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

April 19, 2024 Mark Greenawalt 1 Comment

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

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

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

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

A Perfect Circle

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

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

Primus

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

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

Puscifer

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

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

And So It Went…

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

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

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

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

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

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

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

April 16 Setlist | April 17 Setlist

Photo Gallery

Photographer: Rodrigo Izquierdo

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

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Photography © Reagle Photography
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Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

REVIEW: Unveiling the Power of Humanity – The Intimate Journey of Victoria Canal and Lucy Clearwater at Valley Bar (3-28-24)

April 1, 2024 Nate Wert Leave a comment

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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.

Victoria Canal

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.

Photo Galleries

Photographer: Katherine Amy Vega

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Victoria Canal | Lucy Clearwater

Victoria Canal & Lucy Clearwater – Valley Bar 3-28-24

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Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

Extreme Reemerge At The Top Of Their Game at The Van Buren (2-23-24)

February 27, 2024 Mark Greenawalt 1 Comment

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Phoenix, AZ — Living Colour could be described as a funk band infused with hard rock, and Extreme, a hard rock band infused with funk. The fusion of these two bands playing the intimate Van Buren venue was magical. The first couple of songs from each band solidified the notion that they were bands that comprised elite musicians with chemistry and executed every musical nuance with collaborative precision. This leg of the “Thicker Than Blood” world tour started with U.S. dates in January, and they’ve had night-after-night to perfect their performance before their arrival in Phoenix.

Both groups emerged on the scene in that bygone era known as the 80s, and their timing couldn’t be better for their resurgence among music lovers craving this nostalgia. It wasn’t just the classic songs that sparked interest in this show. Extreme is touring in support of their new album, SIX, released last June, which has been met with an unexpectedly warm reception. Even the band has been surprised at the response that has shot the album into the top ten in some countries (peaked at 67 in the U.S. so far), and given their music videos millions of views on YouTube.

Extreme's SIX black LP — **SIX** double vinyl

The music industry may have turned its back on guitar heroes, but the people have spoken. This was a sold out show. They came out en masse to see two of the finest guitarists on earth (and beyond): Vernon Reid of Living Colour, who sets the pace, and the great Nuno Bettencourt, who exceeds all speed limits.

Living Colour

Guitarist Vernon Reid was the first to grace the stage as he strolled out like a long-lost friend, greeting everyone with a smile and a wave, and wearing a Salvador Dali T-shirt and a scally cap hat. Next, singer Corey Glover sauntered onto the stage dressed to the nines, with colorful dreads for days. Next was bassist Doug Wimbish (also known for his Sugar Hill recordings), wearing his signature hat and primed to slap his signature Spector Euro 5-string bass. Noticeably absent was drummer Will Calhoun, but filling in for him was James ‘Biscuit’ Rouse, whose résumé includes stints with Usher, Pharrell, Chic, Stevie Wonder, and more. According to the Living Colour website, Calhoun had some previous commitments for a handful of dates, and this was one of them.

They opened their set with “Middle Man” from their 1988 debut Vivid, and “Leave It Alone” from their 1993 release Stain. Opening thoughts were that Glover’s voice was in top form and so very soulful, and that Reid can get a multitude of sounds from a pedal board that looks like the showroom of a music store. He then takes those sounds and turns them into sonic freight trains of blistering solos and iconic style.

A couple of cover songs landed in the set: The first was “Kick Out The Jams” by MC5, and it improved on the original. Glover’s voice gives more melody to the verses, but keeps the growl as needed for the payoff lines. Then, they performed a medley of hip hop songs from the Wimbish-led Sugar Hill label, including Melle Mel’s “White Lines (Don’t Do It)”, Sugar Hill Gang’s “Jump On It”, and Grandmaster Flash’s “The Message.”

Living Colour wrapped their set up with the Grammy Award-winning “Cult Of Personality,” their breakout hit from 1988 with the music video that introduced them to crossover audiences. It was fantastic to see them back on the stage, doing this song and the handful of other songs that defined their unique brand of fusion rock/funk. They’ve still got it.

Extreme

This band hits the stage with all cylinders firing. Extreme’s high-energy music is amplified by the incomparable showmanship of frontman Gary Cherone, who left no area of the stage untouched. He even climbed the amplifier stacks for higher vantage points, commanding attention with exceptional charisma. His voice seems to have not aged and continues to possess the range for soft, low ballads to the primal screams that teeter on the verge of breaking.

As they opened with “It (‘s A Monster)” and “Decadence Dance” from their double platinum album Pornograffitti, Cherone was dressed in a black snake-skin-pattern sports coat, donning sunglasses with an ‘X’ over the right lens, and sporting his signature headband. His bold look and remarkable stage presence evoked elements of the great Motown performers, and he even mixed in a couple of lines from Sam Cooke’s “Cupid” somewhere in the night.

Fans were anxious to see if guitarist Nuno Bettencourt could pull off the scorching guitar riffs that he had perfected in the studio, and they were not disappointed. He had set the bar pretty high, yet made it look effortless as his left hand (the one with the black fingernail polish) blurred across the high frets of his Washburn N4 guitar. When “Rise” was released (the first single from SIX), the news spread like wildfire that ‘you have to check out Nuno’s new guitar solo!’ …Did he nail it live? It is a resounding yes, but we had to wait until the encore to hear it. It was worth the wait.

Rick Beato (Everything Music Channel) interviewed Bettencourt on his podcast about the massive response and it’s a great interview.

Extreme was not resting on their laurels and playing all catalog hits. “#Rebel” was the first of six new songs to be sprinkled into the setlist. Cherone led the audience to sing-along with the angsty lyric “Hey, you got something to say? You talking to me as you’re walking away?”

Bassist Pat Badger and drummer Kevin Figueiredo may not have been the focal points of the limelight, but their contributions to the Extreme sound and their stellar musicianship did not go unnoticed. Plus, they both multitask with singing vocals while performing their instrumental duties and helping to build the wall of harmonies that elevate each chorus.

The four-part harmonies were spotlighted on the intro to the second song released from the new album, “Banshee,” when they covered Queen’s “Fat Bottomed Girls.” So cool. It’s clear that Queen had some influence on their individual musical journeys. They also included a bit of “We Will Rock You” during their performance of “Play With Me” that goes way back to their debut album. Check out their 20-minute Queen medley from the Freddie Mercury Tribute Concert for AIDS Awareness on April 20, 1992.

Another musical reference that percolated throughout the evening was the mighty Van Halen. To some, Gary Cherone is just a footnote to the historic singers of Van Halen that comprised Diamond Dave and Red Rocker Sammy Hagar. However, his one ill-fated album with the band did go gold, and he had the opportunity to work with the incredible Edward Van Halen. Bettencourt paid homage to Van Halen with a rendition of “Eruption” before transitioning into “Am I Ever Gonna Change.” Later, during the encore, he played the intro to “Woman In Love” and reverently pointed to the heavens, put his fist to his heart, and said, “Happy Birthday, King Edward!”

There were two acoustic moments during the performance. The first included the whole band doing renditions of the new “Other Side Of The Rainbow” and the classic “Hole Hearted.” Bettencourt put on his $7,000 cowboy hat and told the story about buying it in Nashville. Later in the evening, Bettencourt and Cherone did an even more stripped down acoustic montage that showcased their diverse songwriting skills.

As he took a seat with his acoustic guitar, Bettencourt gave a heartfelt thank you to Living Colour and praised the musicianship of guitarist Vernon Reid. He joked that when he realized that Reid would be going on before Extreme, he called Reid before the tour and asked him to ‘pull it back a little bit.’ He also spoke to all of the aspiring guitarists in the room with this motivational speech:

“Man, I just need to tell you one thing. Whether you’re doing this up here or in a fucking arena or a stadium or a club or whatever it is, that shit don’t mean anything. What matters is that you are playing this guitar. Whether it’s in your basement, whether it’s in a garage, whether it’s online, whether you’re a fucking great cover band… don’t worry about that shit if you’re doing it for the love of it. The success is playing this instrument right here! …This is like a super power, man. Nobody can fuck with you when you have this thing on, I’m telling you right now. And you can hit somebody hard with it if they do try to fuck with you. (smiles) Give it up for all the guitar players in the room keeping guitar alive, especially all you youngsters out there as well.” – Nuno Bettencourt

Then, he proceeded to give a master class on acoustic guitar prowess by playing the acoustic solo, “Midnight Express” from the Waiting For The Punchline album. Bettencourt then introduced the next song from the new album, called “Hurricane.” He discussed the universal experience of losing someone near and dear to us and mentioned that someone in the audience had lost their mother earlier that day. He dedicated the song to that audience member and anyone else trying to heal up from loss in their lives. The emotional lyrics culminate in the chorus, “My heart is in a hurricane, an eye of emptiness and pain, is this the storm before the calm?”

The mood subtly switched from somber to celebration as the familiar chords of “More Than Words” filled the room. This is the number 1 song that everyone knows, and everyone is singing along with their cell phones raised. Through these two songs, Cherone and Bettencourt traded lead vocal segments, but the magic was in their signature harmonies. Definitely a highlight of the show.

The high-velocity slingshot back into high gear with “Banshee” and the country-hoe-down-on-steroids, “Take Us Alive” that melted into yet another throwback to the Elvis hit “That’s Alright,” another song perfectly suited for Cherone’s persona. Guitar solos throughout the night satisfied the legions of Nuno followers, but the pinnacle show stopper was his blazing shredding on “Flight Of The Wounded Bumblebee” that seems like a million notes in just a minute and a half. This kid is ah-mazing!

The night was seemingly coming to a close as they launched into their signature song from the 80s, “Get The Funk Out.” This was the one that first thrust them into the world stage and heavy rotation on MTV. It was fantastic and the harmonies were fun, with a few expletives added for good measure. The only thing missing was the horn section. As the song ended, the cheers went up and the lights went down as they left the stage. Many assumed that that was the end of the show since it was their obvious show closer… But the house lights did not come on. Some fans started to trickle out of the venue, but the die-hard fans just cheered louder till eventually the quartet returned to the stage.

It is almost unheard of for a band to do new material during their encore. It’s a ballsy move, but boy did it ever pay off. The encore started with the Eddie Van Halen tribute mentioned above, and then continued with “Small Town Beautiful” infused at the outro chorus with the anthemic “Song For Love” from the Pornograffitti album. Had people still carried lighters, the room would have been aglow with their flickering flames. Ultimately, the show closed with rocker “Rise,” featuring the extraordinary guitar solo and the fist-pumping “EXTREME” groove that is absolutely infectious. No one would disagree that this was the perfect choice of an anthem to end the deluge of great music.

Witnessing bands genuinely expressing their gratitude towards their fans at the end of the night is always heartwarming. Extreme spent several minutes thanking the crowd and tossing out picks, sticks, and setlists, before finally lying down on the stage to take a selfie with all of us fans. Well played, Extreme, well played.

EXTREME Setlist
| LIVING COLOUR setlist

Photo Gallery

Photographer: Mark Greenawalt

Extreme & Living Colour – The Van Buren 2-23-24

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Kataklizmic Design, Reviews, Singles

Exploring Fire Sale: A Dive into Punk Rock’s Newest Supergroup and Their Evocative Singles

February 23, 2024 Ryan Novak Leave a comment

Shockingly, punk rock as a genre has few supergroups – its own Traveling Wilburys or The Highwaymen (or The Highwomen, for that matter) – but it finds one in Fire Sale. The five-piece group consists of Pedro Aida from ShotClock and The Iron Roses on vocals, Chris Swinney from The Ataris on lead guitar, Matt Riddle from Face To Face and No Use For A Name on bass guitar, Brad Edwards from Weaver Street on rhythm guitar, and Matt Morris from 41 Gorgeous Blocks on drums. The band has three previous EPs: Fire Sale in March of ‘21, A Fool’s Errand in November of ‘22, and Long Overdue in July of ‘23. Now, they are back with a new single “The Albatross,” which was released by Negative Progression Records on February 9.

Stream “The Albatross” here

Exploring “The Albatross”

While so much of punk is about youth, “The Albatross” is about the things you have to deal with as you get older. In this case, the concern revolves around the safety of one’s children. The world is an increasingly cruel place. Far too many kids who already feel like outcasts go to school every day, and instead of being greeted by love and acceptance, they are subjected to bullying from the kind of kids whose parents were bullies. This mentality is perpetuated throughout the generations. Struggling with fear, they find it difficult to maintain good grades and often resort to substance abuse as a means to numb their pain.

As I listened to the song, I couldn’t help but think of Nex Benedict. They were the nonbinary Oklahoma teen who died on February 8 – the day before this single was released – after being assaulted and beaten in the bathroom of their high school. If an albatross is a continuing problem that makes it impossible to achieve something, then violence against children is the albatross that threatens to pull down the next generation.

About The B-side: “I Remember Damage”

The B-side track is so good the single should be thought of as a double-A side single. “I Remember Damage” is no throw-away track. It begins not with a note but with a cracked voice of a woman saying “My memories are the same as yours…” The voice is haunting almost, like a faint radio transmission, pleading for someone, anyone, to listen. She fumbles through her message, struggling to articulate her thoughts while processing her emotions. It feels like a lonely plea for connection. The first notes of the song show the group members melodic-punk pedigree and has an early-80’s ska feel, like a recently unearthed outtake from the first Police album.

Within seconds, the song shifts into a high gear with driving power chords. “‘I come in peace,’ is what you said/we never seem to move on.” Was the woman’s voice the voice of the person Pedro Aida is referring to? Perhaps a relationship that should have never begun and yet persisted, dragging both people down with it, as if they were fated to destroy each other instead of moving on. “What do you say? What do you say?” hints at a relationship where there’s plenty of talking but not much listening.

Whether depicting a lingering, unhealthy relationship or the broader theme of feeling lost and damaged, the song resonates. The chorus of “We’re just damaged goods” could feel sad if it wasn’t sung with such a feeling of collectiveness: we are damaged, but we are not hopeless. Punk has always been about unity and that feeling of lost, wandering souls finding a place of acceptance, and that’s the heart of “I Remember Damage.”

Following the three EPs, and now the one-two punch of “The Albatross” and “I Remember Damage” single, I hope that Fire Sale has a full-length album in the works. For now, though, I’ll hit replay on “The Albatross” as soon as “I Remember Damage” fades out, and just enjoy the ride.

Fire Sale online:

Concerts, Kataklizmic Design, Media, News, Photo Galleries, Reviews

REVIEW: Tool‘s Epic Showmanship Takes Fans on a Sonic Odyssey for Night Two at Footprint Center (2-10-24)

February 12, 2024 Nate Wert Leave a comment

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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.

View Tool’s Phoenix Setlist (Feb. 10) on Setlist.fm

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Photographer: Katherine Amy Vega

Tool & Elder – Footprint Center 2-10-24

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REVIEW: The HU’s Thunderous Finale of the Warrior Souls Tour at The Van Buren (10-26-2023)

October 30, 2023 Nate Wert Leave a comment

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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

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.

Blind Channel

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.

The HU

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.

The core band consists of:

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.

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Photographer: Rodrigo Izquierdo

The HU, Blind Channel, & NERV – The Van Buren 10-23-26

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REVIEW: Babyklok Tour 2023: An Unforgettable Night of Metal Madness with Dethklok and BABYMETAL in Phoenix (10-10-23)

October 13, 2023 Nate Wert 2 Comments

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”.

BABYMETAL

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 of Metal 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

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.

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Photographer: Rodrigo Izquierdo

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Dethklok & BABYMETAL – Arizona Financial Theatre 10-10-23

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REVIEW: The Darkness Envelops & Excites Fans at Marquee Theatre… Again (10-7-23)

October 11, 2023 Rodrigo Izquierdo Leave a comment

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Tempe, AZ — The Darkness returned to Arizona for a triumphant show as they celebrate the 20th anniversary of their debut album Permission to Land, and the special reissue collection that was released the day prior to the show: Permission to Land…Again. They last graced the Marquee Theatre stage in March of 2022 on their “Motorheart” tour. This October 2023 show was the 4th date of the US leg of the world tour celebrating their debut, and they played a setlist full of their biggest hits from that album and beyond. The Comancheros, a country/southern rock band from Missouri, opened the show with an infectious energy that warmed up the crowd for the high-octane headliner.

The Comancheros

They began with their powerful song “Mississippi”, which electrified the room, and they followed up with a string of other hits, including “Long Hair”.

The band asked the audience if there were any beer drinkers and hellraisers in AZ while holding beer cans up in the air, then drank it up and kicked into their song titled “Beer Drinkers”.

They continuously engaged with the audience throughout their set and completed it with the songs “We Own the Night,” “George Jones,” “Cowboy Song,” “Drum/Gun/Chariot,” “Shoot Me Down,” and “Bird/Time Machine”.

The Darkness

On October 2^nd, just five days before this show, The Darkness announced the launch date of their feature-length documentary, Welcome to the Darkness, that adds to their extensive discography with seven studio albums since their start in the early 2000’s. The film will arrive in cinemas for one night only on November 9th, and will then be available on Blu-Ray and digital download on December 4th.

The Darkness kicked off their set with a high-powered rendition of “Black Shuck.” Fans were immediately singing along and dancing fervently. The band followed that up with a string of their biggest hits, including “Get Your Hands Off My Woman,” “Growing on Me,” and “The Best of Me.”

Lead singer Justin Hawkins was in top form, delivering his vocals with power and precision. He showered the audience with guitar picks, ensuring the youngest fans got their concert memento by stretching and throwing as far as he could to get closer to them from the stage.

He had the crowd in the palm of his hand with his witty banter and stage presence. Guitarist Dan Hawkins, bassist Frankie Poullain, and drummer Rufus Taylor were also on fire, playing with some truly impressive musicianship.

During their performance, the engagement with the audience was ongoing, including a sing-a-long with a member of the audience, also named Justin (with Hawkins grinning after the audience member shared his name). The frontman also saw a group of 4 British fans in attendance, all dressed up in Union Jack patterned suits, with their companion in a full American flag outfit, wearing a bald eagle head mask that got thrown onto the stage. The drummer put it on and wore it while playing an entire song, before throwing it back to the audience member that threw it to the stage.

They closed out their set with a rousing performance of their signature song, “I Believe in a Thing Called Love”. The crowd went wild, with smartphones raised from almost everyone in attendance, prompting Justin Hawkins to stop and playfully ask the audience to ‘place themselves in their place, and to not record the performance’ before starting back up and, delighting the audience with a fantastic show, giving it his all.

For their encore, they emotionally played “I Love You 5 Times” before the vocalist announced they had one song remaining, and with a mischievous grin stating, “but is a pretty f***ing long song.” The Darkness closed the set with “Love on the Rocks with No Ice”. The shower of guitar picks continued as the band did their goodbyes, with no pick left behind.

Overall, The Darkness put on an incredible show at Marquee Theatre. They played a setlist full of their biggest hits and deepest cuts, and they delivered a performance that was both energetic and entertaining. If you have the chance to see them on this tour, you will be lucky to witness one of the best live bands in the world, with (at the time of publication of this article) just 9 more dates left for the US leg, and 36 upcoming world tour dates before coming back to the US in 2024 for the Monsters of Rock cruise festival in Miami, Florida.

If you’re a fan of rock music, then you need to see The Darkness live, and they’re sure to put on a show that you’ll never forget. Make sure to catch a screening of their feature documentary on November 9^th, or look for it on Blu-Ray on on its December 4th release date.

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The Darkness & The Comancheros – Marquee Theatre 10-7-23

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REVIEW: Ben Folds Creates More Beautiful Moments with Tall Heights for Die-Hard Fans in Mesa (8-15-23)

August 19, 2023 Ryan Novak 1 Comment

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Mesa, AZ — In the moments before the start of Ben Folds’ performance at the Mesa Arts Center with support from Tall Heights, the line for the merch table stretched back through Ikeda Theatre’s lobby and out the door. As the audience poured in for the evening’s show, so many eras of Ben Folds’ career was present across t-shirts, some clearly dating back the 28 years of his career (one attendee was sporting an early Ben Folds Five t-shirt that was surely coveted by many of the long-time fans). Special shoutout to the Ben Folds glasses-cleaning set, the most audience-specific piece of merch sold, this side of Taylor Swift friendship bracelets and Cypress Hill rolling papers. Throughout the entryway, die-hard fans shared memories of their favorite Ben Folds show, detailing their favorite moments.

Tall Heights

Boston’s Tall Heights pulled double duty, serving as both the opener for Folds and also as a part of his backing band. The two-piece group, consisting of guitarist Tim Harrington and cellist Paul Wright, has been building a steady following since their 2009 debut album on the strength of their gorgeous melodies and the duo’s lush harmonies. They opened their set with “Back to Autumn” and “Murmuring State” before introducing themselves to the crowd and making note of the delicious empanadas they’d eaten that day – presumably at downtown Mesa’s gem Republica Empanada less than half a mile away from the venue.

The duo covered Blink-182’s “Dammit” – a captivatingly ethereal rendition that surprised, amused, and delighted the audience. They released their reimagined version of this song in 2022. After playing “Only,” the duo talked about getting to tour with Folds and how they were recruited by him to play on his latest album, which in turn inspired them to get to work on their own new album.

They then debuted a brand-new song “Still Feel the Same,” so new in fact that they had the lyrics printed and out on stage with them. When the crowd immediately embraced the song and gave it a long round of applause after, Harrington laughed and said “you are so sweet. I was shitting my pants the whole time, and it was not because of the empanadas!”

After a haunting rendition of their “Spirit Cold,” Harrington implored the crowd, since “Still Feel the Same” was so new, “If you took a video of the song, don’t post it on social media, and you already have… you know what? Fuck it. We’re not famous enough for anyone to care if something gets leaked early.” They closed their set with a completely unplugged, standing performance of “To Be Young.”

Ben Folds

For being such an incredibly dynamic performer, Folds is so humble and gracious in between. Even his arrival on stage came with a brief pause at the front of the stage for a quick smile and nod before he went to his piano, and opened his show with “Exhausting Lover,” “Winslow Gardens,” and “Clouds With Ellipses” from his new record What Matters Most (his set would feature eight of the album’s ten songs), all of which sounded great. The new album is a must for those who don’t already have it.

After “Losing Lisa” off of Rockin’ the Suburbs, Folds shared with the crowd that during the pandemic he had an online song-writing course he taught and that one assignment involved students in the class using headlines to inspire songs. He himself got two songs out of it: “Fragile” (inspired by a story of a would-be burglar who was caught by the family, started to cry, and then gave them $200 before quickly leaving their home) and “Kristine from the Seventh Grade” (drawn from an article by a woman explaining why she wouldn’t remove her shoes in homes that ask you to remove shoes). “This is funny,” he added before starting the song, “but I put it in a minor key.” Indeed, it was amusing, eliciting laughter throughout, as it told the tale of a former school friend. She had given herself over to online conspiracy theories and near-constant anger at the world.

One of the reasons why Ben Folds’ fans are so loyal is in part because of his incredible song writing. While his songs can be many things: funny and sad, uplifting and sorrowful, heartwarming and heartbreaking, they are all deeply rooted in an unmistakable humanity. Though we may at times laugh at his protagonists, be they him, a surrogate, or a character he’s created, it is in response to something we can all connect to and understand.

“Still Fighting It,” a song written about his son Louis, has been a live-show staple for years and always a highlight. I mean, who of any age can’t relate to the line: “Everybody knows it sucks to grow up”? “What Matters Most,” the title track from the new album, and “Landed” both deal with missing friends, whether from death or confusing estrangement. These songs were performed back-to-back, making for a poignant one-two punch.

“If you know Regina’s parts, go ahead and sing along,” prompted Folds before playing “You Don’t Know Me,” his duet with Regina Spektor from Way To Normal. The audience took Folds’ cue and responded majestically. One of the hallmarks of any Ben Folds show is audience participation. For a time after the release of Rockin’ the Suburbs, his first album away from Ben Folds Five, he embarked on a solo tour that featured only him and a piano each night. He made the audience a part of the show, directing them to add harmonies or, in the case of “Army,” stand in for the trumpet and trombone parts.

As Folds and the band arrived at the first instance of Spektor’s vocals, it clearly surprised and delighted Folds to hear her parts sung so loudly and enthusiastically from all corners of the Mesa Arts Center, even briefly stopping the song at one point to express how much it pleased him. “How cool is that?!” he marveled. Following a spirited run through of Way To Normal’s “Effington,” Folds ran the audience through a quick three-part harmony rehearsal to accompany the performance of “Not the Same” — Folds’ ballad of a high school friend who dropped acid at a party and climbed up into a tree where he stayed all night before climbing down the next morning and promptly becoming a born-again Christian. Throughout the song, Folds stood, playing many of the parts one-handed so he could keep his right hand free to direct the audience through the harmonies. For a song that is somewhat somber in tone, it managed to be one of the evening’s highlights, especially as a scan of the audience revealed universal expressions of glee.

As Folds began to set up “Moments,” the final track on the new album and what would be the pre-encore closer, an audience member called out “Rock This Bitch,” Folds’ long-running live show staple improvised song. Folds obliged the request, playing an Arizona-specific version of the song and once more assigning the audience vocal parts. Folds came back out and performed “Annie Waits” solo (eventually joined by Tall Heights, who added some of their incredible harmonies at the tailend of the song). They followed with full-band runs through “Still” and “Zak and Sara”.

“Moments” was the evening’s pinnacle. It was, after all, a night about living in the moment, being present for life. As the lyrics go “We try to hold these moments as they glow/We’ll breathe them in and then we’ll let them go.”

Ultimately, it is these moments — shared moments with strangers — that are what matter most (yeah, that’s right, I worked in TWO references to Folds’ stellar new album in one sentence). There is something so real, so uplifting, and ultimately something so life affirming about a Ben Folds concert that it should never be missed. Despite arriving as strangers and departing as strangers, a Ben Folds audience in between is a community drawn into the experience, singing along to every word, providing harmonies, laughing, crying, and being present. We held in the moments like one of life’s most precious breaths before letting it go into the night, a community forever but strangers once more.

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Photographer: Katherine Amy Vega

View Separately: Ben Folds | Tall Heights

Ben Folds & Tall Heights – Mesa Arts Center 8-15-23

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Concerts, Kataklizmic Design, Photo Galleries, Reviews

REVIEW: Nickelback Ignites Footprint Center with Brantley Gilbert & Josh Ross (7-12-23)

July 14, 2023 Brittney Coon Leave a comment

PHOENIX – The “Get Rollin’ Tour” made a tour stop in Arizona last Wednesday night, featuring Nickelback, Brantley Gilbert, and Josh Ross. The music was a mix of country and rock, and fans of all ages came ready to party. The show was held at Footprint Center, which serves as home to the Phoenix Suns, Phoenix Mercury, and the Rattlers. The arena has had many names since opening in 1996. A few previous names that may sound familiar are Talking Stick Resort Arena, US Airways Center, and America West Arena. It was once the home of the Phoenix Coyotes in the late ’90s. It’s also the venue for various events such as professional wrestling, Disney on Ice, and concerts.

Josh Ross

Josh Ross is a Canadian country singer, and he opened the show and warmed up the crowd with his eight-song setlist. His cover of “Iris” by The Goo Goo Dolls had everyone singing along, with their phones’ flashlights waving in the air.

Brantley Gilbert

Brantley Gilbert is a country rock singer from Georgia, and he knows how to put on a show with flair. He opened with “Kick It In The Sticks,” and he brought the heat – pyro and fog continuously blasted on stage.

“We live in a world where we can’t punch anyone in the face anymore. I went to my social media, but I forgot my passwords. So, I decided to write the trolls a song instead,” Gilbert said before playing “Bury Me Upside Down” from the album So Help Me God.

Before singing “Son of the Dirty South,” Gilbert explained how he wrote the song with Jelly Roll, and that they both take pride in being boys from the South. He aimed to transform Phoenix into the dirty South for a few moments – a vision readily embraced by the enthusiastic crowd.

Gilbert played seventeen songs in total, including five covers. The audience cheered and sang along with every song. His energetic performance and ability to connect with the audience were amazing. His voice is a perfect blend of rock-infused country music, and fans loved his raw and authentic stage performance.

Nickelback

The Canadian rock band Nickelback formed in 1995 and is still going strong, despite anything their haters might say. Chad Kroeger is the band’s lead vocalist, Ryan Peake is their rhythm guitarist, keyboardist, and backing vocalist, Daniel Adair is the drummer, and Mike Kroeger is the bass guitarist. The tour is supporting their seventh and newest album, Get Rollin’, which was released in September 2022.

Before the band steps on stage, a yellow CGI van with a red stripe appears on the big screen. It’s the symbol of their current tour. Then posters of each band member flash on the big screen with the words “Wanted Dead or Alive.” The crowd is on their feet and screaming when the video ends, and the CGI van turns onto an exit, and the highway signs read, “Phoenix, 12 parsecs.”

The first song is “San Quentin” from their newest album, and the audience is ready to rock out. After the song, Chad Kroeger addresses the crowd, asking, “Let’s see if you remember the words to this one.” They begin to play “Savin’ Me” from their album All The Right Reasons.

The yellow CGI van returns to the screen, racing down a dark road before they play “Animals.” A guitar riff fills the air as a fiery phoenix lands on the CGI van and transforms it into a sexy muscle car. Blasts of pyro pop, and screams are heard all around the arena in excitement. As the song concludes, Chad Kroeger thanks the audience for their energy and excitement. He says, “It’s crowds like you that make me want to do this for the rest of my fucking life. Cheers.” He then drinks a shot with the crowd and adds, “It’s an honor and a fucking privilege to play for you.“

“I’m going to play a song that would probably get us canceled today. But then again, they’ve been trying to cancel us for twenty years,” Chad Kroeger jokes, and they play “Figured You Out” from their album The Long Road.

Nickelback covers Steve Earle’s “Copperhead Road,” and to surprise the audience, Gilbert and Ross return to the stage to sing along. The crowd eats it up, and the dark arena fills with phones filming the three singing and jamming together.

After playing “High Time,” Chad Kroeger chuckles and says, “We snuck a new one in on you. Has anyone heard it?” The fans respond with cheers, affirming their familiarity with the song. Proving after twenty-eight years that their loyal following still listens to and loves them.

Chad Kroeger picks a lucky lady from the audience to come up and sing a fan favorite, “Rockstar.” The woman is starstruck as she is welcomed to the stage and handed a mic. But she soon gets into the song, sings a bit, and dances as the band plays around her.

When playing “Those Days,” movies, TV shows, bands, and MTV logos from the ’80s appear on the big screen as the band reflects on the simpler times of growing up.

Chad Kroeger smiles at the crowd and says, “You’ve got my vote for the best crowd on tour. Phoenix is fucking amazing.” Just before singing “How You Remind Me” from their album Silver Side Up.

The band thanks the crowd and steps off stage for a few minutes while the crowd cheers and cries for an encore. Nickelback returns to applause and cheers before playing “Gotta Be Somebody” from their album Dark Horse.

Chad Kroeger speaks to the crowd a final time, saying, “I’m going to be honest with you, as I normally am, incredibly honest to a fault. Earlier today, we did an interview with somebody from a foreign country, and they just started asking us all these shitty fucking questions, and it absolutely ruined my fucking day until I got on this stage, and I heard you.” He pauses as fans cheer and fists shoot up into the air. He continues, “And you turned it all around. I want to thank you from the bottom of my fucking heart, Phoenix. Thank you. I want to take you with me to every fucking city so you can give lessons on how a rock ‘n roll crowd is supposed to behave. I’m in such a good fucking mood right now. Phoenix! Let’s have some fun!” They wrap up the night with tons of pyro and the powerful song, “Burn It to the Ground.”

The “Get Rollin’ Tour” was fiery and left the audience with memories they’ll treasure for a long time. This tour is the perfect blend of country and rock and should not be missed.

Photo Gallery

Photography: Kara Blakemore

Nickelback & Brantley Gilbert – Footprint Center 7-12-23

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A Perfect Circle

Primus

Puscifer

And So It Went…

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

Lucy Clearwater

Victoria Canal

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View Separately on Flickr:Victoria Canal | Lucy Clearwater

Victoria Canal & Lucy Clearwater – Valley Bar 3-28-24

Living Colour

Extreme

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Extreme & Living Colour – The Van Buren 2-23-24

Exploring “The Albatross”

About The B-side: “I Remember Damage”

Fire Sale online:

Elder

Tool

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Tool & Elder – Footprint Center 2-10-24

NERV

Blind Channel

The HU

The core band consists of:

The four touring members include:

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The HU, Blind Channel, & NERV – The Van Buren 10-23-26

Jason Richardson

BABYMETAL

Dethklok

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Dethklok & BABYMETAL – Arizona Financial Theatre 10-10-23

The Comancheros

The Darkness

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View Separately: The Darkness* | The Comancheros

The Darkness & The Comancheros – Marquee Theatre 10-7-23

Tall Heights

Ben Folds

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View Separately: Ben Folds | Tall Heights

Ben Folds & Tall Heights – Mesa Arts Center 8-15-23

Josh Ross

Brantley Gilbert

Nickelback

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Nickelback & Brantley Gilbert – Footprint Center 7-12-23

News & Reviews from the Fiery Mosh Pits of Arizona

View Separately on Flickr:
Victoria Canal | Lucy Clearwater