Glendale, AZ — Tool stopped in Glendale night to play the Gila River Arena to an ocean of patiently adoring fans that could not have been more excited to hear the band rip into their ear drums. However, little did everyone in attendance know that what transpired next would be far beyond even what their lofty expectations could prepare them for.
One might think after a 13-year hiatus from recording new music, that a band might be well past their prime but fortunately for Tool, they’re clearly an exception to the rule. With the release of their latest album, Fear Inoculum, this is a band that has proven they won’t compromise their artistic vision for the sake of putting an album out every two years or so. They take their time perfecting a raw, mysterious sound that fans have come to revere over the years.
UK veterans Killing Joke kicked off the night and proved to be an excellent opening act, getting the crowd pumped up with their whiplash-inducing brand of quasi-metal and goth rock sounds. They were definitely an interesting choice for the opening band, but Tool has always brought their friends and greatest musical influences along with them on tour. It was fascinating to observe and clear how Killing Joke’s unique take on music clearly influenced Tool’s own iconic sound as their set went on. Notably, Killing Joke has had many lineup changes throughout the years. But recently, all of their original members are officially back in the band. This brought an inspiring energy to the night that would only flourish in intensity as the time grew closer for Tool to take the stage.
Fans of Tool know very well the law of the land at their concerts: no photos or videos. One might find this to be disappointing, but in many ways, it enhances the concert experience as people allow themselves and others to become fully engaged in the moment. As the lights fell to black, the sounds of cheering cut in front of the ambient noise with the swiftness of a starving octogenarian jumping to the front of the line at an early-bird dinner buffet. You could reach out and touch the energy in the room, and just when it seemed like the arena would burst from the crowd’s anticipation, guitarist Adam Jones played the opening swells to the new album’s title track, “Fear Inoculum.”
This was a very good choice for the opening number, not only because it’s the first song on the new album, but also because it represents the first example of new music they presented to the world after a 13-year drought. The song was recreated beautifully in the live setting, and it was accompanied by some of the most impressive Alex Gray-inspired visuals to date. Incredibly long threads formed around the stage in a circular formation as intensely colorful images were projected onto the screen towering behind the band. These threads also allowed the images projected on stage to glide across them in a pseudo-3D effect that was nothing less than spectacular for lucky enough to capture it firsthand.
Familiar clay aliens and faceless men in business suits adorned the screen as fans were treated to the corresponding music videos for each of the band’s older songs. One particular highlight included a full live rendition of “Parabol/Parabola” in all of its 9-minute glory, to the uncontainable delight of many fans in attendance. The drums punched through the mix with a primal fury not seen from many other bands around today, thanks to the incomparable Danny Carey behind the monstrous kit. His effortless playing and ad-libbing enhanced the songs without it sounding too busy or as if he was showing off. Every single drum strike was as tasteful as the last, which is no small feat when you have such a large kit at your disposal to tempt a less stoic individual into overplaying.
Guitarist Adam Jones and bassist Justin Chancellor were also both in exceptional form throughout the night, proving their playing only continues to improve. The ear-piercing squeals of Jones’ dark Les Paul mixed with Chancellor’s thunderous yet melodic bass lines are truly a match made in heaven.
Other notable highlights of the night included the second song of the set “Ænima”, introduced by singer Maynard James Keenan happily declaring “Alpha Omega. AZ. It’s good to be home. We just got back from LA.” Immediately followed by the familiarly breathy “hey” repeated throughout the intro of the song about a great flood of biblical proportions consuming the entirety of Los Angeles in all of its perceived decay and decadence. This was followed by excellent performances of “The Pot”, “Jambi”, and “Schism”, with the latter incorporating an unexpectedly sped-up bridge section that had to be heard to be believed.
Tool have achieved what so many other bands who have been together for as long as they have only dream of doing successfully: standing the test of time. So many bands of yesteryear lapse into obscurity or worse yet, self-parody, as they make their comebacks. Tool is not one of them. They continue to deliver unprecedented, phenomenal live shows and mind-blowing visuals that only get better as time flows onward. If you get the chance to see them live, do yourself a favor by not missing out, because they deliver every single time.
PHOENIX — AWOLNATION returned to Phoenix after a nearly year long absence, playing at the Veteran’s Memorial Coliseum for the first time. The energy and the noise that AWOLNATION brought with them felt like it would bring down the Coliseum. AWOLNATION took a bit of a break from touring in 2019, only playing a total of four concerts all year thus far. This does not mean they sat back and took a year off; rather, they used this time to record. A teaser clip of “The Best” was released on social media on October 15th, and it will be released on November 5th. Next year’s tour dates should be released soon, and per frontman Aaron Bruno, will include another stop in Phoenix.
‘The Best’ is coming Nov 5! click below and pre-save it to get exclusive content & tour info.
The Arizona State Fair concert series are unique in that they are shorter, are often only a single band and under an hour and a half in length. AWOLNATION only needed 70 minutes to nearly shake the roof off the Veterans Memorial Coliseum. There was a small crowd on hand when the lights dimmed and Louis Armstrong’s “What A Wonderful World” started to play. Halfway through, it was cut short by the start of “Run”, creating a juxtaposition of the peaceful and the loud, of the lyrics, “And I think to myself what a wonderful world,” and, “I am a human being, capable of doing terrible things.” It was attention-grabbing. it was jarring. It was fantastic.
There are very few artists who can control the energy of an audience like Bruno does. He spoke to the crowd throughout the show, inviting them to dance right before launching into “Hollow Moon (Bad Woof)”. Right after finishing up “Kill Your Heroes”, he announced that he, “Came to party with you tonight!”,as the first notes of “People” were being played. It was indeed a party, a dance party to be precise: “We’re trying to throw a dance party tonight! I’m looking for the best dancer in the building, someone doing something I’ve never seen before!”
If one were to scan the crowd while “Not Your Fault” was playing in the moments after that pronouncement, they would find the old and the young doing everything they could to show him something that he had not seen before. He slowed the dance party down from an all-out frenetic dance to what he called a “perfect opportunity to have an old school slow dance” with “Table for One” — a slower track that lends itself to just that.
AWOLNATION did not keep the energy down for long, quickly bringing it back up with “Miracle Man”. Bruno had another request midway through this song: “I want everybody to jump with me. You don’t have to, but it’d be a lot cooler if you did.” In a matter of seconds the stands were shaking.
While much of the focus is on Bruno and his ability to connect and energize the fans, it is very important to note that the rest of the band is incredibly talented. In fact, Bruno seemed to insist that we recognize this, stepping out of the spotlight a couple of times so the entire focus was on the band. The first was “The Buffoon”, a song that starts slow and works the tempo up until one must wonder if it is humanly possible for Isaac Carpenter to play the drums much faster. The second was for a cover of AC/DC’s “Thunderstruck”, with Zach Irons absolutely shredding on the guitar, leaving many mouths agape.
The show ended with “KOOKSEVERYWHERE!!!”, played for the first time in concert since mid-2017, and finally Bruno looking out at the crowd and saying, “So. What should we do now?” “Sail”, of course. The song that really introduced the world to AWOLNATION closed out this incredible show.
If you missed out on this concert, fear not. AWOLNATION made it very clear that they will be back next summer, and you will not want to miss this one. Keep an eye out for the tour announcement, and buy your tickets to see this amazing band as soon as they go on sale.
SEATTLE — For nearly two decades, producer Daniel Graves’ attention-grabbing and infectious industrial pop project, Aesthetic Perfection, has defied the world’s demands for definitions by blending genres and reinventing what it means to be a dark electro artist.
Last year, Aesthetic Perfection announced the “Into The Black World Tour 2019” to support their fifth studio album, Into The Black. The European leg of the tour commenced in the month of April in the UK, and the North American leg began in the beginning of September in San Diego. For the second date of this leg, they performed in Mesa, AZ — home of Burning Hot Events. Aesthetic Perfection’s North American tour made one of its last stops at Highline Bar with supporting acts Empathy Test and LAZERPUNK.
LAZERPUNK, from Budapest, set an apropos dark and gritty tone, with electronic music so heavy that it feels like it resonates with your flesh and courses through your veins. The intensity of the music, especially as it was coming from just one man wearing an Adidas baseball cap, was nearly beyond comprehension.
Stepping into the environment of the club that night and being smacked with the power of these beats was like being dragged into an alternate universe. It was easily a reminder of why so many of us go out to industrial shows for the cathartic experience — communally flipping a switch that turns on a stifled side of our souls that is screaming and clawing to get out and rage during the mundane day-to-day, as we dismally watch our world socially and environmentally corrode around us. It is here we are uplifted, escape, and achieve balance in a combination of commiseration, unadulterated passion for music, and unjudged embracement of our dark, but not necessarily evil, sides.
With Isaac Howlett’s British vocals that feel longing and aching, and an ethereal touch, synthwave act Empathy Test has no doubt drawn some associations to Depeche Mode innumerable times. As a blend of 80s sci-fi soundtracks, 90s guitar bands, and modern underground dance as influences, they are a duo in the studio (Howlett and producer Adam Relf), and currently a trio performing live. The beautiful thing about electronic music, as demonstrated by LAZERPUNK and Empathy Test, is that something so big can come from so few people. With the aid of Angel Metro on keys and Christina “Chrisy” Lopez on drums, the trio pulled the entranced audience at Highline into a galaxy of emotion. In between songs, Howlett brought some levity back to the room with charming, good-humored banter. Teeming with talent, Empathy Test are also responsible for their breathtaking artwork.
When Aesthetic Perfection hit the stage, it wasn’t long before the integrity of the building structure was tested as the crowd unapologetically jumped with such force the floor could be felt bouncing under your feet — admittedly not the most comforting feeling when you’re on the second story of a building.
Consisting of the aforementioned vocalist and programmer Graves, Elliott Berlin on keys/guitar/bass, infamous drummer Joe Letz (formerly of Combichrist and a slew of other industrial bands), this trio contrasted Empathy Test with deliciously harsh aggrotech.
The band added a delightfully creative “speed dating” VIP upgrade experience for this tour in which fans got a guarantee to interact with every band number. Additionally, the package included a signed setlist, signed polaroid, signed poster, and VIP laminate — basically all of the essentials that any diehard fan is going to want to collect from a show, and a really smart offer on the band’s part to turn a profit on their tour.
The diversity of Graves’ vocal techniques shine in sexy transitions between a vicious growl and a timbre that might be described as an approximate blend of Jay Godon (Orgy) and the late Chester Bennington (Linkin Park) — this vocal flux is exemplified in the track “Ebb and Flow”; there is a broody and agonizing cover of ‘NSync’s “Bye Bye Bye” (featuring guitarist Nikki Misery of New Years Day) in which he hits an impressively powerful high note with chest voice at the bridge, a beautiful falsetto in the new Into the Black opening track “Gods & Gold”, and even an OTEP-like quality in the theatrical track “Dark Ages”.
Berlin jumped back and forth between instruments, with hair flying wildly to no end, and making himself an entertaining spectacle each time he climbed upon his keyboard and thrashed around amongst the rising smoke.
Meanwhile, Letz made apparent why his percussive skills are so acclaimed, as the vigorous force of the backing beats that he was responsible for nearly brought down the house.
“Holy shit,” was the sentiment that coursed through my head all night, and near the finale of their set, Graves showed that those in the crowd were not alone in sheer awe of the magnitude of the immense energy pervading the venue, as he let out a clearly sincere, “Holy shit Seattle!”
Aesthetic Perfection will go on to tour in Germany from October 25th through November 2nd, with alternating and combined support by Empathy Test and Iris on select dates. If you’ve lost touch, this lineup is a mind-blowing reminder of what there is to love about industrial shows, that they are alive and well, and it is still a scene worth supporting.
Mesa, AZ — Flogging Molly, closing their “Life is Good” tour, and Social Distortion, about to hit the studio again, put on a spectacular show of endurance and exuberance for an all ages crowd at the Mesa Amphitheatre. Together, they demonstrated that punk’s not dead, but alive and well, with new albums and more tours to come for future fans in attendance that were not even born yet.
Openers — Le Butcherettes & The Devil Makes Three
The opening bands, Le Butcherettes and The Devil Makes Three, did a fantastic job at getting the crowd pumped and ready for the headliners. With spastic moves and strong vocals, Le Butcherettes surprised and impressed the audience with their style and polished delivery. Then, the bluegrass punk mix brought in by The Devil Makes Three brought in their excellent performance, gaining fans throughout the audience that came in early enough to be rewarded by their unusual, yet fantastic musical talents.
Social Distortion’s Mike Ness and his 40 years of rock and roll experience kept the crowd cheering and fired up during their energized performance. Early into their set, Ness thanked the openers one by one, encouraged the crowd to cheer for them, as he then also shared how the Mesa crowd was so far superior from all the other ones, especially the recent night in Las Vegas. There were nonstop mosh pits during Social Distortion’s performance, staying true to the punk tradition of chaos and high energy.
Halfway through the set, Ness made an announcement that their fans were ecstatic to hear by saying, “I have some great news! Social Distortion is going into the studio in January to record a new album.” Since their last album release was Hard Times and Nursery Rhymes back in 2011, the crowd went crazy. Social Distortion rewarded their fans’ loyalty with a new song called “Over You” from the not-yet-recorded new album.
Ness connected with the audience between every song, telling stories about his musical journey and pouring his all into each song. One of the stories that stood out the most was about an assignment he received while in high school back in September of 1980 where he was told to read about WWII. Ness, with a smile, commented that he spent that time writing a song, and shortly after he dropped out of high school because it was getting in the way of his rock and roll life. That song is called “1945”.
As their set was nearing its end, they were joined by band members from The Devil Makes Three and Flogging Molly for the song “Sometimes I Do”. Social Distortion closed the last stop of their tour with an appropriate song for their 40th anniversary tour; “Story of My Life”.
Flogging Molly hit the stage to end what, for them, has been long 3 years of constant touring. Their well-deserved break will include a couple of weddings and international trips: Spencer Swain, who plays the mandolin, banjo, guitar, and vocals, is to be married within a week of the show’s end; Nathen Maxwell, who plays bass guitar and vocals, is also getting married within a week after the show; finally, band leader Dave King — their lead vocalist who plays the acoustic guitar, and bodhrán, and his wife Bridget Regan, who provides backing and lead vocals and plays the violin and tin whistle, were going on a trip to Ireland almost immediately after the show at 7:30 the next morning.
King and company rocked the stage and brought a performance to Mesa that was a prime example of fun, energy, and professionalism, demonstrating their 22 years of experience and true dedication to their fans.
A memorable moment arose in the middle of their set as King wanted to give a special shout-out to a fan that flew all the way from Tokyo, Japan, just to see them play here. King greeted this young fan, Kazu, in what seemed to be fluent Japanese, causing an explosion of cheers and clapping from the audience. Flogging Molly played one of their most popular songs, “Tobacco Road”, for this traveling fan.
As Flogging Molly played the energetic, musically and lyrically powerful song “Crush,” King stopped mid-song and said, “On the last day of our tour, after 3 years without emptying our suitcases, let’s have some fun,” and started to sing “We Will Rock You” by Queen with the crowd chanting loudly, then seamlessly went back to the song “Crush”.
King then introduced each one of the 7 Drunken Pirates, as the band members call themselves, one by one and thoroughly thanked the entire crew. He stated that after touring for years, this was the best crew they’ve ever had — “except for this asshole right there,” he jokingly said while pointing towards the backstage area without specifically singling anybody out.
“If I Ever Leave This World Alive” was their last song, powerfully and beautifully performed from the stage to a cheering crowd that didn’t want to see this show end. These fans had been gifted with phenomenal performances from two of the most recognizable punk bands of our time.
As their last song came to an end, the speakers began to play the theme song of Monty Python’s The Life of Brian, a British comedic classic, with their positive and uplifting message: “Always look on the bright side of life.” The stage began to fill back up with the members of Flogging Molly and The Devil Makes Three as they said goodbye to their fans, throwing guitar pics, drumsticks, playlists, and anything else they could find to give away while King waved away his fans, ready for their well-earned break.
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.
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.
Scottsdale, AZ — It’s a sad truth that some of the best musicians are no longer with us; they found their way to rock ‘n roll heaven. However, they did leave a hell of a legacy in music. Hollywood Vampires is a band formed by Alice Cooper, Joe Perry of Aerosmith, and Johnny Depp in 2015 to pay tribute to the musicians that are no longer with us from the 1970s. Hollywood Vampires is a brainchild from Cooper, who used to hang out in the Rainbow Bar in Hollywood, California in the 1970s. That’s where Cooper and the original Hollywood Vampires followed their mission statement: drink until no one could stand up. Some of the members to this motley crew of drinkers were Keith Moon of The Who, John Lennon and Ringo Starr of The Beatles, Micky Dolenz of The Monkees, and Elton John.
On a strangely cool night — perhaps the undead bring a chill to the air — Hollywood Vampires came to Talking Stick Resort to play some classic rock by the pool. Co-Op warmed up the crowd — a band formed by Alice Cooper’s son Dash Cooper, who is on lead vocals.
Their backdrop was a skull logo with a red left eye that changed to green for certain songs. As they began to play their second song, Cooper shouted, “Let me hear you howl!” It was fitting as they played under a full moon. The crowd wasn’t too loud, and Cooper once again spoke, trying to liven everyone up, “You’re going to need to be louder to wake the undead. We’re from right here in Phoenix!” One of their final songs was called “Silent Skies,” which Cooper said was a tribute song for a friend of his who committed suicide, and he encouraged the crowd to remember that there’s always help out there.
All the lights went off as a spooky recorded voice-over said, “Listen to them, the children of the night!” Cooper came out, first armed with his cane and mic. Perry and Depp followed with their guitars. The rest of the touring band filled the stage around them: Tommy Henriksen on rhythm and lead guitar, keyboards, and backing vocals; Glen Sobel on drums; Chris Wyse on bass; and Buck Johnson on keyboards, rhythm and lead guitar, and backing vocals.
Before addressing the nearly sold-out crowd, Hollywood Vampires played “I Want My Now,” “Raise the Dead,” and “As Bad As I Am.” Before going into a tribute song combo with “Five to One / Break On Through (to the Other Side)” Cooper said, “We’re the Vampires. Paying tribute to our friends who are gone, The Doors.”
As the rift to “The Jack” by AC/DC filled the air, Cooper said, “We lost Malcolm from AC/DC.” As Cooper sang, he did his stage antics with his cane, walking hunched over going back and forth. As he walked he’d slowly pull jack playing cards from his jacket and would show the crowd the card for a few moments before throwing the card at eager fans.
Perry took the mic, saying to fans, “How are you all doing? It’s time for a ballad. This song is by a good friend of mine who died a long time ago, Johnny Thunders.” Perry sings Thunders’ song “You Can’t Put Your Arms Around a Memory.” As the song plays, pictures of Thunders flashed on the backdrop mixed in with Hollywood Vampires’ logo changing in colors.
Cooper took back the mic, singing “My Dead Drunk Friends,” as pictures of Cooper’s fallen buddies, including musical icons such as Jimi Hendrix and Jim Morrison, took turns coming across the backdrop, showing how happy they were to be on stage in their prime. Before singing the next song, “Baba O’Riley” by The Who, Cooper said, “There wouldn’t be the Vampires without Keith Moon.”
Depp paid tribute to David Bowie by singing the song, “Heroes” as images of Bowie appeared on the backdrop.
“It’s a fact most of the vampires have died, but one is still around,” said Cooper. The crowd cheered as they played Cooper’s “I’m Eighteen.” As Cooper sang the next song, “People Who Died” by The Jim Carroll Band, and people in the crowd raised their drinks into the air and sang along with the chorus line, “For the people who died, died.” The logo of the Hollywood Vampires would flash on the backdrop with gravestones inscribed with the names of fallen musicians.
The last song of the night was Cooper’s iconic “School’s Out” as the band played giant red and white balloons with the band’s logo on them were tossed into the crowd like beach balls. People hit them up into the air as others grabbed balloons to keep as souvenirs, and one person even fished their balloon out of the pool. Cooper wrapped up the show by introducing each member of the band. Cooper commented that Perry is one of the best guitar players that he knows.
He put his hand on Depp’s shoulder and said, “You know him by many names, many characters, and now you know him as a guitar player.” Cooper talked about himself last, mentioning how he’s from Arizona and graduated from Cortez High School in Phoenix. The crowd cheered one last time before the lights went out and the Hollywood Vampires took to the night sky.
To see music legends Alice Cooper and Joe Perry together in a band with Johnny Depp is something no one at Talking Stick Resort is going to forget. As fans wandered about the property to the parking lot, went back up to their hotel room, or tried their hand at the slot machines in the casino they all had one thing in common: they knew they were never going to forget seeing Hollywood Vampires. The energy of the band as they jammed their songs and paid tribute to fallen musicians will live on inside them. That night was legendary.
PHOENIX — One word continuously comes to mind when one thinks of metal music: catharsis. According to Google dictionary, catharsis can be defined as “the process of releasing, and thereby providing relief from, strong or repressed emotions.” Look around the audience at any metal show and you will see catharsis taking place in many forms. Maybe it’s the down-tuned, insanely heavy guitars palm-muting and blasting you with power chords, or the syncopated rhythms of the double bass drums beating fan’s ears into submission. Whatever it is about the music, metal brings people together and serves as a one-stop shop for the release of myriad types of emotions; happiness, anger, sadness, etc.
There’s a sort of camaraderie between fans at metal shows as people bond over their love for the music and in some cases, their equally great love for alcohol. The evidence supporting that love for metal is alive and well could not have been greater last night at the Ak-Chin Pavilion in Phoenix as heavy metal forefathers, Slayer took the stage in front of about 22,000 in attendance after several intense opening sets from Lamb Of God, Amon Amarth, and Cannibal Corpse.
Picture this: flamethrowers perfectly synced to the frequent stops of the music with heat you can feel on your face from the audience, a giant, banner adorned the back wall of the stage replete with a devious-looking Baphomet among other satanic imagery, bright strobe and giant spot lights occasionally resembling double helix shapes. These were only a few of the visual treats fans were given Thursday night as some stared silently in awe, while others rarely stopped screaming their favorite lyrics to take a breath. Slayer has been around a very long time and yet despite their collective ages, their energy has not wavered in the slightest. From the opening speed metal riffs of the first song, “Repentless”, to the final onslaught of songs culminating in “Angel Of Death”, Slayer proved that they’re still masters of their metal domain.
Vocalist and bassist, Tom Araya has always had a distinct vocal style; it’s not singing but it’s not your average metal-scream either. It’s visceral, primal shouting from a man who otherwise comes off very kind and cordial on stage during the quieter moments in between songs. He’s a living legend, as are the other members; longtime guitarist Kerry King, recent stand-in guitarist and Exodus alumni Gary Holt, and drummer Paul Bostaph. Last night at Ak-Chin Pavilion, these four, with their powers combined, recreated some of the heaviest music ever written. King and Holt’s blisteringly fast riffs caused fans to headbang themselves into a state of whiplash, while Bostaph’s drumming undoubtedly caused plenty of heart arrhythmia from the sheer force with which he hits the many pieces of his instrument of choice.
Watching Slayer is a musical experience of course but also one you can feel; physically and metaphorically speaking. Their lyrics are some of the most brutally honest words shrieked into microphones worldwide. For example, “World Painted Blood” (the 3rd song into their set) contains the lines “Gomorrah’s dream to live in sin, has reached its critical mass, man himself has become God, and laughs at his destruction…”, which gives an unrepentant glimpse into what’s on the band’s minds. Death, destruction, the unstoppable collapse of humanity due to its own ignorance; the band frequently come off as messengers of the impending doom that will surely befall humanity should we choose to ignore it. This serves for a powerful concert experience that’s not to be missed should you ever get the chance to see them perform.
It’s worth mentioning that the supporting bands all brought the energy to critically high levels long before Slayer even took the stage.
Florida death metal legends Cannibal Corpse started off the evening with incredible stage presence and easily one of the best renditions of “Hammer Smashed Face” played to date.
Next, Swedish natives Amon Amarth brought along their trademark viking theme, with the drummer sitting atop a replica of a viking ship complete with glowing red eyes. Their unique take on metal and lead vocalist, Johan Hegg’s friendly demeanor, was warmly received by fans.
Finally, Lamb of God stole the show with an insanely heavy set despite a few technical difficulties with the wireless guitar rigs. The other band members never missed a beat and effectively carried on regardless of any technical glitches entirely out of their control.
These are the marks of great live performance and each band, in their own unique ways, served as the perfect appetizers to temporarily appease everyone’s metal palate.
Other high points of the night included one of Slayers more ambitious songs, “Seasons In The Abyss” as well as other brutal numbers like “Mandatory Suicide”, “Hate Worldwide,” “Disciple”, “Temptation”, and “World Painted Blood”. Slayer saved most of the classics like “Raining Blood”, “Hell Awaits”, and “South Of Heaven” for the very end of the night, which made for an extremely captivating finale to a great show on their “Final World Tour”.
Local 98KUPD FM afternoon announcer, Fitz Madrid, prefaced Slayer taking the stage by announcing their imminent arrival as well as commenting on how he first saw the band in 1991 and that he considered it one of the best concerts he’d ever seen. That’s saying a lot coming from a person who has frequently attended many shows because of his line of work and love for music. Slayer’s music left a powerful impression on Fitz after witnessing what they could do live. That impact surely carried itself over to just about everyone else in attendance at Ak-Chin Pavilion last night, many of whom will one day describe their experience of this show as equally life-changing.
PHOENIX — Long-time American songwriter Laura Pergolizzi, also known as LP, brought raw energy and charisma to Phoenix. Originally booked at the Crescent Ballroom, LP sold out the 550 capacity room, forcing the show to move to The Van Buren’s 1800 capacity venue. The bold move proved beneficial as LP sold out the Van Buren, with fans still hoping to score tickets at the box office before the show.
LP may be news to the majority, but she has been gracing the music industry with her songwriting since the late 90’s, writing songs for artists like the Backstreet Boys and Christina Aguilera. Her hard work and consistency paid off big time when she released her first studio album, Heart Shaped Scar, in 2001.
It was clear within the first few moments of the show why LP and her band have fans scrambling for tickets, and promoters moving her show to venues three times the size originally booked. The simple explanation: she’s a star. She has a commanding presence, and the moment she lets that first note slip between her lips, you’re sold. In that moment, you know you’re watching someone born to be on stage.
Taking her time to walk out on the stage, lights dimmed as the band came out, the music began with a slow build creating tension in each eager audience member waiting to see LP and hear her bold voice. The intensity of the crowd matched the tension built from the music until the moment LP came out, and then it’s on. Beginning the show with “Dreamcatcher,” the first track off her latest album, Heart to Mouth, she quickly captured attention from all in attendance.
She gracefully glided across the stage, singing with her incredible range and compelling the crowd to move with her. The music flowed into an explosion of sound and dance. Her writing has an incredible balance of emotion and freedom from your former lover, while at times you can feel her broken heart as if it were yours.
It may take seeing the show live to understand the passion each song has to offer. The show takes each person through a story of heartbreak and raw, pure feelings with songs such as, “I Gave You the Great Unknown,” and her second hit single “Recovery. ” Her lyrics ask honest questions like, “Did you let me go?“, and make real statements like, “I can’t stop sleeping in your clothes.” Her powerful voice soars through the crowd, piercing through each member of the audience. The dynamic vocals are accompanied by a slight quiver in her voice that drives home that heartbreak.
LP not only has the songs to remind you of the love you lost, but she has the ability to get you dancing to the same heartbreak. Along with her great presence is a solid, passionate, and exhilarating band. The dynamism and musicianship they bring to the show support LP with a humility that reflects that they believe in the music they are playing and know they are in the right place.
If there is one takeaway for LP when she leaves the Valley, it’s that Phoenix wants her back, and it would be no surprise to see her in an arena when she returns. This is a show made for everyone: the broken-hearted, the healed, the happy, the lonely, the dancer, the dreamer — LP has something for you.
PHOENIX — Celebrity Theatre was a fitting venue for the return of Styx to the Valley for a two night engagement on January 11th and 12th. Located at 32nd Street and Fillmore, the legendary theatre in the round has hosted the cream of music royalty since it first opened as the Phoenix Star Theatre in 1964. The unique circular, rotating stage and intimate atmosphere have made the Celebrity a staple music hall in Phoenix for nearly six decades. Not one seat in the venue is more than 70 feet from the stage.
The show on January 11th started a little late, most likely a result of the parking delays. The line of cars snaking southbound down the right lane of 32nd street moved at a snail’s pace leading up to the entrance. Folks of all stripes were milling around the theater, ordering drinks and chatting excitedly under the catwalk above the stage. Others lingered outside, chain smoking or vaping, listening for a sign to run back inside for the start of the concert.
From their humble Chicago beginnings in the early 1970’s, to their outlandish high production theatrical arena shows of the 80’s, Styx has been a familiar voice on the radio for generations, with a career spanning over half a century. As the first band to have four triple platinum albums in a row, they are an integral part of the soundtrack of many people’s lives. Their importance to rock music as a whole has been unfairly marginalized for years, and in the words of Julian ‘Frankenstein’ McGrath from Big Daddy (1999), only catching “a bad rap because most critics are cynical assholes.”
The current lineup includes veteran Tommy Shaw on lead guitar, with founding members James “J.Y.” Young and Chuck Panozzo on guitar and bass respectively, with Chuck performing on a more limited basis. Chuck’s twin brother and co-founding member of Styx, John Panozzo, originally played drums, but sadly died of cirrhosis of the liver in 1996. Since then, Todd Sucherman has been the band’s drummer. Playing backing guitar, bass, and vocals is Ricky Phillips of Bad English and The Babys, who joined the band in 2003. Vocalist and keyboard virtuoso Lawrence Gowan is a high-energy showman, but you would have to be in order to replace estranged former frontman Dennis DeYoung, as he did in 1999. A band with a history as rich as Styx merits such a historic venue as Celebrity Theatre.
The house lights suddenly dimmed, eliciting hoots and cheers from the audience. As soon as the spotlights kicked on, the band flew right into “Gone Gone Gone”from their latest album The Mission, released in mid-2017. From the first frenzied notes played on the dueling guitars, the crowd was on their feet. Fans young and old danced in the aisles while others rushed to their seats, full beers in hand. The song does not sound at all unlike the old Styx — high-energy and fun.
Not a moment after the first tune ended, the iconic organ riff of “Blue Collar Man” sternly commanded the grateful crowd’s attention. Each band member’s precision assured the crowd that Styx had not lost a step from their golden age.
Next was their hit “The Grand Illusion”, the title track from their 1977 album. Every flawless note rang out true to the recording, and there is a perfectly reasonable explanation for that: Styx is a band that is perpetually on tour. According to the band themselves, they only take occasional breaks for short periods. Anybody touring that frequently is going to perform their catalogue masterfully.
After performing “Fooling Yourself,” Gowan spoke: “What a wonderful way to ring in the new year!” Standing at the foot of the stage, he remarked, “My, you’re all so close,” as he addressed the theater’s intimate layout.
The spotlight settled on him at the keyboard as and an iconic piano riff pierced the crowd, igniting their collective nostalgia. “Lady” is one of those songs that everyone imagines will be playing in the background when they lay their eyes on their soulmate for the first time. Again, it’s eerie how well Gowan embodies Dennis DeYoung, both vocally and instrumentally. It was not the first song the whole theater sang in unison, nor would it be the last.
When Shaw approached the mic, he explained the origins of their 16th album, The Mission, before introducing “Radio Silence” for the waiting ears of all in attendance. The opening synth has that instantly recognizable Styx DNA. That this was not a radio single is baffling. In fact, Shaw himself has expressed frustration with the neglect that great classic rock bands experience in the new age of the music industry. It is almost prophetic of the band that you cannot hear a song called “Radio Silence” on the radio. It is a fantastic track and deserves more attention.
The next tune was off of 1975’s Equinox. “Lorelei” seems like one of those songs that everyone knows but has no idea what it is called or who sings it, like an old friend you ate lunch with at work, but never learned their name. Young absolutely nails the lead vocals in place of DeYoung’s studio recording. Another striking revelation was that the bands harmonies were pristine. These are men in their early to late sixties, the oldest being founding member Panozzo at seventy years old.
Shortly after “Lorelei”, Shaw recalled a conversation he had with Young in 1975, and explained how he came to join the band. Taking Young up on his offer to come to Chicago, Shaw brought a song he had been working on. It was a great song, but “it wasn’t a Styx song” according to Young, who Shaw calls “The Godfather of Styx”. From that story, the audience learned how “Crystal Ball” was written, and Shaw was only too happy to demonstrate how beautiful his two-tone sunburst Fender 12-string acoustic sounds. With impeccable timing, a roadie hopped up onto the stage to hand over a Les Paul for the solo before swapping the Jumbo back for the outro.
As expected, the band played a couple more hits with “Light Up” and “Man in the Wilderness” before closing out the first half of the show with another anthem from the Paradise Theater album, “Rockin’ the Paradise.” It wasn’t long before the house lights came back up for a short intermission, when Young promised another hour of music after they returned.
The second half of the show kicked off with another Young-led hit from The Grand Illusion, “Miss America.” Styx is currently rehearsing for a special show in Las Vegas where they will play the entire The Mission album from start to finish. Fans attending this show were treated to a sampling of what is to come when they debuted six of those songs in order from the second half of the album. The suite of songs began with “Time May Bend” and continued through “The Outpost” and this night was the first time they had ever been performed live. They even welcomed the album’s producer and co-writer, Will Evankovich on stage to contribute to the instrumentation and vocals.
Eventually a roadie produced Shaw’s vintage Fender Electric XII and it’s a dead giveaway to the guitar-savvy fans that “Suite Madame Blue” was coming, and it was impeccably played from start to finish. Immediately after, the fans were finally treated to what many were waiting for… “Too Much Time On My Hands” (watch the Paul Rudd and Jimmy Fallon shot-for-shot remake) from 1981’s Paradise Theater. The maniacal keyboard part of the song is indicative of the genius that Dennis DeYoung endowed upon the group; however, this does not imply they are lacking anything from his departure. This band is so well-oiled that his absence is hardly noticeable.
As the applause died down, most of the band left the stage, but Gowan remained and took the spotlight to turn the venue into a “piano bar” with a pair of fantastic covers. The first was a phenomenally accurate rendition of Elton John’s “Rocket Man” for the appreciative audience. The second cover was a beautiful recitation of the intricate operatic section of Queen’s “Bohemian Rhapsody”, and the entire crowd once again sang along to every word. They are truly a fortunate group to have stumbled across such a talented frontman. Gowan alone should be a major factor for anyone even considering going to a Styx show. He alone is absolutely worth the cost of admission.
Still alone on stage, Gowen started into the piano intro to possibly their most famous hit, “Come Sail Away”, which was also featured on The Grand Illusion. The band shuffled back out to bring it home and it seemed to be the perfect crescendo to end the show with, guitars blazing and fans jumping up and down. As the last note is struck from the guitars, and the last cymbal smashed, the band removed their straps and handed off their instruments to the roadies while they made their way off the stage before turning around amid the raucous applause and walking right back out for an encore.
To thunderous applause, they opened back up with “Mr. Roboto,” the drum fills echoing throughout the small space with noticeably fewer audience members, many of whom ran out to their vehicles when they believed the show was over. This is a big deal for one simple reason: They had never performed this song on stage with the full band before this tour. Previously, Dennis DeYoung had always sung a version of it with pre-recorded tracks. Once he left, the band abandoned it for the following decades. The fact that they are playing it as an encore now is kind of ironic.
The fitting final number of the evening was the signature rocker song “Renegade”, Shaw’s self-penned hit from 1979’s Pieces of Eight.
“Oh, mama, I’m in fear for my life from the long arm of the law…”
The acapella opening lines beckoned the crowd once more to accompany the band, offering a fitting and crowd-unifying conclusion to a consistently powerful and nostalgic evening with a gargantuan pillar of classic rock. As any great performers are wont to do, Styx left the Phoenix audience delighted and fulfilled, yet eager for more. Fans might have had their thirst satiated if they bought tickets to the show the following night at the same venue. And if the rock gods will it, perhaps Arizona will be graced with a future performance from the legendary American musical mainstay.