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REVIEW: Summer School Tour Rocks the Marquee: A Lesson in Live Music (7-27-25)

August 1, 2025 Brittney Coon Leave a comment

Tempe, Ariz. — With triple-digit temps blazing outside, the best way to beat the Arizona heat is inside a venue blasting air conditioning and even louder music. The “Idobi Radio Summer School Tour,” proudly sponsored by Hot Topic, brought the heat in a different way on Sunday, July 27, at the Marquee Theatre. Doors opened early at 6 p.m. to make room for a stacked lineup featuring Rain City Drive, Charlotte Sands, Taylor Acorn, Beauty School Dropout , Arrows in Action, If Not For Me, and Huddy. As the tour continues its westbound run through mid-August, this Tempe stop felt like the perfect send-off to summer—one last electrifying night before the school year kicks in.

HUDDY Kicks Off the Night with Pop-Punk Energy

Huddy started the night with a burst of energy that set the tone for the rest of the show. Best known for his viral fame on TikTok and his role in co-founding the Hype House, Huddy (formerly LilHuddy) has steadily transitioned from influencer to full-fledged pop-punk performer. Far from just a social media personality, his set proved he’s serious about music.

Backed by a tight band and moody visuals, he ripped through a six-song set that included fan favorites like “Vendetta,” “All the Things I Hate About You,” and “The Eulogy of You and Me.” Tracks like “Partycrasher” and “Cyanide” kept the crowd moving, while “Fragile” offered a more emotional moment. Whether you knew him from the For You Page feed or not, by the end of his set, Huddy had everyone ready for more.

IF NOT FOR ME Delivers a Metalcore Gut Punch

If Not For Me took the stage next and wasted no time unleashing their signature brand of high-intensity metalcore. Hailing from Harrisburg, Pennsylvania, the four-piece—Patrick Glover (vocalist), Hayden Calhoun (guitarist), Zac Allen (bassist), and Cody Frain (drummer)—brought raw power, tight musicianship, and undeniable stage presence.

Known for blending punishing breakdowns with catchy, anthemic choruses, they delivered an explosive set that turned casual listeners into instant fans. The band tore through six crushing tracks: “Demons,” “No Thanks to You,” “Alone,” “Say It to My Face,” “Blameless,” and “Feel Me Now.” Each song hit harder than the last, and by the end of their set, the crowd was alive and fully locked in.

ARROWS IN ACTION Keep the Good Vibes Flowing

Arrows in Action brought a vibrant shift in tone, blending feel-good alt-pop with emotional punch. Since forming at the University of Florida in 2017, the trio—Victor Viramontes-Pattison (vocalist/guitarist), Matthew Fowler (guitarist), and Jesse Frimmel (drummer)—has built a loyal following thanks to their infectious melodies and heart-on-sleeve lyricism. Though guitarist Fowler was absent in Tempe due to illness, frontman Viramontes-Pattison reassured the crowd with a smirk, “He’s sick in the hotel, not dead,” earning laughs and cheers.

Despite the lineup change, the band didn’t miss a beat. A beach ball bounced across the crowd as they played through a sunny yet emotionally rich set featuring “Feel It Again,” “Light Like You,” “Cheekbones,” and “Wide Eyes.” Tracks like “Empty Canvas” and “All The Ways I Could Die” showcased the band’s deeper side, while “Uncomfortably Numb” closed the set on a high. With or without a full lineup, Arrows in Action proved they know how to connect and keep the good vibes going.

The band will end their jam-packed year at the 2025 Vans Warped Tour in Orlando, Florida on November 15th. For more information on upcoming tour dates and to purchase tickets, visit the band’s website HERE.

BEAUTY SCHOOL DROPOUT Mixes Chaos with Charm

Beauty School Dropout hit the stage with a kind of swagger. Formed in 2020 in Los Angeles, the trio—Cole “Colie” Hutzler (vocalist), Brent “Beepus” Burdett (bassist), and Bardo Novotny (guitarist/producer)—has been making waves ever since their early days. Backed by a heavy-hitting sound and an unfiltered attitude, their live set was a chaotic good time. “If you like mosh pits. If you like crowd surfing…” Hutzler teased the crowd with a grin, before laughing, “I see some scared faces.”

It was one of the most family-friendly pits of the night in the best way. Kids on their parents’ shoulders, outfitted in headphones, rocked out right alongside the longtime fans. The band’s setlist included high-energy bangers like “Fever,” “SEX APPEAL,” “FIGHT MODE,” and “A$$A$$IN,” with crowd favorites like “On Your Lips” and “WE MADE PLANS & GOD LAUGHED” keeping the energy alive. As the band exited the stage, the speakers cheekily played “Beauty School Dropout” from the film Grease, bringing their performance full circle.

TAYLOR ACORN Ignites the Crowd with Raw Emotion

Taylor Acorn lit up the stage with a firecracker set that had the crowd—especially the girls up front—jumping, screaming, and singing along to every word. The Nashville-based singer-songwriter has quickly become a standout in the pop-punk revival scene, thanks to her powerhouse vocals, emotionally raw lyrics, and a sound that hits somewhere between nostalgic and freshly fierce.

Known for viral hits like her 2022 breakout single “Psycho” (which has racked up over 11 million Spotify streams), Acorn brought a personal, heartfelt energy to the stage that clearly resonated with fans. The stage visuals added an extra layer of charm, two large video boards flashed her name with butterflies fluttering around, and skeleton hands throwing peace signs, hearts, and “I love you” signs punctuated her set with punk-rock flair. She shared that while she’s played in Arizona before, this was her first time performing in Tempe, and she “loved the city.” The love was mutual.

One of the night’s most anticipated moments came when Charlotte Sands joined her onstage for their collaborative track “Final Nail,” which the two originally recorded together—bringing their studio chemistry to life in a striking live duet.

Her set included fan favorites like “Hell of a Show,” “I Think I’m in Love,” and “Goodbye, Good Riddance,” along with deeper emotional cuts like “Burning House” and “Shapeshifting.” Acorn closed with “Psycho,” sending the crowd into one final singalong frenzy.

CHARLOTTE SANDS Turns Vulnerability into Power

Charlotte Sands took the stage with a burst of bold energy—and her signature electric blue hair—to deliver one of the most emotionally charged sets of the night. Best known for her breakout 2020 single “Dress,” which went viral on TikTok, Sands has quickly carved out a space in the alt-pop/rock scene with her powerhouse vocals and deeply personal songwriting.

Her setlist hit hard from the start with “Tantrum” and “Bad Day,” and the energy never dipped. Songs like “pity,” “use me,” and “spite” showcased her ability to shift from vulnerable to defiant in a single breath.

Before performing “Alright,” Sands shared that she wrote the track during the COVID lockdown, when the world felt isolated and live music felt impossibly far away. She paused to reflect on how good it felt to be back in a room together again, then asked the crowd to light up the venue with their phone flashlights—a moment that turned intimate and unforgettable.

She closed her set with fan-favorite “Dress” and the haunting “Hush,” leaving the crowd glowing, both literally and emotionally.

RAIN CITY DRIVE Brings It Home with Anthemic Intensity

Rain City Drive closed out the night with a high-octane set that blended post-hardcore grit with anthemic rock melodies. Originally known as Slaves, the band has reinvented itself under a new name—inspired by Manchester, England, the “rainy city” where the five members first connected. Now fronted by The Voice runner-up Matt McAndrew, Rain City Drive has found a powerful new identity, releasing their self-titled album in 2022 on Thriller Records.

From the jump, the band commanded the room with “Lose My Composure” and “Over Me,” driving home why they’ve become a standout in the modern alt-rock scene. McAndrew’s vocals soared, and his playful banter kept the vibe loose: “If the crowd gets quiet,” he teased, “we’ll leave the stage.” No chance of that happening. The audience stayed loud through punchy performances of “Concrete Closure,” “Frozen,” and fan-favorite “Ride or Die,” which McAndrew shouted out as the band’s personal favorite.

Before launching into “Blood Runs Cold,” he rallied the room: “Let me hear you, Tempe. Make some noise, let’s pick it up!” They wrapped the night with the emotional “Talk to a Friend” and the hard-hitting “Medicate Me,” sending fans home sweaty, smiling, and fully satisfied.

Summer School Tour Leaves Tempe Fans Wanting More

As the final notes rang out and the house lights came up, one thing was clear; the “Idobi Radio Summer School Tour” delivered exactly what fans came for—high-energy sets, genre-spanning sounds, and a sense of connection that live music does best. From Huddy’s pop-punk punch to Rain City Drive’s emotionally charged closer, each artist brought something unique to the stage, creating a night that felt like both a celebration and a farewell to summer. This tour reminded everyone why we show up early, stay late, and scream every word. If the rest of the tour is anything like Tempe, then “Summer School” is a night that deserves a full house.

Photo Galleries

Photographer: Mark Greenawalt

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Rain City Drive

Charlotte Sands

Taylor Acorn

Beauty School Dropout

Arrows in Action

If Not For Me

Huddy

IDOBI Summer School Tour – Marquee Theatre 7-27-25

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Photography © Mark Greenawalt.
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REVIEW: “Wicked” Sing-Along Drag Brunch at Tempe Improv is Spellbinding (04-27-25)

May 6, 2025 Danielle Klun Leave a comment

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Tempe, AZ – The Tempe Improv was the epicenter of vibrant entertainment this past Sunday as the sold-out Wicked Sing-Along Drag Brunch, hosted by the vivacious Espressa Grande, delivered a premium theatre-geek experience where urban witches and wizards crooned along to songs from the runaway musical-turned-cinema phenomenon.

A fusion of musical theatre appreciation and dynamic drag artistry, Grande (not Ariana) and her fabulous trio sauntered and split their way through a two-hour set that also included well-worn hits and deep cuts from the original Broadway production and The Wiz.

From the moment doors opened, a palpable energy filled the venue. Patrons, many adorned in shades of green and glittering ensembles, eagerly anticipated the performance while enjoying brunch offerings from a collectible themed menu and specialty house cocktails like the shimmering “Ruby Slippers”.

The anticipation peaked with the entrance of Espressa Grande, the event’s charismatic host. Possessing a commanding stage presence and a bravado that resonated throughout the Improv, Grande immediately established a lively and engaging rapport with the audience. Her sharp wit and seamless transitions between acts kept the energy levels consistently high.

The brunch featured a lineup of talented drag performers who delivered lip-sync performances and showcased elaborate costuming that paid homage to a menagerie of Oz tunes interspersed with pop favorites. Eddie Broadway kicked-off the performance, delivering a sultry homage to Dr. Dillamond, transitioning to the apt “Throat Goat” by Kim Petras.

From there, Ms. Stella Prince took a turn as Elphaba, passionately delivering a performance of “I’m Not That Girl” before switching it up to fan favorite “Defying Gravity” with a defiant drop of her cape.

Not to be left behind in the wake of the Oz film that has yet to feature her—Rosie C. Savage captivated as dreamy farm girl Dorothy with her The Wiz rendition of “Over the Rainbow.”

The audience eagerly participated in the “sing-along” aspect of the event, passionately belting out iconic tunes such as “What Is This feeling?” and “Popular,” transforming the Improv into a collective chorus of Wicked enthusiasts. These featured numbers were just a taste of the lineup; each queen brought multiple looks and performances, blending Wicked deep cuts with clever, thematically on-point pop hits that kept the crowd engaged and surprised.

Beyond the captivating performances, the event fostered a sense of community and unbridled fun. Espressa Grande’s interactive segments encouraged audience participation, eliciting laughter and creating memorable moments.

The combination of high-caliber drag artistry, audience engagement, and the shared love for Wicked and all things Oz culminated in an afternoon of exuberant entertainment.

The Wicked Sing-Along Drag Brunch, spearheaded by Espressa Grande, proves to be a unique and highly engaging event within the local entertainment scene. Its successful blend of drag performance and interactive sing-along elements offers a refreshing and energetic brunch experience that resonates with a diverse audience.

For those seeking a departure from the conventional brunch outing, this event at the Tempe Improv and Improv family locations presents a compelling option for an afternoon of spirited entertainment. Flip Phone Events maintains a regular rotation at Improv family locations around the Valley—with themes changing every event, guaranteeing fresh concepts and dazzling performances.

But if you missed the magic this time, don’t worry—due to overwhelming demand, the Wicked drag brunch returns to the Tempe Improv on June 8. After all, some themes are just too pop-u-lar to bring down.

Photo Galleries

Photographer: Katherine Amy Vega

Spotlight Collections:

(These include additional photos that are not in the main collection below.)

Pre-Show Vibes & Crowd Moments (2 pages)
Espressa Grande | Eddie Broadway |
Stella Prince | Rosie C. Savage

Main Collection

“Wicked” Sing-Along Drag Brunch – Tempe Improv 4-27-25

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Photography © Katherine Amy Vega, Kataklizmic Design
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Concerts, Media, Photo Galleries, Reviews

REVIEW: Sarah Brightman’s ‘A Christmas Symphony’ Enchants Phoenix with Music and Nostalgia (12-09-24)

December 11, 2024 Nate Wert Leave a comment

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PHOENIX — For enthusiasts of musical theatre, the name Sarah Brightman is iconic—and for good reason. A true legend, she began her career as an incredibly influential stage actress before transitioning to a highly successful classical crossover singer—just one of many remarkable stories about her. Brightman was married to composer and impresario Andrew Lloyd Webber, who – when adapting The Phantom of the Opera – wrote the part of Christine specifically for her. She also harbors a deep affection for the Christmas season, thus the “A Christmas Symphony” tour was conceived. And on a slightly chilly evening, this awe-inspiring production was bestowed upon a Phoenix audience at Arizona Financial Theatre.

The stage was bathed in soft blue light as the orchestra settled into their positions, soon joined by a 16-member choir. Just after 7:30 p.m., the concertmaster – also known as the violin first chair – raised his bow, signaling to the conductor that they were ready. The conductor gave a flourish with his baton, and the show commenced. The evening opened with a Nutcracker classic, “Act 2 Divertissement / Trepak / Russian Dance”. As the final notes played, Brightman made her grand entrance.

Adorned with a crown reminiscent of Lady Liberty and a dazzling silver gown, she commanded the audience’s attention. Her glittering dress caught and refracted the erupting stage lights, casting radiant beams into the audience. Smiling warmly, Brightman began with a breathtaking rendition of “Ave Maria,” setting the tone for the evening. When the song faded and the first of many enthusiastic bursts of applause subsided, she greeted the crowd.

With an air of utmost elegance and a voice of silky, unwavering propriety, she shared her love for Christmas and revealed that the evening would feature special guests. She then launched into “O Holy Night,” a poignant rendition that showcased her unparalleled vocal ability. Local child prodigy Markus Amdam Bang then joined Brightman for the angelic “Walking in the Air”.

Brightman’s voice must be experienced to be fully appreciated; as she has the ability to transport the listener to faraway lands and evoke memories of bygone Christmases, warm fires, and cherished stories told by generations now gone. Her voice resonates deeply, moving the most stoic hearts, and bringing childhood back to the old and infirm. Stripped of all artifice, her voice reveals a pure and transcendent beauty.

The concert was expertly curated, weaving traditional Christmas with selections from Brightman’s discography, such as “Follow Me” from her Hymn album, and a luminous cover of ABBA’s “Arrival”. She was also joined by Jay Dref, who performed on several songs, including “Carol of the Bells” and a spectacular version of “The Phantom of the Opera.”

The evening also featured covers of additional artists, such as “Colder Than Winter” by the current backing and occasional lead vocalist of the Eagles, Vince Gill, and Linda Ronstadt’s “Winter Light”. As the show neared its inevitable conclusion, Brightman saved the best for last. Following the powerful “Phantom”, she sang her timeless hit “Time to Say Goodbye,” often performed with Andrea Bocelli, earning her a standing ovation. Her incomparable version of “Amazing Grace” enveloped the audience with wonder, sending chills and awakening deep emotion—bringing a tear to the eye of the greatest cynic.

For the finale, Brightman chose John Lennon’s “Happy Xmas (War Is Over),” a song of protest – of both the Vietnam War and of the song “White Christmas”. After expressing her heartfelt gratitude, she bid the audience farewell, leaving the stage to yet another standing ovation.

Photo Gallery

Photographer: Katherine Amy Vega

Sarah Brightman – Arizona Financial Theatre 12-9-24

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Photography © Katherine Amy Vega, Kataklizmic Design
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Concerts, Photo Galleries, Reviews

REVIEW: A Night of Dark Glamour: Aesthetic Perfection Takes the Stage (10-12-24)

October 16, 2024 Nate Wert Leave a comment

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Chandler, AZ — On an unseasonably warm mid-October evening, Aesthetic Perfection brought their signature blend of dark electronic and industrial sounds to the Wild Horse Pass Festival Grounds. Aesthetic Perfection is celebrated for their intense performances and thought-provoking lyrics, and on this summery evening, the band delivered an unforgettable performance while opening for Twin Temple and Till Lindemann.

Founded by Daniel Graves – who is still the lead vocalist nearly 25 years after the band first came into existence – Aesthetic Perfection has a contagious energy. Graves noted several times that they weren’t very well-known, but that mattered very little to the audience. After all, what is there not to like? Graves is indomitable onstage, a whirlwind of sound and fury, mixing his nearly non-stop movements and animated expressions with a voice that switched between a vocal-fried metal growl and smooth as butter – something one would expect to hear in a Top 40 song from back when Casey Kasem was hosting the show.

Graves was joined onstage by NOIZITH who switched between the guitar and keyboard throughout the night. NOIZITH was known as PYRCE until recently, and before that, Julia Pierce from the band Cherri Bomb. NOIZITH is an incredibly talented artist, moving from rock to being a DJ and then stepping in to play with Aesthetic Perfection. Playing a sleek black Schecter guitar, NOIZITH made the remarkable look almost routine. Pacing from side to side, posing occasionally, and doing some dancing while shredding, it would be hard to picture another artist who could play off of Graves and his energy any better.

Rounding out the band was drummer Brooke Colucci, known better as “Rock Angel” to many fans who followed her on social media as she went from a 15-year-old phenom to a touring drummer at only 21. Formerly the drummer for the band Plush, Colucci made a name for herself with her drum cover of Tool’s “46 & 2” on YouTube. Colucci was the only one of the trio to stay stationary, in no small part due to the difficulty of moving a drum kit around the stage.

The seven song setlist included a new single “Into the Void,” from the 3 song Bad Vibes EP. Casual goth/industrial music fans may note there is an undeniable Nine Inch Nails influence in the song – with perhaps some Marilyn Manson mixed in there for some good measure. They would be right, as the song was mixed by Sean Beaven, who mixed the aforementioned artists as well.

Graves also made sure to mention the heat – which has stuck around, refusing to leave, much like the first clingy middle school boyfriend who just doesn’t get the damn hint – you know the one. He noted how little it bothered him, as he is a goth who grew up in the deserts of Southern California. This, of course, was tied to the song “Summer Goth,” which has an unexpected yet very welcomed reggae feel to it until you get halfway through and the breakdown reminds you that you are, indeed, at an Aesthetic Perfection show. The song’s vibes felt especially appropriate for the atmosphere of the outdoor concert.

The final songs of the short setlist included “Gods & Gold,” “S E X,” “TOXIC,” “Rhythm + Control,” and “Love Like Lies.”

Aesthetic Perfection may not exactly be a household name for the casual music lover, and this is unfortunate. If you see them on the bill, make sure to check when they’re hitting the stage, get there a bit early, and be prepared for a sonic delight. Graves, NOIZITH, and Colucci are dark, charming characters, and they will absolutely win you over by the end of the show, even if you have never heard of them. This was the case this evening, with the audience eagerly raising their hands into the air at the behest of Graves, gladly posing for a photo behind the band before their set’s finale.

Photo Gallery

Photographer: Katherine Amy Vega

Aesthetic Perfection – Wild Horse Pass Festival Grounds 10-12-24

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Photography © Katherine Amy Vega, Kataklizmic Design
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Concerts, Media, Photo Galleries, Reviews

REVIEW: Leprous Delivers a Progressive Metal Grandeur to The Nile Theatre (9-28-24)

October 4, 2024 Ryan Novak Leave a comment

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Mesa, AZ — Arizona’s metal scene is thriving, yet it often flies under the radar, deserving far more recognition. While other genres may get more press, the crowd for Leprous’s concert at The Nile Theatre, with support from Fight The Fight and Earthside, proves that the scene is absolutely thriving. The concertgoers on Saturday night demonstrated a scene that formed a tight-knit community, united by their shared love of the music. There was a sense of camaraderie and belonging among fans at the show. The crowd was filled with passionate fans who turned out for Leprous but gave the same love to New England’s Earthside and Norway’s Fight The Fight. The crowd at The Nile was alive, in the moment, and metal A.F.

Fight The Fight

Touring in support of their new album Shah Of Time, Fight The Fight delivered on their unique blend of heavy metalcore and elements of alternative metal and rock. From the opener of “Serpent in the Sand,” the band’s sound was driven by the chugging guitars of Amok and Lord who provided a force throughout their entire set.

The rhythm section of bassist HM and drummer Bjørn Dugstad Rønnow created the foundation on which the whole band shined, with both really showing out on “Alien” and “12800.” Combined, the band allowed Lars Vegas’s catchy, melodic vocals, which shifted effortlessly from heavy verses into cinematic heights, especially on the band’s closer: “In Memory.”

Earthside

New England’s Earthside was up next. Their sound is a modern twist on vintage progressive rock with each song in their setting displaying their complex compositions, intricate musicianship, and a blend of heavy and atmospheric sounds.

Their five-song set was an experience, powerful and dazzling. Pulling heavily from last year’s Let the Truth Speak, the first four songs (“We Who Lament,” “Pattern of Rebirth,” “Watching the Earth Sink,” and “Let the Truth Speak”) showcased the band’s incredible interplay of music and showmanship. Their closer of “The Closest I’ve Come,” the lone song performed from their debut A Dream in Static, left the crowd fired up for more while amped for Leprous’s set.

Leprous

The lights dimmed, and the crowd erupted in a roar as Norwegian progressive metal band Leprous took the stage. The first time they played Arizona, there were 29 people at the show, singer Einar Solberg told the crowd.

In the years since, the band has built a rabid following that turned out, and it’s clear that the Arizona crowd is some of their most hardcore. The band’s intricate compositions, technical prowess, and emotional depth were unleashed in a live, unfiltered experience across their 15-song set, and the opener “Silently Walking Alone” from the recently-released Melodies Of Atonement showed exactly why the Norwegian powerhouse is so loved.

Their set was a marvel, as each member is a superstar presence in their own right. Solberg’s distinctive vocals, which soared above the dense sonic landscape, achieved Freddie Mercury-esque heights, while the rhythmic patterns of Baard Kolstad provided a complex foundation for the band’s musical exploration. On highlights of the night like “On a Sunken Ship” and “Unfree My Soul,” the intricate instrumentals filled the air with technicality and emotion.

With each song, the Leprous’s emotional intensity grew. Each song in their set delved into themes of introspection and vulnerability, connecting with the audience who responded with pumped fists throughout. Solberg would climb on top of the speakers at the front, ascending like a God-like figure to deliver a powerful and expressive performance that conveyed the raw emotion behind the lyrics.

“Faceless,” also from the new album, featured a fan choir made up of a few of Arizona’s most die hard Leprous fans. Sharing that moment with the fans was a magical moment of the night, as it showed how seamless the connection between band and their fans has become, eliminating the idea of “us” and “them” and instead creating a moment of “we.”

The rest of the set, with “Slave,” “From the Flame,” and “Atonement,” built on this moment. Even as the final notes of “The Sky is Red” faded out, the energy in the room made it clear the night was not over. When the band returned to the stage, they gave the fans three choices: “Stuck,” “Rewind,” and “Castaway Angels.” While any would have made for an unimaginably powerful closer, it was clear the crowd wanted “Castaway Angels,” and the band absolutely delivered. As the final notes faded, the riotous crowd erupted in applause for each member as they exited the stage, with everyone emotionally spent by the moment and yet not ready to call it a night. It was a moment, testament to the unforgettable performance we had all just witnessed.

Leprous may have first played Arizona in 2016 to just 29 people, but after Saturday’s truly immersive and powerful experience they gave to everyone in attendance, it’s clear they’ve found a home away from home at The Nile in Mesa. However, with the ever-growing passion of their fanbase, it’s hard to imagine the theater will be able to contain them the next time they return.

Photo Galleries

Photographer: Katherine Amy Vega

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Leprous | Earthside | Fight The Fight

Leprous, Earthside, & Fight The Fight – The Nile Theatre 9-28-24

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Photography © Katherine Amy Vega, Kataklizmic Design
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Concerts, Photo Galleries, Reviews

REVIEW: Halestorm and I Prevail Bring High-Octane Performances to Arizona Financial Theatre (8-16-24)

August 21, 2024 Brittney Coon 1 Comment

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PHOENIX — Halestorm and I Prevail brought their co-headlining tour to Arizona Financial Theatre last Friday night, delivering a night of unforgettable performances. With Halestorm taking the final slot this evening, the packed crowd was treated to a high-energy show. Hollywood Undead and Fit for a King added their own powerful sets to the lineup, making the night a standout for rock and metal fans.

Fit for a King

The mindblowing evening started with the American metalcore band from Tyler, Texas, Fit for a King (FFAK). The band members—Ryan Kirby (vocals), Bobby Lynge and Daniel Gailey (guitars), Ryan “Tuck” O’Leary (bass), and Trey Celaya (drums)—have been melting faces since 2007. They played a blistering eight-song set that fired up the crowd, even igniting a circle pit among the general admission audience in front of the stage.

Hollywood Undead

Up next was the American rap rock band, Hollywood Undead, formed in 2005 in sunny Los Angeles, California. The current lineup includes Jorel “J-Dog” Decker (vocals, guitar, keyboards), Dylan “Funny Man” Alvarez (vocals), George “Johnny 3 Tears” Ragan (vocals, bass), Jordon “Charlie Scene” Terrell (vocals, guitar), Danny Murillo (vocals, keyboards, guitar), and finally, Matt “The Cat” Oloffson (drums).

They recreated the “Cali” vibe with four light-up palm trees on stage, two trash fire barrels, and a cardboard sign hanging from the keyboard with “Hotel Kalifornia” handwritten on it. Hotel Kalifornia is their most recent album, released in August of 2022.

Hollywood Undead’s twelve-song set kicked off with “California Dreaming,” and by the third song, the fully-engaged crowd headbanged to “Riot” with contagious energy spreading like wildfire. The band threw beach balls into the crowd, which bounced above the audience as they rocked out. Right before starting the song, “Comin’ In Hot,” they brought up an eleven-year-old girl from the audience to jam on stage with them. Concertgoers sang and danced along to their cover of Neil Diamond’s “Sweet Caroline,” and Hollywood Undead wrapped up their set with “Bullet” and “Undead.”

I Prevail

The third band to take the stage was I Prevail, a rock band from Southfield, Michigan. The current band members are Brian Burkheiser (clean vocals), Eric Vanlerberghe (unclean and clean vocals), Steve Menoian (lead guitar), Dylan Bowman (rhythm guitar, backing vocals), Gabe Helguera (drums), and Jon Eberhard (bass, keyboards).

They rose in popularity in 2013 after releasing a metal cover of Taylor Swift’s “Blank Space” on YouTube. Since then, they have released three studio albums, with their single “Bow Down” earning a Grammy nomination for “Best Metal Performance” in 2019, and their album Trauma receiving one for “Best Rock Album” that same year.

When they took the stage, the venue shook—like literally shook. It made eardrums buzz, hearts race, and it knocked old confetti from past concerts down from the rafters to gently fall onto the crowd below.

I Prevail started with a video of an anonymous speaker talking about fear before starting “There’s Fear in Letting Go.” Vanlerberghe told the crowd that it’s been ten years since the band dropped their cover of Swift’s song, and they hate singing it, but they added it to the setlist for the fans. Everyone cheered and threw up their horns.

Before playing “Breaking Down,” Vanlerberghe got personal with the audience, talking about how he is doing well in therapy and to talk to someone if you need to. That mental health is important. I Prevail gave the crowd everything they had, just as they promised.

Halestorm

Wrapping up the heavy metal night was Halestorm, the American rock band from Red Lion, Pennsylvania, formed in 1997 by lead vocalist and guitarist Lzzy Hale and her brother, drummer Arejay Hale. Other members include Joe Hottinger as guitarist and Josh Smith as bassist.

Grammy-Award winning Halestorm introduced their set with Lzzy singing an a capella “Raise Your Horns” before launching into “I Miss the Misery.” She shows no reserve for showcasing her unparalleled vocals, with an almost-menacing, growling belt prominently featured from start to finish. She figuratively blew the roof off the venue, jaws dropping, during the “I Get Off” interlude of Heart’s “Crazy On You.”

Lzzy addressed the crowd: “It’s for all the letters that you’ve given me, all of the love online, you guys just standing out here singing every word. I can’t believe it, man, I can’t believe it. It blows my mind. So, this one is for all of you tonight, this is called, ‘Familiar Taste of Poison’”. They played the long-beloved song from their first album, self-titled Halestorm.

Also in support of mental health, Halestorm has teamed up with the mental health organization Sound Mind Live to encourage fans to pledge their support, helping to fund free mental health programs that will be available to communities across the country.

The band members’ percussive skills were on display as they played a taiko-style mid-set drum ensemble. Lzzy’s in-your-face stage presence admirably dominated throughout the night, and she delighted with moves such as a backbend contorting her body down to the floor as she shredded on her guitar.

Vanlerberghe rejoined the stage to sing the duet of “can u see me in the dark?” with Lzzy. Halestorm wrapped up the night with “Mz. Hyde” and “The Steeple.” Fans were left with ringing ears and giant smiles as all departed the venue into the blazing Phoenix night.

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Halestorm | I Prevail | Hollywood Undead | Fit for a King

Halestorm, I Prevail, Hollywood Undead, & Fit for a King – Arizona Financial Theatre 8-16-24

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Concerts, Photo Galleries, Reviews

REVIEW: Fitz and The Tantrums Delivers Essential Energy at Arizona Financial Theatre (8-7-24)

August 9, 2024 Ryan Novak 1 Comment

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PHOENIX — Arizona weather has been chaotic recently. We’ve had our sweltering days, relentless in the waves of heat emanating from every direction, making residents want to stay inside and bask in the glory of central air. Recently, with the monsoons, we’ve even been granted some of that humidity we’ve all heard so much about but rarely experience. We needed a reprieve from this heat and occasionally muggy air. Seeing Fitz and The Tantrums’ recent performance at the Arizona Financial Theatre was a spiritual amnesty — a stay of execution from excessive heat, if you will.

Fitz and The Tantrums

“We’re Fitz and The Tantrums!
Now, get your hands in the air!”

Fitz and The Tantrums’ arrival on stage seemed perfectly timed, as the seats had just completely filled, and the general admission around the stage had swelled to occupy every inch of space. The band’s dynamic hybrid of neo-soul and indie pop was the ideal remedy to combat the steamy temps and stifling air, a refreshing breeze that cools the body and revitalizes the soul.

The band opened with “Sway” and “Heaven,” letting the audience fully feel the moment, come alive, and cosmically link with the music. The energy was immediate, like an electric current surging through the crowd, passing from one person to the next. In those two songs, there was a moment of magic as the crowd began to dance. In the pit, they moved in unison, and it continued, like the wave at a sporting event, rising through the crowd and bringing those in the seats to their feet as they began to move.

What makes Fitz and The Tantrums so appealing and beloved by their audience — which ranged from young children to adults who have followed them for the entirety of their 17 years of existence — is their ability to blend old and new sounds into something wholly unique. For example, I noticed a family in front of me with three kids, approximately five to early teens, all of them overjoyed and grooving to every song, never once sitting down during the set. Each song seamlessly combines elements of classic soul, funk, and jazz, evoking an auditory experience that is both timeless and undeniably fresh. — a perfect cocktail of nostalgia with a modern twist.

As they powered through the next few songs — “OCD,” “Good Intentions,” and the relentless pop of “123456,” accompanied by the most enthusiastic, theatre-wide clap-along anyone has ever witnessed — they built momentum, with the band visibly feeding off of the crowd’s energy. Multi-instrumentalist James King, bassist Joseph Karnes, keyboardist Jeremy Ruzumna, and drummer Blair Sinta kept the heat up so that co-lead vocalists Michael Fitzpatrick and Noelle Scaggs, leading the clapping, could cook. Their cover of The Eurythmics “Sweet Dreams (Are Made of This),” originally released on their Live in Chicago album, was a delightful mid-set surprise.

With “Out of My League,” the band really hit the gas, urging the crowd to “lift a big heart into the sky.” The audience responded majestically, with both hands flying to the sky to form a field of swaying hearts, moving back and forth as if the music was the winds blowing them to and fro. Just as Fitz and the Tantrums got those symbolic hearts swaying and their literal hearts thumping, they built a giant backing-vocal ensemble from the crowd with “Moneymaker.”

In a personal moment, Fitzpatrick spoke about his wife, a native of Gilbert, and the time they spend in the area, visiting her family during holidays, signifying how much Arizona means to him and is in his heart, like a second home. Phone lights illuminated the theatre for “I Just Wanna Shine,” creating a sea of light. “All the Feels,” “The Walker,” and “Moneygrabber” propelled the show into the home stretch. After a moment when Fitzpatrick and Scaggs reflected on their journey as a band across the past 17 years, they led the show to a triumphant close with “Hand Clap.”

Right now, Arizona may be sultry on its best days and searing (mostly) on its worst, and Fitz and The Tantrums brough love and cool vibes to refresh us all.

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Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

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Artist Spotlights, Top Lists

FEATURING: 5 Pop-Side Artists (Who Aren’t Billie Eilish) Making Waves with Fantastic New Music

May 29, 2024 Katherine Amy Vega Leave a comment

Billie Eilish continues to dominate the music scene with her unique sound and chart-topping hits. However, there are many other artists making significant strides with their new releases. Here are five mainstream artists you should definitely check out, spanning a range of genres and styles, most of who have recently released fresh tracks.

1. Sabrina Carpenter

Sabrina Carpenter has been steadily rising in the pop music scene, and her recent releases are a testament to her growth as an artist. Her fifth studio album, emails i can’t send, released on July 15, 2022, debuted at number 23 on the Billboard 200, marking her highest entry on the chart to date. The album featured singles like “Vicious” and “Nonsense,” the latter peaking at number 56 on the Hot 100 and achieving Platinum certification. Following this, she embarked on the Emails I Can’t Send tour in September 2022.

In March 2023, Carpenter released a deluxe edition of the album, with the single “Feather” becoming her highest-charting song, reaching number 21 on the Hot 100 and number one on the US Pop Songs chart. She performed at high-profile events like the 2023 MTV Video Music Awards pre-show and Dick Clark’s New Year’s Rockin’ Eve 2023. Her involvement in Taylor Swift’s Eras Tour as the opening act for several international shows further solidified her growing stardom. Recently, she released the single “Espresso” on April 12, 2024, which became her first top-10 hit on the Hot 100, peaking at number four, coinciding with her performance at Coachella 2024.

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2. Renee Rapp

Renee Rapp, known for her Broadway roots in Mean Girls: The Musical, has made significant strides in her music career. She recently reprised her role as Regina George in the musical film adaptation of Mean Girls, released in theaters on January 12, 2024, and on streaming on March 5, 2024. However, Rapp has expressed her intention to focus solely on her music career due to the anxiety she experienced in the acting environment.

Rapp’s debut extended play, Everything to Everyone, released in November 2022, was followed by a deluxe version in February 2023. Her debut studio album, Snow Angel, dropped on August 18, 2023, and a deluxe version with additional tracks, including a remix of “Tummy Hurts” featuring Coco Jones, was released in November 2023. She has been actively touring, with her Snow Hard Feelings tour, supported by Alexander 23 and Towa Bird, showcasing her dynamic stage presence and deep connection with her audience. Rapp’s music blends pop and R&B influences, creating a sound that is both contemporary and timeless.

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3. WILLOW

WILLOW has continued to evolve her sound and artistic persona. In February 2022, she withdrew from Billie Eilish’s Happier Than Ever, The World Tour due to production limitations but quickly bounced back by featuring on Camila Cabello’s track “Psychofreak” in April 2022. Her fifth studio album, COPINGMECHANISM, released on October 7, 2022, features collaborations with Yves Tumor and showcases a bold dive into alternative rock with singles like “Maybe It’s My Fault” and “Hover Like a Goddess.”

WILLOW’s recent releases continue to push boundaries. Her first single since COPINGMECHANISM, “Alone,” came out in November 2023, followed by “Symptom of Life” in March 2024 and “Big Feelings” in April. She announced her sixth studio album, empathogen, which was released on May 4, 2024. With a unique blend of punk, metal, and introspective lyrics, WILLOW’s new work explores themes of identity and self-discovery, solidifying her place as a dynamic force in the music industry.

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4. Chappell Roan

Chappell Roan has been steadily carving out a niche for herself with her vibrant and catchy pop tunes. After moving back to Los Angeles in 2022, Roan worked a series of odd jobs before signing a publishing deal with Sony. Her independent single “Naked in Manhattan,” released in March 2022, was praised as a “queer girl bop” by NPR, highlighting her tender and nostalgic lyrics. Following this, she joined Olivia Rodrigo’s Sour Tour and Fletcher’s Girl of My Dreams Tour, gaining significant exposure.

Roan’s subsequent releases, including “Femininomenon” and “Casual,” showcased her versatility and willingness to experiment with different sounds and themes. Her debut headlining tour, Naked in North America, in early 2023, was a hit, featuring themed stops and drag queen openers. Roan’s first full-length album, The Rise and Fall of a Midwest Princess, released in September 2023, further established her as a rising star. Following the album’s release, she embarked on the Midwest Princess Tour, which saw her performing across North America and internationally. Her latest single, “Good Luck, Babe!”, released in April 2024, has already garnered significant attention, debuting at number 77 on the Billboard Hot 100 and achieving 7 million streams in its first week. Roan’s growing popularity on Spotify and high-profile performances, including at Coachella, mark her as an artist on the rise.

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5. Olivia Rodrigo

Olivia Rodrigo burst onto the scene with her debut single “drivers license,” and she hasn’t slowed down since. Her Disney+ documentary, Olivia Rodrigo: Driving Home 2 U, detailing the making of her debut album Sour, was released on March 25, 2022. Rodrigo received seven nominations at the 64th Annual Grammy Awards, winning Best New Artist, Best Pop Vocal Album for Sour, and Best Pop Solo Performance for “drivers license”.

Rodrigo’s second album, GUTS, released on September 8, 2023, debuted atop the Billboard 200 and was acclaimed as the most critically acclaimed album of 2023 by BBC News. The album’s lead single, “Vampire”, became her third single to debut at number one on the Billboard Hot 100, making her the first artist to debut the lead singles from two career-opening albums at No. 1 on the Hot 100. Following the success of GUTS, Rodrigo announced her GUTS World Tour, which runs from February to October 2024. She also released a deluxe version of the album, GUTS (Spilled), in March 2024. On April 13, 2024, Rodrigo made a special guest appearance at No Doubt’s Coachella show, where she performed the band’s 2000 single “Bathwater” alongside them. Rodrigo’s music continues to capture the angst and emotions of youth, solidifying her place as a pop icon for a new generation.

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Billie Eilish’s Latest Release: Yeah…We Couldn’t Ignore This One

You didn’t think we’d skip over Billie Eilish’s new album, did you?

On April 8, 2024, Billie Eilish announced her third studio album, Hit Me Hard and Soft, which was released on May 17, 2024.

This album marks Eilish’s highest-performing album yet, with 339,000 units earned and over 193 million streams.

This album is incredible.

Despite a close race with Taylor Swift’s The Tortured Poets Department, Eilish’s album debuted at number two on the albums chart. To support the album, she announced the Hit Me Hard and Soft: The Tour, which will cover North America, Oceania, and Europe from September 2024 to July 2025.

While Eilish and Swift continue to dominate the charts, these five artists are proving that there is plenty of fresh talent in the music industry. Sabrina Carpenter, Renee Rapp, WILLOW, Chappell Roan, and Olivia Rodrigo each bring something unique to the table, offering new music that is well worth a listen. Whether you’re into pop, rock, or something in between, these artists have something for everyone.

Honorable Mentions

For those interested in more emerging artists making waves with their recent releases, here are a few to check out:

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Featured photos (top, from left to right) by Anthony Arquier (WILLOW), Unknown (Sabrina Carpenter, Renee Rapp), Ryan Clemens (Chappell Roan), Nick Walker (Olivia Rodrigo)

Albums, Reviews

ALBUM REVIEW: ’empathogen’ – WILLOW’s Artistic Renaissance Transcends Boundaries

May 17, 2024 Katherine Amy Vega 1 Comment

WILLOW’s empathogen, released on May 3, 2024, emerges as a captivating blend of genres, heavily infused with jazz and maintaining an edge with rock, R&B, and dark pop music influences. empathogen is deeply embedded in black culture and musical traditions while exploring human imperfection and mental health struggles. This album solidifies her place as a transformative artist in contemporary music.

The album’s opener, “home” (feat. Jon Batiste), immediately sets the tone with percussive prominence that seems to be channeling African music in combination with jazz. Collaborating with Batiste, WILLOW creates a vibrant and dynamic track that celebrates her cultural roots while pushing musical boundaries. It leaves the listener wondering what to expect with the tracks to follow, and frankly, whatever they assume is most likely incorrect.

Throughout empathogen, WILLOW explores a diverse range of sounds and styles, showcasing her impressive versatility. In an unconventional usage of the term – I want to call the album “chaotic good”. She infuses moments with her signature style, offering intriguing vocal flourishes that fluidly transition between head voice and chest voice. One of the album’s standout features is WILLOW’s impressive vocal range, which she fearlessly exercises throughout each track. Her voice carries a beautiful timbre, and from soulful melodies, powerful belting, to yodeling, she effortlessly navigates wildly diverse vocal techniques with excellent control. When combined, it underscores her undeniable talent, along with masterful honing of skill. In “ancient girl,” she deftly employs vocal flipping techniques while remaining monotonous for the most part, adding an intriguing layer to the track’s sonic tapestry.

There are a tremendously vast array of flavors of influence of a myriad of artists in empathogen, yet WILLOW asserts her distinct voice and identity. The fact that in many cases it is a bit of a challenge to put your finger on where you’ve heard some of these influences, in my opinion emphasizes how much she has taken them and made them her own, and they sound so well-executed and natural to her. The album’s musical atmosphere occasionally shares elements with Billie Eilish and BANKS. However, WILLOW incorporates experimental and ambient musicality that creates a unique sonic landscape.

Fun fact: WILLOW was actually slated to open for Billie Eilish on her “Happier Than Ever World Tour” in 2022, but had to let go of the opportunity due to production limitations. Can you imagine the power of the combination of these two artists in a line-up?!

Interestingly, despite missing out on that collaboration, WILLOW and Eilish are currently on somewhat synchronistic paths. WILLOW released her album this month, and she is gearing up to tour across North America with Childish Gambino starting in August. (WILLOW tour dates & tickets here)

Meanwhile, in the same month – today, in fact – Eilish released her latest album, entitled HIT ME HARD AND SOFT. She will be kicking off her tour in September, and it will journey across North America, Australia, Europe, the UK, and Ireland and span into 2025. (Billie Eilish tour dates &tickets here)

Beyond her celebrity status, WILLOW (Willow Smith) proves herself as a formidable artist, transcending preconceptions of being a “nepo-baby.” Her musical journey spans years, marked by phases of visibility and brilliance. WILLOW has released six studio albums and one album under the moniker THE ANXIETY in collaboration with Tyler Cole, demonstrating her continuous evolution. empathogen solidifies her place in the industry, showcasing her growth and maturity as an artist.

This album is incredibly divergent from the genres of her past work, such as the more heavily rock n’ roll <COPINGMECHANISM> (2022), as is her band’s self-titled album THE ANXIETY. Her debut album ARDIPITHECUS is more classifiable as indie. The difference in her sound throughout each album release was mentioned in a recent interview between WILLOW and Jimmy Fallon. This is a testament to those chaotic good, continuous switches in genre. WILLOW keeps her music fresh-sounding and full of dopamine-triggering, enthralling surprises.

As empathogen unfolds, listeners are treated to an auditory journey that defies expectations. Tracks like “symptom of life” highlight WILLOW’s ability to seamlessly blend genres, at the same time delivering introspective lyrics that resonate deeply with listeners. It never sounds out of place or inauthentic when WILLOW changes things up. When the upbeat, summary chorus hits, this particular track also makes you want to put on yellow heart-shaped sunglasses and enjoy a particularly cheerful-toned view while cruising down the road. Unlike her previous electric instrumentation-heavy work, empathogen initially relies on a lot of acoustic instrumentation, adding a raw and organic quality to her musical repertoire. The piano work in “symptom of life” is simply lovely.

Similarly, the introspective track “the fear is not real” captivates with its ethereal soundscape and emotive vocals – at times breathy, and others, executed in a way that gives the song a tone that tells a story of tension. The lyrics indicate the inner battle experienced when left alone with one’s thoughts – the intensity of aversion to allowing oneself to do so, while making an effort to accept it is an important process:

In the silence, I can hear inside my mind
In the silence, I can’t wear my disguise
In the silence, in the silence,

In the silence, I can hear inside my mind
In the silence, I don’t know what I’ll find
In the silence, in the silence,

Don’t really wanna feel the freedom
‘Cause the parts of me I can’t see, they
Wanna come out and fuel the fire, I don’t wonder why
Never want to let me fall to pieces
But it’s funny ’cause I think I need it

With another dive deep into herself, “False self” emerges as a standout on empathogen. Here, WILLOW bares her soul, with vocals that outcry with raw emotion, and a chorus that rips. The musicality of the track resonates with angsty dark pop elements, further adding to its depth and intensity. It features lyrics like, “My false self must die, it’s no surprise” and “Feel the answer change, I don’t wanna change, but I need to change.”

A guest appearance from St. Vincent in “pain for fun” adds an exciting dimension to the song, showcasing WILLOW’s ability to collaborate with other talented artists. St. Vincent, a stalwart in the music industry since 2003, brings her distinctive blend of indie rock and avant-garde pop to the track, enhancing its richness. Known for her innovative sound and acclaimed tracks like “Los Ageless,” St. Vincent’s collaboration with WILLOW adds a layer of depth and sophistication to empathogen. In parts, WILLOW utilizes her head voice, lending the track a softer, more effeminate quality. Honestly, an entire article could be written on all of the nuances of this 1 track alone.

This wasn’t WILLOW’s first time coacting with a widely-acclaimed artist in her music. Another instance was in her lately I feel EVERYTHING (2021) album tracks “t r a n s p a r e n t s o u l” and “Gaslight” featuring Travis Barker of Blink-182. “Gaslight” is very pop-rock and made me think about Avril Lavigne. Momentarily, I questioned whether my musical ear was serving me well, until I scrolled down the track list and saw the track “G R O W” featuring Avril Lavigne and Travis Barker. It simply cannot be overstated that WILLOW’s discography is delightfully unpredictable, but all of it is incredibly appealing. It’s ear candy, and I am confident that many existing fans will continue to enjoy her, despite the significant diversity in her sounds.

I apologize for the digression. Let us return to the review of empathogen…

“Down,” a brief down-tempo track, serves as a transitional piece leading to the solidly contrasting sound of “run!” – a single from the album that starts with a high chest voice like a yell, “I CAN’T GET OUT!” “Down”’s melancholic tone and Beyoncé-esque vocal quality provide a moment of introspection before the album’s energy shifts. And then, “i know that face.” is a very jazzy track.

One thing that has pervaded throughout all of her albums is apparent emotional maturity that continues to crescendo with each release, along with wisdom beyond her years, and high overall intelligence. She was just 15 when she released ARDIPITHECUS, and sometimes she sounds her age – such as when shouting with a higher pitch, yet in many other instances, she sounds grown up due her deep voice and her solid abilities. I cannot deny that is another way I draw a connection between Eilish and Smith – that “old soul” vibe.

“Acceptance is the key, acceptance gives me wings” – from the track “b i g f e e l i n g s”

That is not to say WILLOW has never released less mature music, or that a 10-year-old child should be required to. Her musical debut was in 2010 with the Billboard-charting “Whip My Hair” – you’ve probably heard it. I had, not knowing who the artist was. And while her father’s music was enjoyable in its own right, and it’s like comparing apples to oranges, his daughter’s music truly makes his songs sound like child’s play in comparison.

WILLOW’s clout may ebb and flow with public reception and industry dynamics, seeming to evade consistent well-deserved attention to her work and character. Yet, empathogen stands as a testament to her artistic vision, evolution as a musician, and unwavering commitment to her craft. With this album, she invites audiences to join her on a transcendent musical experience, where vulnerability meets strength and authenticity reigns supreme. WILLOW is poised to leave an indelible mark on the music industry for years to come.

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Albums, Reviews

ALBUM REVIEW: Taylor Swift’s ‘The Tortured Poets Department’ – A Personal Perspective

April 29, 2024 Scott Gesser Leave a comment

It’s a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. ✌️ I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine… pic.twitter.com/y8pyDK8VTd
— Taylor Swift (@taylorswift13) April 19, 2024

I listened to Taylor Swift’s new album, The Tortured Poets Department, on Saturday while I was working out and walking. This is what I’ve been doing with countless other albums since the beginning of March. (I say “countless,” but that’s not true at all; I’ve actually been counting them in a spreadsheet.) I was kind of lukewarm on the proper album, but I enjoyed The Anthology (a surprise bonus album that was released along with TTPD*) a lot more.

*Reader’s Note: For the purposes of everything I’m about to write, when I refer to “TTPD”, I’m referring to all of the songs encompassed on both albums.

I’ve been reading a lot about TTPD, and I’ve been asked about my opinion on it more than logic might dictate, especially when you consider that I am not Taylor Swift’s target demographic. But the more I think about it, the more I realize that I’m not her target demographic in a manner that’s different from my initial suspicions.

I once read an article about Swift wherein she mentioned that the majority of her focus is on the lyrics when writing a song. This makes a lot of sense; her songs are generally intensely personal and appeal to the type of people who are interested in breaking down the lyrics of the songs they enjoy, which is basically all Taylor Swift fans. This is why you’ll see so many posts from people, Swifties or otherwise, talking about how much they relate to individual tracks from TTPD.

I’ve always known this about myself, but I don’t think I’ve ever had a reason to express it until now: I’m not a lyrics guy. Considering the multitude of comedic songs (and personal songs) I’ve written over the years, lyrics typically don’t command my initial focus when I listen to a song for the first time.

I’m a music guy; I focus almost exclusively on the music in a song. If I’m paying attention to the words at all, it is because I’m interested in the melody. My favorite song on TTPD is “Cassandra”, and this is entirely because of the main piano riff and the way the vocals play off of that piano part during the verses. I didn’t even realize the song was about Greek mythology until someone else mentioned it in a post.

If I do focus on the lyrics to a song at all and end up enjoying them, that’s a bonus, but it’s not even remotely a priority. Even my favorite comedy songs are songs where I happen to enjoy the music, even if they aren’t as funny as other songs. For example, Bo Burnham’s “Welcome To The Internet” is arguably one of the funniest songs heard throughout his Netflix comedy special Inside, but I’d rather listen to “Content”, the opening number that merely summarizes what the special is meant to be, and is only a fraction as hilarious, and this is entirely because I think that song is catchier.

Because this is how I enjoy music (or why I sometimes don’t enjoy it) in totality, and because Taylor Swift is an artist who puts almost all of her emphasis on writing lyrics that are personal yet universal, I can appreciate the heck out of what she’s capable of while simultaneously understanding that our sensibilities are only going to parallel one another sometimes. Because a lot of the music on TTPD is bare and simplistic to allow the lyrics to have a platform where they can more effectively shine, there are fewer elements of those songs for me to personally really dig.

I think TTPD is a good album. But I’m not a person for whom it should exist, not because I’m not a Swiftie, and not because I’m a 40-year-old man, but because I’m a guy that hones in on different elements of music than where the intended audience casts their focus. And that’s okay, because it doesn’t matter how I feel about it; what matters is how YOU feel about it.

It’s me. Hi. I’m the problem; it’s me.

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Fitz and The Tantrums

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Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

1. Sabrina Carpenter

2. Renee Rapp

3. WILLOW

4. Chappell Roan

5. Olivia Rodrigo

Billie Eilish’s Latest Release: Yeah…We Couldn’t Ignore This One

Honorable Mentions

Follow WILLOW Online

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News & Reviews from the Fiery Mosh Pits of Arizona

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