t Explain,” “I Can See For Miles,” “Magic Bus,” and a personal favorite: “Squeeze Box.” The newest song that they played was “Ball And Chain” from the 2019 album Who. Luckily, though, they did not leave town before entertaining us with a serving of “Baba O’Riely.”

The windmills were grazing the candy apple red Stratocaster guitar and you could sense the pride Townshend still feels to perform this song after countless shows around the world. Katie Jacoby stole our hearts with her infectious smile during the violin solo (and we will probably never hear this song again without envisioning her playing that part). This ended a magical night of heartfelt musicianship and brilliant songwriting that has been our soundtrack since the British Invasion first filled our airwaves. Townshend ended the evening by introducing all of the touring members and bringing them out front for a wave goodbye.

Photo Gallery

Photographer: Mark Greenawalt

The Who & Mike Campbell and the Dirty Knobs – Ak-Chin Pavilion 10-30-22

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Photography © Mark Greenawalt.
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REVIEW: AFI “Bodies Tour 2022” Lights Up & Sells Out Marquee Theatre (10-28-22)

October 31, 2022 Kara Blakemore Leave a comment

Tempe, AZ — Marquee Theatre hosted a sellout crowd for the return of AFI to the valley for the first time since their February 2017 sold out show at the same venue. The AFI “Bodies Tour 2022” stopped in this college town following a short COVID postponement, and included opener Drab Majesty with their unique ethereal sound to excite the fanbase. Known for high-energy live performances, AFI had their loyal followers fist-pumping and singing every song word-for-word. It was a memorable show to be sure and well worth the wait.

Drab Majesty

Playing in low-light with some dramatic smoke, Drab Majesty took the stage with their purposefully androgynous uniform look. The two-piece band sported white shirts with gray jackets, white face paint and black goggles, with matching white choppy hair. They had a synth-heavy sound with monotonous vocals, inciting memories of 80’s bands like The Smiths or Spandau Ballet. One fan was overheard comparing them to Joy Division, and they are not wrong. With choruses repeating lyrics like, “When you were dead, I took you by your head” from their song “Cold Soul”, they add a dark edginess to their seven-song set.

The “darkwave” band was formed in 2011 in Los Angeles, California by Andrew Clinco – aka Deb DeMure – who currently provides vocals, guitar, and percussion for Drab Majesty. DeMure previously worked for the group Marriages as a drummer from late 2012 until 2017 when the band apparently broke. He is joined onstage by keyboardist and vocalist Alex Nicolaou – aka Mona D – who joined Drab Majesty in 2016.

Their record label, Dais Records, claims “DeMure insists that the inspiration for the songs is received from an other-worldly source that Deb is merely a vessel through which outside ideas flow inward”. The duo have 3 albums on the label: Careless (2015), The Demonstration (2017) and Modern Mirror (2019). They have previously toured with The Smashing Pumpkins.

A Fire Inside

AFI is touring in support of their 2021 Bodies album, bringing “A Fire Inside” to Arizona, and what a show it was! The burgeoning crowd lit up from the first note of “Girls Not Grey,” from the 2003 album Sing the Sorrow. Frontman Davey Havok immediately climbed on a riser situated on the front of the stage, wearing a brass-studded vest with “Death of the Party” on the back, and the room exploded with energy. Havoc ran from one side of the stage to the other, and leaned precariously forward from the stage while singing directly to fans. When he wasn’t jumping from the riser, or swinging his microphone stand, he was belting out hit after hit from the AFI discography.

Onstage was Havok, along with original drummer and backing vocalist Adam Carson, with Hunter Burgan on bass, backing vocals and keyboards, and Jade Puget also provided backing vocals and on the keys. Their 18 song set was not shy of hits, including an intense version “Escape From Los Angeles” from 2021’s Bodies album, a super-sultry version of “The Boy Who Destroyed the World” from the All Hallows EP, and an encore including: “Third Season” from Shut Your Mouth and Open Your Eyes (1997) and “Silver and Cold” from Sing the Sorrow (2003). Notably missing from the setlist, however, was “Miss Murder”, from 2006’s Decemberunderground album.

Havoc knows how to connect to people and there’s a palpable love that’s reciprocated. While singing “I Hope You Suffer” from Burials (2013), he trusted the fans to support him as he walked across the crowd. You read that right. In some sort of biblical walk-on-water feat, he used outstretched palms to walk into the crowd about 10 deep. A feat to behold, to be sure, and a bit of a surprise to the Marquee’s bewildered security. Perhaps they underestimated the crowd, who would never, ever let him fall. Havoc is an icon, and AFI is in their bloodstream.

AFI moved on to the “When We Were Young Festival” in Las Vegas the next day, leaving Arizona fans fulfilled, for now. This show has left a mark on the band’s devotees. Sometimes watching a crowd enjoy a show is as exciting as the show itself, and this is one of those times. AFI just brings it.

Photo Gallery

Photographer: Rodrigo Izquierdo

AFI & Drab Majesty – Marquee Theatre 10-28-22

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Photography © Reagle Photography
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REVIEW: Panic! at the Disco Exacts Vengeance on the Footprint Center (10-23-22)

October 27, 2022 Nate Wert Leave a comment

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 29^th, 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.

Jake Wesley Rogers

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.

MARINA

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.

Panic! At the Disco

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.

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Photographer: Katherine Amy Vega

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Panic! at the Disco | MARINA | Jake Wesley Rogers

Panic! at the Disco, MARINA, Jake Wesley Rogers – Footprint Center 10-23-22

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Photography © Katherine Amy Vega, Kataklizmic Design
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REVIEW: Lamb of God Invites Arizona to See the Omens at Arizona Financial Theatre (10-14-22)

October 23, 2022 Nate Wert Leave a comment

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

Fit for an Autopsy

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,” which Metal 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.

Animals As Leaders

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

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.

Lamb of God

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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Lamb of God | Killswitch Engage | Animals As Leaders | Fit for an Autopsy

Lamb of God, Killswitch Engage, Animals As Leaders, & Fit for an Autopsy – Arizona Financial Theatre 10-14-22

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SPECIAL REVIEW: My Chemical Romance Brings Off-the-charts Seismic Velocity to Tacoma Dome (10-3-22)

October 8, 2022 Katherine Amy Vega Leave a comment

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Tacoma, WA — A surreal air swept over the night that a once dormant My Chemical Romance erupted on the stage of Tacoma Dome, following a warm-up by “emo” post-hardcore cohorts Taking Back Sunday and anti-folk singer-songwriter Kimya Dawson from Olympia, WA.

The show arrived nearly 3 years after the Halloween 2019 announcement of the reunion, and 9.5 years following the March 2013 break-up of this band with a gargantuan legacy. To top it off, it had been 11 years since Washington state had last seen My Chemical Romance (MCR/My Chem) perform on September 1st of 2011, at White River Amphitheatre on the 10th Annual Honda Civic Tour, co-headlining with blink-182. Yet, somehow, as MCR released each note into the atmosphere on the evening of October 3rd, the achingly forlorn feelings that persisted throughout the years of their absence finally melted away.

Kimya Dawson

On March 9th of this year, Dawson announced she would be opening for My Chemical Romance at Tacoma Dome. As an acoustic guitar wielding solo artist with a folksy sound, some fans of the rock opera stylings of MCR initially found the choice of opener perplexing.

I’m so excited to announce that I’m opening for My Chemical Romance at The Tacoma Dome!!! WOOOOOOOO!!! So psyched (and nervous)!!!
🖤🐇🖤

Monday, October 03, 2022Tacoma, WATacoma Domehttps://www.ticketmaster.com/event/0F0058379DC3A7C9 https://t.co/MMXXQ5pdKD
— Kimya Dawson (@mrskimyadawson) March 9, 2022

She is best known as part of a duo named Moldy Peaches, whose song “Anyone Else But You” was at the end of the film Juno (2007), performed by Elliot Page and Michael Cera. Independent of Moldy Peaches, she contributed a whopping 12 songs to Juno – on its soundtrack, within the film but excluded from the OST, and a few “almost adopted songs” that were released on a b-sides soundtrack.

Dawson and her daughter Panda (who is also an artist), performed together in matching Ernie sweaters, à la Bert and Ernie from Sesame Street. For the duration of Dawson’s performance, the big screens on each side of the stage stayed illuminated with her name and an illustration versus live video, preventing a visual of the artist and her daughter for the majority of the audience, and leading to some bewilderment when she said they were “just a couple of Ernies hanging out.” The set included “You Are My Baby” – a song Dawson wrote for now 16-year-old Panda when she was a “little teeny tiny newborn”. Kimya expressed, “I can’t even believe it… being able to share the stage with my child is the best.” MCR frontman Gerard Way later dedicated “Teenagers” to Panda.

“‘[Moldy Peaches] are not sort of amateur, lo-fi indie,’ said Geoff Travis, the founder and president of Rough Trade, an English independent label that once signed the Smiths and the Violent Femmes, and has recently signed both the Strokes and the Moldy Peaches. ‘If Lou Reed was writing these songs at this age, he would be absolutely jealous. This is really serious, world-class songwriting … and the performance is so unusual, and it is so naked emotionally. It is very, very brave.’” - Deborah Netburn, Observer - "Sesame Street Meets Avenue A in Goofy Tunes of Moldy Peaches”

Listening to the sound of Dawson’s songs coupled with her witty lyrics brought Amanda Palmer to mind, especially during “The Beer” with black humor reminiscent of Palmer’s notorious “Oasis”. As it turns out, “The Beer” was released in 2003 and “Oasis” was released in 2008. What’s more, Palmer actually covered Dawson’s song “All I Could Do” with her father Jack Palmer in 2015, and Dawson nodded to Palmer in a Tweet sharing an MTV article from November 2016 about whether oppression from Trump’s presidency would lead to better music.

One link between Dawson and My Chemical Romance is their outspoken LGBTQ+ allyship.

@teffy_ramone Actually, the purpose of the stage persona was to challenge gender standards and homophobia.Not for slashfiction #pointmissed
— Gerard Way (@gerardway) June 22, 2013

During “I Like Giants”, Dawson tweaked the lyrics after, “She said, ‘I like giants, especially girl giants’” to add, “and trans and non-binary giants!” Before following “The Beer” with “Loose Lips”, she said, “I don’t know why I put this one back-to-back but we’ll see what I can do,” presumably because both songs are rather fast-paced.

Excerpt from “Loose Lips”:
And we'll pray, all damn day, every day
That all this shit our President has got us in will go away
While we strive to figure out a way we can survive
These trying times without losing our minds 
(...full lyrics)

Mid-song, Dawson shout-sang, “Fuck fascism!” and proceeded to give an impactful monologue:

“On this day in 1967 Woody Guthrie died, and he was very outspoken against fascism, and I just wanted to acknowledge him, uh… he is the OG!” She went on to say, “…so, the original, like, lyric was, ‘Fuck Bush’, but that was like 20 years ago, and then I was saying ‘Fuck Trump’ but I don’t even want to think about that guy. And I could be like, ‘Fuck Marjorie Taylor Greene!’, you know, ‘fuck Matt Gaetz, fuck Ben Shapiro, fuck Mitch McConnel… DeSantis,’ you know, ‘Bezos… Proud Boys, TERFs… the list is endless… but not clowns. I love clowns.” (Video)

kimya dawson saying fuck terfs mid-set made me feel so safe tonight 💛 i adore my grandpa
— Michael ☠️ SAW MCR (@seventhtype) October 4, 2022

Dawson’s modest 6-song set was finalized as a trio with Panda and a surprise guest – MCR’s rhythm guitarist Frank Iero – performing “Anyone Else But You”.

Iero later wrote on Instagram:

“Last night i got to play one of my favorite songs with one of my favorite artists, before getting back up on that same stage a little later and playing more of my favorite songs with my best friends… all while my daughter watched and filmed. Life is pretty darn ok sometimes.

Thank you Kimya and Panda for being the absolute raddest and for sharing your stage with me, it was a dream come true. thank you Tacoma. Thank you rock and roll. music is magick. KTF 🖤 xofrnk”

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A post shared by Kimya Dawson (@kimyadawson)

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Taking Back Sunday

“We’re here to warm you up for My Chemical Romance… Mikey Fuckin’ Way is not coming out to a cold audience!” frontman Adam Lazzara declared amidst their set, referring to MCR’s bassist.

Indeed, fellow “Taste of Chaos” tour veterans Taking Back Sunday (TBS) served as an integral segue between Kimya Dawson and My Chemical Romance.

Taking Back Sunday’s 8-song set started with “What’s it Feel Like to Be a Ghost?” from their 2006 LP Louder Now. The mix of Lazzara’s dirty vocals and the band’s instrumentals seemed to be off for the first few songs, and his stage banter felt a bit obligatory and forced. However, what may have seemed to constitute standard intros to band members between songs was actually rather significant to any fan aware of the band’s dramatic history. Guitarist John Nolan and bassist Shaun Cooper left TBS in 2003, but returned in 2010.

Before starting the second song of their set, “A Decade Under the Influence”, Lazzara gave big-ups to drummer Mark “Thunderbolt” O’connell, who lives true to his nickname “when his foot hits the kick drum”. Following the song “Tidal Wave”, he shouted, “…this is my pal, and yours… John Nolan on guitar!”

Their energy spiked and sound solidified with “Error Operator” and sustained through the 4 remaining songs, transforming them into that promised pre-heater. Unfortunately the screens continued to merely display a still image – Taking Back Sunday’s panther logo – until My Chemical Romance performed. However, the energy of this rock band along with the spectacle of colorful stage lights brought satisfactory stimulation to the crowd.

It was surprising how much space was available in the general admission between the crowd and front row of seats, even after it later filled out a little more for the headliner. One of the most entertaining parts of TBS’s performance was when someone dove beneath the barricade (separating row A of seats from the pit) as if they were on a stealth mission, and strolled up to the crowd.

“Ladies and gentlemen, we have but a-two songs left for you this evening,” said Lazarra, which elicited a shocked and disappointed, “WHAT?!” from some fans. He continued, “Now, make no mistake, we are very well aware (as we feel it too), of how long you’ve been waiting for this show tonight… Us, too! So, with that said, I would like to thank each and every one of you for being so kind and showin’ us a good time… Now, my pal John over here… he’s gonna blow your minds. They don’t call him ‘tomcat’ for nothing.” (Video)

The last 2 songs of Taking Back Sunday’s performance, “Cute without the ‘E’ (Cut from the Team)” and “MakeDamnSure”, are guaranteed crowd-pleasers. Their most recent studio album Tidal Wave was released 6 years ago. Eddie Reyes, who originally founded TBS with former member Jesse Lacey of Brand New, departed the band in 2018 citing alcoholism as the culprit. In 2019, they released Twenty, a 20th anniversary compilation, and of course COVID-19 took over the world in 2020. All things considered, if they are resting on their laurels (mind you, touring and performing are no small tasks), perhaps they can be forgiven for doing so while the nostalgia of individuals formed on their music is still running high.

As part of a culmination of the emo revival that has been steadily expanding over the last several years (which has conflated emo and pop punk), Taking Back Sunday will continue to perform in the shadow of My Chem up through the last day of the seemingly-impossible “When We Were Young” festival, which is spread out over 3 dates on 2 weekends at the Las Vegas Festival Grounds.

Despite the fact that multiple massive festivals have taken place and continue to be planned since the pandemic eased up (such as Coachella, Lollapalooza, Innings, Bonnaroo, Firefly, Aftershock, Austin City Limits, Zona, and more), this particular festival stood out as “too good to be true” and has received heavy speculation and criticism over logistics and feasibility – especially initially, when only one 1 day was announced. It was called “the next Fyre festival” by the faithless and snarky, and sensationalized by the uninformed as being put on by the company behind Astroworld: Live Nation – the company that puts on nearly all major concerts in the United States. Perhaps it is simply difficult for the “misunderstood” demographic to which this festival caters to believe that it is possible to get what they want.

An updated site map for an expanded general admission (GA) area was posted on October 6th, much to the ire of the VIP section. It will be interesting to see how this all plays out.

“Ladies and gentleman, we are a band called Taking Back Sunday… and we hope all your dreams come true!” said Lazzara as their performance finished.

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