PHOENIX — Reviews commonly found on Burning Hot Events cover shows of performers who are on tour and simply visiting the Valley of the Sun for a night or two. However, there is nothing more refreshing than finding a talented band right in our own backyard. Such was the situation on Saturday evening at Copper Blues Live at Desert Ridge Marketplace. Spark Jack Daddy ignited the stage, making people dance all night.
The night began with the packed-out dining area filled with football fans watching the Nebraska Huskers pummel Northern Illinois. Once the clock ran out, the massive projector screen lifted to reveal an army of musicians.
The fourteen-wide lineup included a quartet of vocalists (each singing lead and harmony), a four-piece horn section, a dueling pair of guitarist (who also sang lead/harmony vocals), a rhythm section of bass and drums, all topped off with a keyboardist and percussionists. They poured out a wide variety of hits from yesteryear and today, ensuring that the diverse crowd remained engaged for their 3-set, 35 song performance.
Folks danced in their seats, next to their tables, and sang along between sips of beer and hefty nibbles on enormous nachos and other delicious bar fare while Spark Jack Daddy gave a memorable performance.
Soulful and familiar songs permeated the room that ranged from Bruno Mars to Chicago, Stevie Wonder to Maroon 5. Additionally, attendees had the distinct pleasure of hearing an original Spark Jack Daddy song written by Burning Hot Events’ own Mark Greenawalt, who is typically behind the lens or the other kind of keyboard that contains the alphabet.
If you missed the entertaining performance, don’t fret; Spark Jack Daddy, led by singer, guitarist, and founder Marty Lucas, will be gracing the stage at the Four Peaks Oktoberfest at Tempe Town Lake on October 13 at 2:00pm. One thing is for certain: you’ll definitely have a good time, as Spark Jack Daddy is one of the most entertaining acts in the valley, and their wall of sound is a must-see.
SEATTLE — Like a gentle breeze, The Paper Kites brought in a soothing and refreshing performance to Neptune Theatre, accompanied by special guest Harrison Storm. Purely cathartic, The Paper Kites’ dreamy indie/folk rock music serves as a lullaby, the stitches that mend broken lovers, escapism for the weary and hopeless.
Held in a historic theatre with ornate Renaissance-influenced architecture and folding chairs, there seemed to be some ambiguity as to whether the crowd should handle themselves formally or casually, whether they should keep silent in reverence or cheer, sit or stand. Singer-songwriter Harrison Storm helped assure the audience that they had permission to applaud, although the presence of chairs still persuaded all to stay planted in their seats for most of the night.
Storm was a good lead-in for The Paper Kites, with a personal and minimalist style. He will be parting ways with the band following their September 20th show in San Luis Obispo, and embarking on a headlining tour in the UK and Europe beginning on October 11.
Being a performing arts venue, Neptune Theatre didn’t have overhead lighting directed toward the band, and the lights on the edge of the stage were low, leaving The Paper Kites mostly backlit. This lent itself to the midnight mood of their music, and also often illuminated drummer Josh Bentley and bassist and synthist Sam Rasmussen more than the others.
Sometimes the combination of blue and magenta lights resembled the neon sign on the cover of twelvefour, creating an even deeper sense of immersion.
The lone woman of the group, keyboardist and guitarist Christina Lacy, has a humble stage presence despite the prominence of her vocals within the harmonies in their songs. On this night, her entrancing vocals, along with those of Dave Powys, were nearly as soft as a whisper.
Powys entranced onlookers when he played the lap steel, an instrument that many had undoubtedly never seen.
Frontman Sam Bentley brings authenticity to the stage, sharing endearing stories that brought some levity, and visibly drawing on his emotions as he sang verses and held notes like a long, slow yoga exhale. Seeming to channel a trance-like state, each musician in the five-piece band performed with otherworldly control and subtlety.
We often like to impose our own lives onto the music we listen to, giving it particular relevance to ourselves, but it was interesting to hear some of the tales behind the songwriting that Bentley shared that night. The meaning behind the lyrics is often so much more interesting and creative than what you would assume. Some of the best parts of the show were a couple of times when every member of the band came together to sing into a single microphone. One of the most shining moments for Bentley’s vocals was the climax of “Give Me Your Fire, Give Me Your Rain” off of On the Corner Where You Live — the second of a two-part album release in 2018. They closed out the night with all five on a guitar (incl. bass) for “Standing in the Rain” from the first 2018 release On the Train Ride Home. Including the encore, The Paper Kites performed a 16-song setlist.
Beginning in British Columbia, this was the second stop on The Paper Kites’ 2019 fall tour that will be traveling down the United States and passing over Phoenix, Arizona — home of Burning Hot Events. They will be making stops in the south, working their way north up the eastern seaboard, visiting the Midwest, and heading back up to play their last date in Alberta. In 2018, they toured in support of their two releases that year. The 2018 fall tour was concentrated primarily in California, Canada, and the northeastern US, so Phoenix wasn’t privy to this tour either, whereas Seattle had the privilege of being slated for both tours. However, Seattle holds a special place in their hearts, being that it was a location they ventured to in 2015 to record the one and only twelvefour. On this night at Neptune Theatre, Bentley called Seattle a “second home”.
It seems that Arizona was last graced with their presence in 2017 when they performed at Club Congress in Tucson. Since they have performed in landmark venues such as Club Congress, Seattle’s Neptune Theatre, and San Francisco’s The Fillmore, perhaps one day they will be hosted by The Van Buren in Phoenix — converted from a historic vintage auto dealership. Good luck Phoenix… You could use a chill night like this.
Redmond, WA — CAKE, Ben Folds, and special guests Tall Heights seemed to be right where they belong as they performed amidst the tranquil atmosphere of Marymoor Park. The Seattle Eastside amphitheatre is surrounded by trees, and the crowd was content to sit and chill on the lawn from the get-go. This is the second time CAKE and Ben Folds have commenced on a summer co-headlining tour accompanied by Tall Heights. Summer of 2018 saw the joint tour spanning the east side of the country, and this year it was along the west coast. This 2019 tour wraps in Grand Prairie, TX, which makes it slightly surprising that they’re not stopping in Phoenix between Los Angeles and Austin. Following the final date, CAKE is headed to France, and Folds to Milwaukee, WI.
This isn’t the first time electro-folk duo Tall Heights has toured alongside Ben Folds — Burning Hot Events reviewed their concert at Marquee Theatre in September of 2017. “Spirit Cold” is one of their most recognizable songs, and it was that very song that I could hear in the distance as I approached the amphitheatre after getting stuck in the concert traffic, reminding me of CAKE’s “Long Line of Cars.”
Their soothing folk vibe and harmonies could not have been more perfect for an outdoor show closing out the work week. With their discography currently comprised of three albums, their most recent release was Pretty Colors for Your Actions on October 5, 2018. It is moving to know that they have come this far from their beginnings of busking in Boston.
When Ben Folds hit the stage, Tall Heights continued to perform in his live band alongside him. Folds casually yet energetically strolled onto stage with a demeanor that read like we are all old friends. He began his set with upbeat “Annie Waits” — an uplifting contrast to the gentleness of Tall Heights’ music. Despite this, Tall Heights paired with Folds seamlessly, and it was apparent how much fun they have up there with him. The accompaniment is demonstrative that despite going solo, Folds loves to perform as a group.
It was probably about 7:00pm when Folds started. He told the crowd that he thought he was going on at 8:00pm, so he was performing in the clothes he slept in. He said that he had let himself go, and asked the audience who else had let themselves go. Oddly enough, a majority of the crowd honestly raised their hands and there was laughter all around. He even improvised a “Let Yourself Go” song later on in his set. With the use of his quirky sense of humor, Folds has a gift for generating a feeling of camaraderie at his concerts.
During the following song, “You Don’t Know Me,” Folds encouraged the audience to fill in for Regina Spektor. It would have been amazing to hear Spektor singing the parts herself, but it was quite enjoyable to participate in the sing-a-long.
The sun went down as his set progressed, and strings of lights surrounding the stage lit up. It was a beautiful environment. Even this, however, was not without some typical aggro displays amongst the crowd in which some of the concertgoers that obviously don’t attend shows often yelled at others that wanted to stand during the concert because it was preventing from seeing while they sat on the ground. It’s expected to see this type of aggression in the Arizona heat, but less so in the more passive and down-to-earth Seattle area. It just goes to show there’s one in every crowd.
But there were also bemusing moments where some women danced along to Ben Folds in a completely mismatched style — as if they were dancing in a nightclub. It was heartwarming to see a female security guard subtly bobbing along to the music, and a male fan passionately singing along. Folds also made a touching statement about having to pinch himself for being able to tour with CAKE.
In April 2018, Rolling Stone recorded high praise from each of the co-headliners directed at the other. CAKE’s frontman John McCrea was quoted, including the sentiment, “In a culture often conflicted about its relationship to melody, and songwriting generally, Ben continues unapologetically to provide melodic clarity and musicality.” Folds stated, “Cake – my rough contemporaries, comrades and heroes – to me, they make universal, poetic, identifiable music with a groove.” Both artists were sure to make mention of Tall Heights, and the last sentence in McCrea’s quote summed things up rather well, when he said, “This co-headline line up seems like a good combination of musical styles-disparate but not antithetical to each other-and it should be a solid evening of music.” The fact that they decided to tour together again the next year shows that their feelings remained unchanged after they joined up the first time.
Two songs from Ben Folds Five were included in the setlist: “Battle of Who Could Care Less” and “Do It Anyway,” both of which were everything they should be with the backup vocals lent by Tall Heights. It would have been nice to have a video camera on Folds’ hands when he was playing, with the footage displayed on a screen, especially on a song with the impressively high-speed tempo of “Do It Anyway.” One of the best parts about his stage presence, though, is that his dynamic movements at the piano help compensate for the lack of visibility of his bandaged fingers.
The contribution of the cello and harmonica to the new song “Moscow Mitch,” unambiguously inspired Mitch McConnell’s new nickname, added great layers to an otherwise simple song.
WATCH: Musician Ben Folds unveils new song ‘Moscow Mitch,’ inspired by @JoeNBC‘s coining of the phrase.
A personal favorite moment was during “Rockin’ the Suburbs” when Folds emulated the vocals of Zack de la Rocha of Rage Against the Machine, and he did it surprisingly well — even better than on the album. Despite his debut solo album Rockin’ the Suburbs being released in 2001, the song’s topic of “white boy pain” is apropos in current times. There seemed to be a consensus amongst the crowd as they laughed knowingly during his dialogue leading up to the song about unnecessarily angry suburban white guys. Good Charlotte’s “Lifestyles of the Rich & Famous” (released in 2002) has a very similar theme, and even a similar chord progression.
Although he has released multiple LPs, the album the most songs were taken from was Rockin’ the Suburbs. Folds closed out his 15-song set with “Not the Same”. He stood on his piano gesturing grandly toward the crowd like a conductor, bringing his set to an engaging and dramatic finale.
CAKE had an epic lead up to their entrance with the entirety of the song “War” by Vince DiCola from the Rocky IV soundtrack. The venue was buzzing with excitement for a one-of-a-kind band that many had been waiting seemingly an eternity to see live. Thankfully they were able to perform, despite the fact that 5 of their instruments were recently stolen by some heartless heathens in Portland.
“Originally formed as a somewhat antagonistic answer to grunge, CAKE’s democratic processes, defiant self-reliance, and lucid yet ever-inventive music has made them a nation-state unto themselves, with no obvious peers, belonging to no school.”
The band opened with “Sheep Go to Heaven” from their third album, Prolonging the Magic. A disco ball added eye candy behind them, on and off throughout the night. The signature sound of the trumpet and the vibraslap bring about a certain sort of familiar comfort that’s rooted in the simpler times of the 90s.
CAKE has released 6 studio albums, with the most recent one, Showroom of Compassion, having been released in 2011. The singles “Sinking Ship” and “Age of Aquarius” were released within the past year. While McCrea has discussed an eventual album release, no date or title have been provided as of yet.
CAKE and their pithy music still remains very much of its time even in 2019. Their politically-charged social media presence has divided fans, driven some away, and drawn others closer. McCrea donned a white t-shirt with the Kool-aid Man busting through a brick wall with barbed wire at the top, and it read, “FUCK YOUR BULLSHIT WALL!” Amusingly, after having the crowd at the concert battle in a loudness war, he made the punchy comment, “There’s good people on both sides,” which was responded to by many with, “BOOOO!”
It was nice to experience something fresh from CAKE as they performed “Sinking Ship,” their first new original song in 7 years, which laments a self-inflicted apocalypse. Interestingly, Showroom of Compassion was recorded in a solar-powered studio. In between songs, their environmental consciousness was displayed after McCrea said he could not concentrate until they gave away the tree sitting next to him onstage. CAKE has a tree map on their website under a “Forest” tab. The website offers no explanation regarding the map, but a great many know what it’s about since they’ve been giving away trees at their concerts for over a decade.
During the tree contest, fans shouted to McCrea, and he responded to one man saying, “That’s not your tree yet. That’s called white male entitlement.” The crowd roared with laughter, and he followed with, “No he’s just having a good time.”
It turned out to be a honeycrisp apple tree, which was won by a woman named Josie, who guessed the type of tree correctly. McCrea continued to elicit laughter as he called to her, “Get up here and get your damn tree… Don’t jump up and down and hug your friend. Come and get your tree.”
The duality of the monotonous vocals with sarcastic lyrics versus Vince DiFiore’s vibrant trumpet and upbeat music is an interesting experience, and CAKE gives a show that feels enthusiastic overall despite McCrea’s somewhat deadpan nature. He breaks out of that mold as he raises his guitar in the air, gestures and raises his arms toward the crowd, and it seems that he greatly enjoys playing the vibraslap and pointing it at individuals in the crowd.
With a somewhat laid-back stage presence, CAKE’s performance seemed effortless during their 12-song set and they sounded perfect. Their last 5 songs were arguably some of their most popular: “Love You Madly,” “Never There,” “I Will Survive,” “Short Skirt/Long Jacket,” and “The Distance.” I would have loved to experience one of my personal favorites: “Rock ‘n’ Roll Lifestyle,” which was actually their very first single, released in 1995.
At one point, McCrea mentioned that he once spoke with a physicist that said, “hope is something you have to do,” it doesn’t just happen to you. This message resonated strongly as a reminder that we must make cognitive effort and take action if we want to improve our lives. There is always a different kind of impact from a show that is more than only rock ‘n’ roll. This wasn’t a concert for those that are totally intolerant of leftist leanings, and it was otherwise a show that was impressive, communal, light-hearted, nostalgic, and cathartic. CAKE, Ben Folds, and Tall Heights at Marymoor Park was an experience that brought excellent entertainment value and generated lingering positive energy. We’re looking forward to the announcement of CAKE’s album release date, and a first listen to their newest compelling lyrics.
Tempe, AZ — Supergroup Angels & Airwaves headlined an amazing night, supported by The New Regime and Charming Liars, at an absolutely full Marquee Theatre.Angels & Airwaves is led by singer Tom DeLonge (blink-182), who is accompanied by David Kennedy (Box Car Racer) on lead guitar, Matt Rubano (Taking Back Sunday) on bass, and Ilan Rubin (Nine Inch Nails, Paramore, The New Regime, Angels & Airwaves) on drums.
This show commenced with Los Angeles rock band Charming Liars, who just released their new EP, Bare Bones on August 2nd.
The audience’s engagement crescendoed, beginning with a feeling of curiosity and enthusiasm and ending with full crowd participation of chanting and clapping. The pumped-up fans were rewarded by a visit in the pit from vocalist Kiliyan Maguire.
Next up was The New Regime, led by child prodigy and Guinness World Record holder Ilan Rubin. Rubin brought years of experience and tremendous talent and dedication to the stage. He served double duty as the drummer for Angels & Airwaves, and he was recently called “Nine Inch Nails’ secret weapon” (Metal Injection) and “one of rock’s most in-demand drummers” (Louder).
In addition to his world record for being the youngest musician to ever play at Woodstock, Rubin contributed his talents to Beck & Paramore’s Grammy-winning albums, and he closed The Grammy Awards with Nine Inch Nails, Queens of The Stone Age, Dave Grohl, and Lindsey Buckingham. He has toured with Muse, The Killers Nine Inch Nails, Alice In Chains, The Used, and The Joy Formidable.
The New Regime performed tracks off of their forthcoming album Heart Mind Body & Soul, which will be released in four installments between the end of 2019 and the first quarter of 2020; Heart is part 1 of this album.
Despite technical issues during the third song of The New Regime’s set, “Turning A Blind Eye” from Heart, the band gracefully handled the hiccup with a sense of humor. They joked that the song “should sound like this” and the crowd erupted with laughter.
Closing their set, The New Regime led them in a chant of “I want your heart, mind, body, and soul,” which echoed throughout the venue above the throng of happy concertgoers.
As the dark theater lit up to welcome Angels & Airwaves to the stage, Tom DeLonge appeared and the sold-out crowd sang along with him to every song.
After singing their fifth song, “Everything’s Magic” from I-Empire (For Puretracks), DeLonge finally addressed the audience, making fun of himself for not yet giving an introduction. This showed how engaged and dedicated to their music the band was. He then announced the hit song “Paralyzed” and the crowd went crazy.
He poked fun at the heat in the Valley of the Sun by explaining that his friend visited the Sahara desert and stated that it was almost as hot as Tempe. DeLonge then began to engage the audience much more often, sharing his experiences while growing up in the punk scene and his love of his music and the opportunity to share a positive message with his fans via his lyrics.
Phoenix was the first stop on Angel & Airwaves’ comeback tour, their first in seven years. They performed an ambitious setlist of 21 songs with friendly crowd engagement throughout, and a quick encore of the final 2 songs: “Do It for Me Now” and “Heaven.” Angels & Airwaves demonstrated the next-level show that a culmination of great established artists brings, and it was well-worth the wait to watch them grace the stage of Marquee Theatre.
Phoenix, AZ — On June 26 of this year, Sir Paul McCartney brought an evening of legendary music to Talking Stick Resort Arena. Exactly two months later, Ringo Starr became the second Beatle to grace the stages of Arizona. This is the 30-year anniversary of this touring rock supergroup, Ringo Starr & His All Starr Band, with a shifting lineup that has included legends such as Joe Walsh, Todd Rungren, Clarence Clemons, Peter Frampton, John Entwhistle, and so many more (see list below). Starr is really the only constant member.
This year’s line up is no exception to Starr’s history of building a stellar lineup:
The dueling guitarists were the unlikely pairing of Steve Lukather (Toto) and Colin Hay (Men At Work). These two master songwriters brought along their biggest hits to add to the already incredible setlist. Fans were treated to Toto’s “Rosanna”, “Africa”, and “Hold The Line” and Men At Work’s “Down Under”, “Overkill”, and of course “Who Can It Be Now.”
On the Hammond organ was none other than Gregg Rolie (Santana, Journey) who chipped in the classic Santana songs “Evil Ways”, “Black Magic Woman / Gypsy Queen”, and “Oye Como Va”, but unfortunately nothing from his days with Journey.
Bassist Hamish Stuart (Average White Band) was back after his stint in the lineup from 2006 to 2008. He switched over to guitar when the band dove into the Average White Band standards “Pick Up The Pieces” and “Cut The Cake.”
Gregg Bissonette on drums and Warren Ham on… well, everything else (saxophone, flute, keyboards, percussion, etc.) rounded out the lineup. Both have toured extensively with major recording acts, such as Bissonette’s time with “Diamond” David Lee Roth during the “Eat ‘Em And Smile” era, and Ham’s contributions to Kansas and Toto (now that’s an ironic combo of band names).
All that talent on the revolving stage of the Celebrity Theater culminated in the focal point of the evening; a man who’s former band is arguably the most famous band in the history of rock & roll. And yes, Starr brought a few songs to the setlist from his days with the Fab Four, starting with the only song credited to Lennon–McCartney–Starkey, “What Goes On.” Ringo Starr is the stage name of Sir Richard Starkey, knighted by Prince William on March 20, 2018. The two most popular Beatles songs that featured Starr’s voice where the whimsical “Yellow Submarine” and the song he sang in the guise of the one-and-only Billy Shears, “With A Little Help From My Friends.”
Starr’s credentials make him a legendary musician, but he seemed very unassuming. There was no fabricated swagger or false bravado in his delivery. He was reverent of the talent of his bandmates while clearly letting loose to have fun on stage. Even his attire hinted at high fashion with a jacket and black leather pants, but they were offset by a pair of comfortable sneakers and a rhinestone shirt that said “Peace Rocks”. The peace sign proved to be a prevalent theme throughout the show, from holding up the hand sign for peace to wearing peace necklaces. Starr looked spry and healthy wearing his signature sunglasses and sporting the kempt beard and mustache. Though he is 79 years old, there was nothing lethargic or geriatric about this performance. It was quite the opposite: an energetic and youthful performance from start to finish.
Although there are some Ringo Starr hits embroidered in the fabric of our collective memory, it takes a show like this to remind us of just how many there have been. Eight songs from his solo career broke the top 10 in the US charts and two hit number one (“You’re Sixteen” and “Photograph”). Between 1970 and 2017, Ringo has released 19 solo studio records. The second song of the set started the audience down memory lane with “It Don’t Come Easy” from the 1975 album Blast From Your Past.
Starr shared the spotlight and lead vocal duties with the singers that made their respective songs famous. It was like a karaoke dream where everyone sounded exactly like the record. One highlight was hearing Rolie breathing life into “Black Magic Woman,” and then hearing Lukather shredding on the soulful solos of Carlos Santana, was magical. As the song transitioned to “Gypsy Queen”, it was Gregg Bissonette’s turn to shine as he vamped on the drumset.
A majority of the crowd were old enough to remember the quirky videos of Men At Work on MTV’s heavy rotation in the early 80’s. There were possibly a handful of people that didn’t recognize Colin Hay playing guitar on stage, but everyone recognized that distinctive voice singing “I come from the land down under,” Ham obviously broke out the flute to play the infectious solo on “Down Under” and then later in the show played the famous sax line on “Who Can It Be Now.”
While out of the spotlight, Starr was still an archetypal presence as he rose to his drum throne and commandeered the instrument that he is best known for. The bass drum of his Ludwig drum kit that once sported The Beatles logo, now has a symbolic star and lotus flower logo, presumably in support of the Ringo Starr Art Lotus Foundation.
Being the drummer in the back typically garners less notoriety, especially when you’re standing on the shoulders of giants like Lennon, McCartney, and Harrison. But throughout his career, he has received 9 Grammys, and has twice been inducted into the Rock and Roll Hall of Fame, first as a Beatle and then as a solo artist. Starr played in perfect synchronicity with Bissonette and reminded all of the musicians in the room why he is considered by many to be included in the category of best rock drummer of all time.
The wonderful evening of hit music was capped off with a resounding message of peace when Ringo and the boys joined in on the anthem “Give Peace A Chance,” the anti-war chant that John Lennon and Yoko Ono voiced 50 years ago from room 1742 that still needs to be heard today.
Photographer: Mark Greenawalt
Ringo Starr And His All Starr Band – Celebrity Theater 8-26-19
Mesa, AZ — Songwriters doing “rounds” is a staple in the Nashville music scene, but it is a rare treat to the Metro Phoenix area. The CMA Songwriters Series launched in 2005 and has brought a little of that Music City culture to cities all over the world. The CMA website claims that the series has featured nearly 200 gifted storytellers who collectively have 100 CMA Song of the Year nominations. The 2019 season show that graced the intimate Piper Theater stage at the Mesa Arts Center was a stellar all-female cast.
Leading off the rounds was Liz Rose, who also acted as the MC for the evening. She has one of those 100 CMA Song of the Year nominations mentioned above for co-writing Little Big Town’s “Girl Crush” (which just so happened to also win the category).
Rose introduced the other songwriters; Mickey Guyton, Ingrid Andress, Jillian Jacqueline, and Marti Lynn Dodson, and then kicked off the music with a song that she wrote with “a little girl named Taylor”. The song was the Grammy Award winning “White Horse”, and of course the little girl was Taylor Swift.
Batting second, Texas native Mickey Guyton launched into her latest release, “Sister” (Capitol Records Nashville). Guyton has a powerful and alluring voice and an incredible knack for writing relatable songs. Her energy and emotions were on full display as her face lit up hearing great hooks, and as her tears fell after hearing Rose singing the emotional “When You’re My Age”.
An audience favorite was her new song, “Rosé” that was a fun drinking song for a more sophisticated palate. The ladies shared the fact that their drinks on stage were not exactly just water, which added to the vivacious atmosphere.
Rose and Guyton were accompanied by a guest acoustic guitarist, the sole male sitting upstage of the main line up. Ingrid Andress, however, was playing her Nord Stage 3 keyboard for her own piano accompaniment. Andress has writing credits with Sam Hunt and Alicia Keys, but it was obvious that she has that special style and presence to be a star in her own right. Her lyrics are fresh and honest and cater to her generation more than most modern country songs. Andress shared the stories behind “We’re Not Friends” and “Both”, each song being unique and candidates for crossover audiences. On the other hand, she proved that she has a firm foundation in country songwriting too as she played “More Hearts Than Mine”, her first single released after being signed to Atlantic Records / Warner Music Nashville.
Next up was Jillian Jacqueline who poured her heart and her angelic voice into each of her songs. It is so interesting to hear the stories behind the songs. Jacqueline shared the entertaining story of sitting on the floor at Keith Urban’s house working on “If I Were You”, a song on which he sang harmonies and played guitar.
Her well crafted lyrics on songs like “Sad Girls” and “Hate Me” brought the “feels” to room. Jacqueline commanded everyone’s undivided attention with the stripped down sound of her voice and her Gibson acoustic guitar, the ideal definition of a singer/songwriter.
Rounding out the lineup, wearing a beautiful flowing dress and stunning red shoes, was Marti Lynn Dodson who founded and fronted the band Saving Jane. Among her song selections was the Saving Jane hit “Girl Next Door” which had fans of the song tapping their feet and singing along. Dodson played an Epiphone acoustic guitar that sounded amazing.
Tucson Musicians Hall of Fame inductee, LeeAnne Savage was in the audience and is a long-time fan of Dodson. Savage noted, “The song “Cheerleader” was one of my favorite bops of 2000, however her song “Quarterback” takes the listener on a journey involving date rape, social media bullying, and the imbalance of power between victim and perpetrator. Great songwriters hold up a mirror to society in an effort to create dialogue around difficult topics. This song does just that.”
There were plenty of songwriters in the audience that were basking in the glow of this group of women who have honed their craft and found success in a very tough field. Songwriter Angel Pizarro said, “I loved the experience of being so close to songwriting greatness along with the feel of being at a friend’s living room; and as a songwriter I appreciated the value of being there, learning while being entertained. I’ll never forget this evening!”
Setlist for the Evening
Liz Rose – “White Horse” (recorded by Taylor Swift)
Mickey Guyton – “Sister”
Ingrid Andress – “We’re Not Friends”
Jillian Jacqueline – “Hate Me”
Marti Lynn Dodson – “Breakers” (recorded by Thompson Square)
Liz Rose – “When You’re My Age”
Mickey Guyton – “Brand New”
Ingrid Andress – “Both”
Jillian Jacqueline – “If I Were You” (recorded by Jillian Jacqueline feat. Keith Urban)
Marti Lynn Dodson – “Quarterback” (recorded by Kira Isabella)
Bailey Claywell (student songwriter) – “I Will Rise”
Liz Rose – “You Belong With Me” (recorded by Taylor Swift)
Lourde Childs (student songwriter) – “Faithful”
Mickey Guyton – “Rosé”
Ingrid Andress – “Lady Like”
Jillian Jacqueline – “Sad Girls”
Marti Lynn Dodson – “Girl Next Door” (recorded by Saving Jane)
Liz Rose – “Girl Crush” (recorded by Little Big Town)
Mickey Guyton – “Better Than You Left Me”
Ingrid Andress – “More Hearts Than Mine”
Jillian Jacqueline – “God Bless This Mess”
Marti Lynn Dodson – “Things I’ll Miss”
The touring group of ladies and the sponsor US Bank made a stop earlier in the day to visit with the teachers and students at The Phoenix Conservatory of Music (PCM) and give a master class in songwriting. The visit was part of U.S. Bank’s Community Possible giving and engagement platform and its Places to Play partnership with the CMA Foundation. Many of the students and teachers came out to attend the show and two exceptional students were even granted the opportunity to share the stage and play their original songs. Bailey Claywell was accompanied by keyboard player Michael Rodriguez as she sang their original song, and later Lourde Childs brought the house down, singing and playing guitar on his original. The students received a well-earned standing ovation.
Each of the featured writers were able to play four of their songs as they took turns showcasing their personal favorites. The highest energy and audience engagement occurred as Liz Rose sang her second Taylor Swift song of the evening, “You Belong To Me”. Everyone in the room, on-stage and off-stage, was singing along to the infectious chorus. One especially enthusiastic fan of the song was even pulled out of the audience to come up and sing on stage with the group.
It was a great evening with a diverse array of songs from some truly gifted songwriters. As the end of the evening approached each writer saved their best song for their last round as they each said their good-byes.
Jon Iger, the President of the Arizona Songwriters Association, was in attendance and had this message for CMA Songwriting Series participants:
“Thank you ladies of CMA for a very inspiring day! A day of amazing writing and performing talent! The same goes for the PCM students! We (Arizona Songwriters Association) have worked on several events with PCM, and they are doing outstanding work with their students and the music community! And being a long time member of CMA, I know the great work they continue to do with schools! Hope to see you again real soon!”
PHOENIX — What comes to mind when you think of the 2000’s? Motorola RAZRs? MTV’s Pimp My Ride? Undoubtedly, your mind also went to the music that defined the decade: bands like Jimmy Eat World and Third Eye Blind. It might surprise you to learn that both of these groups are still going strong and loving every minute of it, as evidenced by their incredible performances at the Ak Chin Pavilion in Phoenix this past Wednesday evening.
Both bands are refreshing examples of groups that have not only outlasted their respective peaks of fame, but have continued going strong in spite of it. Jimmy Eat World playing timeless classics like “Sweetness”, “The Middle”, and “Hear You Me” to ear-piercing cheers and thundering applause is all the proof you need. Obvious musical and songwriting talents aside, a big reason for the longevity in Jimmy Eat World’s career is the sheer gratitude they express to their fans at nearly every show.
There are countless examples throughout musical history of artists who gain big heads from their fame but this band, and especially Jim Adkins, could not have been more humble, crediting their fans for helping them get to where they are now. About halfway through the set, Jim strapped on a beautifully shining acoustic guitar and as he was tuning for “Hear You Me” he warmly addressed the crowd: “I remember when we were sitting out on the lawn watching shows and dreaming about being on this stage. Now, here we are and it’s all thanks to you guys and your support.” This would become a common theme throughout the night as he so graciously engaged the audience and made them feel as welcome as they so clearly made him and the rest of the band feel in return.
Ra Ra Riot began the show with an uncharacteristically energetic set for an opening band; the crowd couldn’t get enough and the band definitely got the job done getting people out of their seats.
The stage chemistry and musicianship of each member shined through during key moments, like the crisp backing vocals of bassist, Mathieu Santos blending seamlessly with lead vocalist, Wes Miles. Guitarist, Milo Bonacci and his versatility with guitar FX pedals created mind-bending soundscapes of delayed and chorused chords, and even allowed him to smoothly recover from a brief tussle with some nasty feedback. Ra Ra Riot are entertainers in the truest sense of the word and are definitely one to watch out for.
Jimmy Eat World continued to amaze the audience by mixing in a pleasant blend of old and new songs, with the old songs sounding just as fresh as the new. It’s difficult to make a song like “The Middle”, released in 2001, not sound slightly dated when it appears in movies or TV shows for example, but live, this song takes on entirely new life, as those same familiar four power chords envelop you in pure nostalgic delight. It’s honestly incredible – a true testament to their abilities as a band to stand the test of time by continuously putting out timeless song after song.
Third Eye Blind closed out the night with a highly engaging set that the vast majority of fans never wanted to end. Lead singer/guitarist, Stephan Jenkins, displayed a level of energy and charisma not often seen in a 54-year-old man. The music keeps him young at heart, and the same can be said of his fans as they screamed every single word along with him.
Third Eye Blind effortlessly charged through songs like the latest collaborative effort with Alexis Krauss of Sleigh Bells, “Screamer”. This track has a harder modern rock vibe that they transition into deftly from their classic sound. Hearing a band continue to reinvent themselves is a sign that they don’t intend to give up on music anytime soon; which is good news for many.
Third Eye Blind also treated the crowd’s ears to a clever medley of songs “Back To Zero”, “Can You Take Me”, and “London”, strung together so well you’d think they were back to back on the same album. The band was obviously well-rehearsed, and executed each song down to the last screaming note. Playing songs from the first album like “Motorcycle Drive-by” and “Graduate” served as an endearing homage to their past, which acknowledges that they haven’t forgotten where they came from and how they arrived where they are today. This was a more understated approach to showing the fans gratitude: by treating them with more hidden gems on the early albums, which went over very well overall.
A more cynical observer might write off a joint tour between Jimmy Eat World and Third Eye Blind as an attempt to revive a dying genre; however this could not be further from the truth. Both bands are timeless examples of pop-rock bands of the early 2000’s that bring unique qualities to their music that only serves to guarantee their respective longevity. The “Summer Gods” tour is an aptly named one because these bands have successfully become immortalized through their music. And honestly, isn’t that what any band ultimately strives for?
Photographer: Rodrigo Izquierdo
Third Eye Blind, Jimmy Eat World, Ra Ra Riot – Ak-Chin Pavilion 7-31-19
PHOENIX — Opening their headlining Arizona show with an aptly titled track, “Heaven in Hell”, California beach goth rockers The Growlers played to a sold-out Van Buren venue that prepared them for their ambitious 2019 tour. The tour will include 52 concert nights over the next four months, finishing up in the heavenly City of Angels and Stars on Halloween night. Supporting The Growlers is Rinse & Repeat, an Orange County post-punk band.
Rinse & Repeat
Rinse & Repeat can be best described as a space age psychedelic synth group that have a perfect mix reminiscent of The Aquabats, Divo, and maybe even some Peter Gabriel. Full of energy and theatrics, the nice commenced with their performance that was engaging, fun, and showed much dedication from the band members: Aaron Bones on bass, Riley on guitar, and Rodney on the drums. They put on a show that went beyond their songs and took us through their “space” struggles and successes.
Sufficiently warmed up and likely grateful the show was in the climate-controlled venue, the crowd thoroughly enjoyed and sang along to each and every song with lead singer Brooks Nielsen, as if the lyrics popped up before them like a karaoke video.
The Growlers went through a total of 23 songs and 2 encore pieces, and unlike most mainstream bands, did not spend much time talking to the crowd in between songs, instead engaging them through their music.
Heaven in Hell
One Million Lovers
Dope on a Rope
Orgasm of Death
The Daisy Chain
Hiding Under Covers
Who Loves the Scum?
When You Were Made
Pavement and the Boot
Drop Your Phone in the Sink
I’ll Be Around
Going Gets Tough
With such a jam-packed setlist, the fans got what they paid to see, The Growlers singing their favorite songs live, with an extensive sample of their successful discography. Perhaps, referencing lyrics from the opening song, their fans were able to “find a haven” in their immersion in the music and energy of one of their favorite bands.
Nielsen seemed shy and tired, as he himself mentioned after singing just a few songs, “I’m tired, and it is only day one”, but as the show evolved, so did his energy and engagement. As their night ended, he expressed his gratitude to the audience for the boost, saying “Thank you Phoenix, we’re ready to tour now!”
The lyrics from their closing song “Going Gets Tough” seemed to be applicable for The Growlers that night:
Still always remembering When the going gets tuff That the labor of our love Will reward us soon enough
Photographers: Rodrigo Izquierdo (Reagle Photography) & Andrea Stoica
The Growlers And Rinse & Repeat – The Van Buren 7-17-19
PHOENIX — Time and again, rock n’ roll has proven that it’s a genre that staunchly refuses to die. Two good reasons for this phenomenon were proudly on display this past Tuesday evening at Crescent Ballroom in downtown Phoenix; the opening act of the night, Seattle rock band Thunderpussy, and the incomparable two-man rock powerhouse known as Black Pistol Fire.
The evening couldn’t have kicked off better as Thunderpussy took the stage by storm, captivating the audience immediately with their slick style along with some effortlessly proficient musicianship. Lead vocalist, Molly Sides (a Tucson native) had undeniable charisma and grace from the moment she strode across the stage towards her iconic Elvis-style microphone.
Donning a vibrant, glittery and flowing outfit, she was the centerpiece that completed the unmistakably rock n’ roll spectacle the band was giving off. As her darkly-colored vocals soared to the stratosphere with an excellent cover of Jefferson Airplane’s “Somebody to Love”, she dazzled fans with her fluid dancing that seemed far too natural to be choreographed.
The charisma didn’t stop there either; it comes pouring out of each member as you see them thoroughly enjoying themselves on stage. Lead guitarist, Whitney Petty opened the show wielding a violin bow, grazing it across the strings in ways that would make Jimmy Page’s jaw drop. The rhythm section could easily hold their own with the best of them as Leah Julius’ bass and the battering proficiency of the drums made up a rock-solid foundation supporting the rest of the music. The band was an excellent choice for an opener and definitely one to keep your eyes on as they inevitably ascend to greatness.
Black Pistol Fire
As palpable as the excitement in the room was for the main attraction, it was still hard to imagine the night getting much better. However as soon as singer/guitarist Kevin McKeown and drummer Eric Owen rushed the stage, it was obvious that the night had only just begun.
Ripping into the first lines of “Suffocation Blues”, you could feel the desperation behind every note being bent out of McKeown’s beautiful SG guitar. Deeply rooted in the blues and garage rock of the dirtiest varieties, Black Pistol Fire must feel right at home back in the thriving Austin, Texas music scene. As a rock duo featuring no bassist, the superficial comparisons to other famous rock duo groups like The White Stripes and The Black Keys are inevitable, but don’t be fooled; Black Pistol Fire brings many unique qualities to the table in a genre saturated with copycats.
Owen’s creative contribution of playing the synth bass while he simultaneously drums with one arm is a sight that must be seen to be fully processed. This is not something that can be pulled off easily but he makes it look like the easiest thing in the world, which is a testament to his raw musical talent. Shockingly, this also does very little in simplifying his drum parts because his merciless whacks on the toms and snare drum are just as strikingly heavy as if someone were playing with two burly arms.
McKeown’s vocal and guitar chops are both solid, with attitude aplenty. It’s so powerful to see how the themes behind the lyrics of songs like “Hipster Shakes” directly translates through his guitar into this emotional downpour of soulful distortion. The songs exude this fiery, sensual energy that’s simply magnetic and is sure to make anyone loosen up a bit. He screams with this begging and pleading tone that perfectly complements the gyrating motions he does on stage. It’s almost as if you’re watching someone go through an exorcism the way he shakes, tearing away at the pain of past experiences and shedding them from existence. There was even a moment when McKeown’s exorcism took him off the stage and into the crowd with the help of a dedicated stagehand. This personal journey of his took him all the way from the back end of the room onto the bleachers, all the way to standing on top of the bar as the bartender proudly handed him a splash of whiskey, all during the same guitar solo.
Crescent Ballroom proved to be the ideal venue for the performance of both bands, balancing high sound quality with the intimacy that only it’s dark walls can provide. The light show was also complimentary without it being too blinding or distracting for the audience. The reactions you gather from watching both of these bands are visceral ones and each of their reputations are definitely elevated because of it. Black Pistol Fire and Thunderpussy are as rock n’ roll as they come.
Photographer: Rodrigo Izquierdo
Black Pistol Fire & Thunderpussy – Crescent Ballroom 7-16-19
PHOENIX — On the cusp of their sophomore album release, Chase Atlantic and opener Lauren Sanderson celebrated at Crescent Ballroom with contagious energy. Touring the US from coast to coast with 29 stops, and their self-produced PHASES set to release on June 28, the alt-pop three-piece have played to sold out venues in Pittsburgh, Nashville, Charlotte, Ft. Lauderdale, and now Phoenix.
“This album feels as though it is truly a work of astronomical measures,” says lead vocalist, Mitchel Cave. “It’s the first time we were able to honestly and openly hone into something so monumentally special and raw without compromising even an inch of our integrity as artists. We’ve developed a completely new sound within a matter of months that has never been tapped into before. Chase Atlantic is now dwelling within a realm of its own; it’s both scarily isolating and blissfully euphoric at the same time. Welcome to a whole new era.”
Lauren Sanderson, an Indiana native with a huge Twitter following of over 100,000 people, gave her first Ted Talk, titled “Stay Positive N’ Stay You”, only a year after graduating high school. Shehit the stage with a bright smile and a burst of energy that set the table for the main course of the night: Chase Atlantic.
During the intermission between Sanderson and Chase Atlantic, the music kept the audience energized and singing along as they played one of Lauren’s songs, to the crowd’s delight.
When the lights went out, the crowd went wild with anticipation. The back LED screens came on, and a fantastic and electrifying drum solo by Jesse Boyle got everybody screaming. A few seconds later, the shouts intensified as frontman Cave walked onto the stage, followed by band members Christian Anthony, Clinton Cave, and Patrick Wilde.
Mitchel yelled to the crowd, “Make some noise if you came with a friend!” The crowd roared and the song “Angels” began a night of jumping and motion that could practically induce seasickness.
During “What U Call That”, “Her”, “The Walls”, “Friends”, and “StuckInMyBrain”, the madness continued with nonstop singing, jumping, and partying like the world was about to end.
As they hit the stage again, following a quick and well-earned interlude, they made the announcement everybody was waiting for: their new album PHASES was just made live a day early, and Cave encouraged the whole crowd to open up their cell phones and download the song right then and there. He even asked to get a thumbs-up once each audience member had finished the transaction. An ocean of cell phone screens lit up the inside of Crescent Ballroom as the download frenzy went on for a few moments, to the delight of the band. Thumbs started to go up enthusiastically and smiles filled the faces of the musicians.
The crowd was rewarded for their instant downloads with one of Chase Atlantic’s most popular and well-known songs, “Swim”, followed by “Love Is Not Easy”, then by Cave and Anthony taking off their shirts suggestively right before their song “Lust”.
Cave’s statement matched that of the opener by saying that “this has been the best show of their whole f***ing ride.”
“Drugs & Money” kept the energy as high as it had been since the opening and continued with “Heaven And Back”, followed by Anthony asking the crowd, “Who feels like a rockstar?”, then pointing towards Cave and telling him, “I know you do,” then playing “Like A Rockstar”.
During their last song, “Uncomfortable”, Cave took a cell phone from the audience to take a selfie with the crowd, then carefully returned it to the fan without breaking or slowing down the energetic performance.
As they walked offstage, they said to the crowd, “We can play a f***ing encore if you want one more!” The crowd chanted incessantly and, over the speakers the band instructed everyone to scream “F*** yeah!” in unison. The crowd again obliged and chanted until the band returned to the stage.
Chase Atlantic closed the show with their last song, “Okay”, commanding the crowd in a way seasoned musicians do. The band coerced the whole crowd get down low, almost lying on the ground, and brought them back up to dance and jump. They welcomed Lauren Sanderson back to the stage for a high-octane rock n’ roll sound with heavy guitar riffs and powerful drum beats, and the night ended by leaving the audience exhausted and excited, as only great and memorable shows can do.