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.
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.
PHOENIX — Many of us have been invited to a pity party and more than likely, we have no desire to attend. When Puddles the sad clown hosts one, however, I recommend you RSVP and make it a priority on your calendar.
I was one such lucky attendee amidst several thousand others that packed the Ikeda Theater at Mesa Arts Center. Not knowing what to expect of the next 110 intermission-free minutes aside from a sweet serenade from the 6’8” baritone crooner in a clown costume, I kept my mind, ears, and eyes open.
Three minutes before the show was set to begin, the house lights were still up as people shuffled to their seats. There appeared to be commotion on the mezzanine level as several audience members looked up to see the unmistakable giant, cuddly clown making his way through the sea of people giving hugs, handshakes, and posing for photos. He effortlessly hurdled the chairs and made a concerted effort to greet as many of his party “guests” as he could, before making his way down to the ground level where he popped through the back doors and dashed to and fro, greeting attendees as he made his way up to the stage.
Puddles Pity Party is anything but predictable, and after enthusiastically giving high fives to some of the folks in the front rows, he hoisted himself up onto the stage and awkwardly rolled to his feet despite the fact that there was an accessibility staircase not 10 feet to his left. It was at this moment I realized that things were going to be shaken up into a concoction of splendor and entertainment that would take all of us on a wild adventure of fellowship and laughter.
The festivities began with Puddles amusingly popping a whopping amount of gum into his mouth and loudly chewing as he read an AARP magazine featuring Kevin Costner.
Much like other aspects of the show, these pieces may have seemed trivial at the time, but became integral parts of his act. Perpetually animated and childlike in his movement at times, Puddles — brought to life by Mike Geier — scoots about the stage on his stool and takes his sweet time getting to center stage to watch a montage of his trials and tribulations while appearing on America’s Got Talent. The sad clown with the golden voice sang his rendition of R.E.M.’s “Losing My Religion”, only to be abruptly stopped by a loud buzzer and a giant red X like the one he received while performing for the show. Despite this, Puddles pressed on.
The irony was not lost in respect to a silent comic entertainer who uses only his vocal ability to belt out emotional tunes; however, the heartfelt depth of his singing left the partygoers absolutely stunned. Puddles performed “The Sound of Silence” to a video of ASL translator, Zoey Stormes, signing a moving performance. Though he is a sad clown who expresses tremendous variety of emotion, from melancholy, to gratitude, to wonderment, it’s virtually impossible to be sad while in his presence. Laughter and words of encouragement from the crowd consistently permeated the silence.
Puddles has several obsessions that attendees learn throughout their time with him, two of which are Kevin Costner and coffee. Never have I attended a party that entailed a coffee break, but there is a first time for everything. In fact, Puddles Pity Party contained many firsts, which takes the Vaudevillian style act from being a show to a full-fledged experience. I lost count of how many times Puddles left his wad of gum behind on his suitcase of goodies and plucked it back up to resume chewing. Additionally, I lost count of how many times he rolled himself off the stage to interact with the audience and bring a new friend up to be a part of the show. Attendees were swept away, transformed into an environment where excitement is found in the simple and absurd.
It was when I oddly caught “the feels” from hilarious snippets of robots falling over to the sound of Puddles’ emotional rendition of Coldplay’s “Fix You” that I realized the power and magnitude of this king-sized clown’s voice. No love song directed at a cup of coffee will ever feel so pure and heartfelt as it did in that theater.
Partygoers were just as much a part of the show, and were brought into Puddles’ world of make-believe. One woman transformed into a wolf that Puddles waltzed with. A gentleman enthusiastically sang the karaoke version of “All By Myself”. Another got to be a rocket scientist, and yet another got to stuff his face with cupcakes while being reminded that the word “stressed” spelled backwards is “desserts”. Puddles even had one of the party attendees summon Kevin Costner, albeit after a failed attempt that accidentally summoned Kevin Bacon.
Other celebrities were attending in spirit, as it was impossible to miss the homages to Axl Rose, Freddie Mercury, and the King himself, Elvis Presley. Puddles’ prowess as an accomplished musician was made apparent through performing on his cardboard guitar that asserts “Do Good Work”, to his various beats on both real and video game drum sets, to his unique song mashups.
Geier, affectionately known as “Big Mike”, who has run a burlesque performance troupe out of Atlanta and also performs with the Kingsized Jazz Trio, has the performer gene coursing through his veins. Traveling with Puddles Pity Party, he has made audiences giggle and laugh warmly all over the world while wearing his endearing heart on his ruffled sleeve.
All you would have to do is go on YouTube and search “Puddles” to encounter countless videos of the sad clown with the golden voice. One of his most captivating being his rendition of Sia’s “Chandelier”, which partnered with Scott Bradlee’s Postmodern Jukebox and also performed on America’s Got Talent to agape jaws and an uproarious standing ovation.
The party on Friday was no exception and the crowd had their phones out to record video of his most notable serenade, as is encouraged. This did not stop Puddles from giving his adoring fans the up-close and personal show they were hoping for, as he grabbed one phone to sing to it and place it in the hand of another individual while picking up their phone and passing it on until there were multitudes of attendees who had incredible footage of Puddles and the cell phone of their fellow party-goer. The laughter that ensued afterward while people scrambled to find each rightful owner was memorable. If anyone can bring people closer together with their fellow man, it’s most definitely Puddles the sad clown.
If you have the opportunity to attend a pity party put on by Puddles, I highly encourage it. How a sad clown can make everyone in a room light up with laughter is a special kind of magic that can only be felt and seen by experiencing it firsthand.
PHOENIX — Justin Courtney Pierre returned to Arizona for an intimate underground show at the historic Valley Bar Friday night, revitalizing fans with a colloquial performance of his latest solo-album In The Drink. Since Motion City Soundtrack’s “So Long, Farewell Tour” in 2016, it had been unclear when and if Pierre would continue making music in the future.
“Post-MCS I just really wanted to focus on the art,” Pierre told Billboard during a recent interview, “so, I built a team of people around me that I can utilize for all the other stuff – the production, the business. What’s nice about this is I don’t have to ask anybody for permission or get four people to agree on whatever we’re doing. I can just do my ideas whether they’re stupid or not, for better or for worse. I thought, ‘OK, so if this is the only record I ever do, great. I’m just gonna do it exactly the way I want it.’“
Produced by Motion City Soundtrack bandmate Joshua Cain, In The Drink is heavily influenced by the sound of the 90’s, classic guitar and, as Pierre puts it, (in direct reference to noted inspirations Swervedriver, Polara, Guided By Voices, and Frank Black’s “Teenager of the Year”) “a lot of movement going on”.
During a coinciding interview with boutique pedal company ZVex, Pierre went on to explain the experimental nature of his work which he revealed, lead him to his newfound love affair with the ZVex Fuzz Factory 7, as well as the ZVex Effects Vertical Vexter ’59 Sound, which he utilized throughout Friday night’s performance. When it comes to guitar, this singer-songwriter prefers a more improvisonal approach – toying with different combinations until his fancy footwork yields a sound he likes.
Pierre’s tourmates for his latest solo album include old friend and master of effects – guitarist Thomas Rehbein, sensational vocalist and guitarist Lydia Liza, emotive bassist Shannon Burns, and relentless drummer David Jarnstrom.
“I’m listening to Flaming Lips in my headphones to drown out all this other bullshit”, Pierre joked before jamming out the opening notes to “I Don’t Know Why She Ran Away”, following opening tracks “Undone” and “Anchor”. “Just kidding!”, he laughed – noting that the night’s opener had been unable to make it due to an undisclosed transportation issue. As a result of that last minute change, the night became increasingly conversational. Fans shouted back and forth as Pierre responded between tracks from on-stage, speaking on everything from his struggles with alcohol, to new “dadhood”, and even his strong distaste for Burger King. Pierre casually guided the audience through an evening of impromptu storytelling between each new track from In The Drink, but not without some nostalgic surprises along the way.
Preceding the Farewell Continental portion of the evening, a tribute to Pierre and Rehbein’s passion project since 2008, “My Girl Margo” off a “special upcoming EP” got fans jumping for more. With the night’s energy at its peak, “Total Devastation” had diehard JCP fans weak in the knees.
Next up was a new Farewell Continental song that’s not yet been recorded. “It’s called ‘Tossing and Turning’”, Pierre told fans, “It’s a motif I’ve used before and I’m aware of that,” he laughed, “And I like to remind people, it’s supposed to sound like this.” Farewell Continentaltakes the undeniably esoteric undertones of In The Drink one step further, culminating a uniquely chaotic blend of power-pop-meets-classic-rock. The band finished out a lively performance of “Do You Wanna Tangle” also by Farewell Continental, before abruptly leaving the stage where only Pierre was left to tame the spotlight.
Without question, the moment we’d been waiting for since 2016 had finally arrived; it was time for a little Motion City Soundtrack. Pierre explained that since the band had chosen not to continue making music two years prior, he’d decided to play only MCS songs which he’d “brought to the party” so to speak. Members of the crowd shouted out track after track in hopes of hearing their longtime favorites. Pierre responded by teasing onlookers with a candid rendition of “Stand Too Close” before breaking for a quick story – “The Caffeine Story” he called it: “Listen, listen. I haven’t had a drink of alcohol in over nine years, and a few years after that I quit caffeine. And now I have nothing.”
As fans applauded, “Atonia” began rumbling out from the speakers. Fans sang along loudly as Pierre pieced together a nostalgic solo tribute session including “When You’re Around” and “LG FUAD”, to which the entire bar sang aloud. “Okay, now I am going to invite the band back to the stage,” Pierre announced before launching into a cover of Guided By Voices’ “Motor Away” which he credited as one of his favorite songs to date. “Some of these guys just heard it for the first time today,” he told fans as they hooted and hollered at Pierre to “do it again!”
The evening closed out with “Shoulder the Weight”, “In the Drink”, and “Goodnight Hiroyuki” – the last three tracks off of Pierre’s latest solo expressional, sending fans off with a phantasmal intermingling of sludgy, otherworldly tones. Rehbein could be seen sliding his guitar back and forth against everything from the guard rail to the speakers and even Liza’s guitar while her robust, angelic voice offered a sweet contrast to the whirlwind of instrumental experimentation unfolding on stage. “This is it. I love you all, except Kevin!”, Pierre exclaimed.
Following a staggering twenty track setlist, fans continued to swarm the stage in hopes of one more. Band members could be seen handing out copies of the setlist, and even notes from practice sessions to outstretched hands eager to claim their prize. Following the performance, Pierre stayed true to his reputation of being the down-to-earth artist we’ve all come to love and hung out to greet and take photos with anyone and everyone who chose to stick around. Although he was lacking in words (as he announced that he would not be speaking, in order to protect his voice), Pierre’s charismatic demeanor radiated off of him as fan after fan stepped up to meet the man of the hour.
After two years of wondering, Pierre took us back to the driving spirit and endearing authenticity behind what made Motion City Soundtrack great. It’s that permeating willingness – to care and connect with his fans, to tell the stories that need to be told, and if there’s one thing for sure, it’s that we absolutely cannot wait to see what this performer is up to next.
PHOENIX — A Perfect Circle ended “on a high note” for the last date on the third leg of their headlining North American tour, to the city that frontman Maynard James Keenan thanked for being the “marijuana-stinking cherry” on top. Dark electronic duo Night Club and trip hop artist Tricky supported the band starting from October 20th, leading up to this night at Comerica Theatre. A PerfeBetct Circle delivered a performance that repeatedly went from smoldering to bellowing, and took the transfixed audience on an escape of commiseration through hard rock.
This year, A Perfect Circle released Eat the Elephant, which is their first album release in fourteen years, and their fourth studio album. Today, A Perfect Circle released a limited-edition 7” vinyl single featuring the latest single, “So Long, And Thanks for All the Fish”. Included on the release is a B-side, a cover of AC/DC’s “Dog Eat Dog”. It is available exclusively from the Record Store Day Black Friday event at select brick-and-mortar record stores.
The tone of their performance in Phoenix was first set with a dark stage as they invisibly began the instrumentals of the title-track of their latest album, “Eat the Elephant”. Anyone who has previously experienced A Perfect Circle live may have come to expect a giant white sheet shrouding the stage front leading up to, and remaining through the entirety of, the first song, before dramatically dropping to the floor. However, the sheet was absent this time around. Each band member was gradually backlit by just a bit of light, one-by-one, until all appeared as nearly pure-black silhouettes.
Blue and white rays of light and rising smoke backed them, in front of a curtain displaying their logo, and they were surrounded by white panels that would feature visuals catered to each song throughout the night.
True to character, Keenan remained even less visible than his bandmates for the entire performance, on a platform in the back of the stage. Sometimes he blended in with the darkness and visuals so well that one might question whether he had left the platform, seeing that he remained stationed upon a second glance.
When A Perfect Circle performed at Comerica Theatre in April of 2017, Keenan offered a few encouraging words. This time around, he almost seemed to be out of supportive messages.
Perhaps referencing the “despicable false claim”, in his words, made against Keenan earlier this year, he said, “Crazy, crazy, crazy, insane times we’re living in, wouldn’t you say? Insanity… People all mad at each other over a fuckin’ internet thing. It’s stupid… I’ve heard it said love is the answer… but because of all of the marijuana, I can’t remember the question.”
However, substantial sentiments and motivational speeches may not be necessary every time, considering the volumes that the messages in their music speak, and how emotionally evoking the dynamics of the music are. As usual, A Perfect Circle performed with nearly album-quality sound. Often, elements of the songs that may go unheard when listening to recordings were clearly audible during this performance, bringing new life to the music and a deeper appreciation for the composition. Furthermore, hearing lyrics to new songs for the first time live, versus via studio recording, can cement a different impression of the song as the concert experience packs in the emotion emanating from the artist.
Eight of the songs performed this night were from Eat the Elephant. Lyrics that really strike a chord in relation to the status quo, religion, and the political climate are contained in their songs, such as the following from “The Doomed” from the new album:
What of the pious, the pure of heart, the peaceful? What of the meek, the mourning, and the merciful? What of the righteous? What of the charitable? What of the truthful, the dutiful, the decent?
Doomed are the poor Doomed are the peaceful Doomed are the meek Doomed are the merciful
For the word is now death And the word is now without light The new beatitude: “Fuck the doomed, you’re on your own”
The lighting and visuals on the screens became increasingly dramatic, matching the intensity of the music throughout the night. They designed a setlist that felt narrative, which crescendoed and climaxed. Along with that, the colors shifted from cool and neutral, to bold and loud red, white, and black. Behind the band, the all-seeing eye displayed where their logo once appeared. The audience was united in a cathartic experience, as they let go and got lost in A Perfect Circle’s trademark indignation and disdain.
One fan in the audience was overheard saying, “I forgot how hard these guys rock!” and with unrestrained, unabashed love and respect for the band, he yelled louder than all around him.
“We’re gonna end on a high note here in Arizona. Off to Europe for about 3 weeks. So thank you very much for being the cherry on top. A marijuana-stinking cherry.” — Maynard James Keenan
Before going into “Dog Eat Dog”, a tribute to the late Malcom Young of AC/DC, Keenan took a moment to introduce the band members. It was interesting to note the many other music projects all band members are a part of, emphasizing how much of a supergroup A Perfect Circle is.
“Our rhythm section: from Beta Machine, Ashes Divide, Eagles of Death Metal, and Puscifer — Mr. Matt McJunkins, Mr. Jeff Friedl.” McJunkins (Bassist) is also a former touring member of Thirty Seconds to Mars.
He continued, “Guitar & keyboards: from Autolux and Failure, Mr. Greg Edwards.” Edwards is filling in for James Iha, who is currently touring with Smashing Pumpkins. He was also a member of Lusk and Replicants in the past.
“My partner-in-crime: Mr. Billy Howerdel,” he concluded. Howerdel (Lead Guitarist, Keyboardist, and Backup Vocalist) is also frontman of Ashes Divide.
Of course Keenan is also a member of multiple bands on top of A Perfect Circle, including Tool and Puscifer.
Some find the media policies for A Perfect Circle’s shows to be pretentious or mistreating to fans. Like a performance in a symphony hall, the band sends the message that it is a faux pas to raise up a phone in the air during theirs. Others feel that it not only preserves an important atmosphere that keeps integrity to the music and sets their performances to a different level than other rock concerts, but also actually appreciates their fans because the band wants to connect with them like they did in the days before smartphones. There were some in the crowd that could be overheard during the show actually expressing appreciation for the absence of cell phones in the air throughout the concert. The impression was that most, if not all, in attendance left satisfied and delighted.
Following the climax of the performance with four ferocious songs, A Perfect Circle closed out the concert with “Delicious” from the new album. It had the fitting mood of the falling action of the storyline, lyrically segueing into a resolution of sorts:
How inconvenient and unexpected and harrowing for you, as consequences tend to be For the rest of us, so delicious to witness your dread. Poetic justice consummate.
During these times, it is interesting to see swathes of artists such as A Perfect Circle, Cake, Otep, Eminem, Taylor Swift, and many more, using their platforms to speak out against or oppose President Donald Trump and the Republican Party. While some feel that entertainers should “stay in their lane” in topics such as these, it is undeniable that they historically have significant ability to influence the public, for better or for worse. With the success of their world tour, and the large attendance of a concert on a Tuesday night, it is evident that there are a significant number of people that aren’t repelled by their political leanings. In the current political climate, A Perfect Circle’s brooding music serves as an outlet, a beacon of intellect and sanity, and a unifier for like-minded fans that are equally frustrated, angry, and despairing.
While it would be unlikely that Keenan and his band would skip playing his home-state, Arizonans were undoubtedly grateful that they had the opportunity to experience A Perfect Circle live after getting some fresh music from them. Keenan stated in a June 2018 interview that “there should be” more albums in the future. Though Eat the Elephant has proven worth the wait, hopefully it will not be another fourteen years before the next release. Hopefully fans can be treated to another tour in support of the next release, or at least more Arizona shows.
Considering the solid quality and atmosphere of their live performance, the sizable setlist, the supportive experience, and love of their intense music, any fan that may hesitate to make the investment in a concert ticket can rest assured this one is worth it. A Perfect Circle’s show in Phoenix was not a buzzkill.
PHOENIX – Covet, touring with special guests and friends HOLY FAWN and Vasudeva, bloomed in a magnificent way at The Rebel Lounge and shared their sublime sounds during the hottest period of the unrelenting desert summer. Luckily, nobody was a pile of goo by the time the show started.
This esoteric collection of musicians was a sight to behold, sharing a fascinating mix of influences from genres such as post-rock, math rock, ambient music, alternative rock, indie rock, experimental sounds, and many more. While stage banter and lyrics may have been at a minimum, fans certainly have a lot to talk about after witnessing this stunning bouquet of musical aptitude.
Kicking off the evening was local band HOLY FAWN, self-described as “four creatures making loud heavy pretty noises.” They certainly lived up to their description, as the noises varied from gentle electric sounds to earth-shattering riffs and screams. They were also the only band of the evening to feature some vocals in their songs, but for the most part, they fit right in with a heavy focus on unique instrumentals.
HOLY FAWN began their set with some ambient music playing over a dark stage covered in laser lights. The darkness and the soothing sounds made for some great ambiance, but soon it was time to rock. Without really announcing themselves, HOLY FAWN made their way to the stage from the merch booth area — not a long walk at all in the cozy, intimate Rebel Lounge. One member said “alright, let’s do this,” as they prepared for the show.
As HOLY FAWN began to play along with the ambient music, their energy slowly rose until climaxing with some epic, loud sounds. The vocals were hard to discern in The Rebel Lounge, but the music was still enjoyable. It was all about the instruments, with some screaming thrown in every once in a while for good measure.
Vasudeva took the stage shortly after HOLY FAWN, and they brought a different sound to the room. Their approach is purely instrumental, and each band member can play their instruments brilliantly. Watching all three of them on stage is a beautiful sight, and it is clear they love playing music together. Not only is their music beautiful and enjoyable, but so is their presence on stage. Their commitment to the craft is hypnotic.
Vasudeva spent most of their time on stage rocking out and sharing their captivating sounds with the crowd, but they were sure to add a quick “thank you” after each song was over. They were also sure to throw in a few other tidbits, such as “this is dope,” “this is so cool,” and “righteous.” They were also sure to thank Covet for asking them to go on tour together. Vasudeva said, “Our friends Covet are on after us. Give it up for them! We’ve been touring with them for about a week now. Wish it was longer.”
Each member of Vasudeva was really into the music and the performance, and they finished their set with an energizing finale. While many people may have come to The Rebel Lounge to see Covet, Vasudeva certainly gave them their money’s worth. The crowd was prepped for more scintillating instrumental music, but it was clear that everyone had immensely enjoyed the show so far. Unfortunately for Vasudeva fans, merch was sparse; as they said, “we’ve been on tour for a while, so we’re running low on merch. We have 2 records left. It’s crazy.” That didn’t stop people from rushing to buy things later, though.
At long last, it was time to effloresce. Similar to how HOLY FAWN began, there was ambient music playing — a prologue to the epic odyssey that was about to commence. Covet took the stage by gentle storm, with David Adamiak coming out to join the ambient music and add some bass currents to the mix. Shortly after that, Yvette Young and Forrest Rice joined him on stage to a ton of applause.
As Covet says, they are “just 3 people making music” — this is the best way to describe their performance on stage. Rather than one person taking center stage, with the others supporting them, Covet is a group of musicians who somehow share the spotlight evenly. What could easily devolve into a discordant mix of conflicting instrumentals becomes a truly majestic melody.
Rice, the drummer, truly rocked The Rebel Lounge into oblivion. His performance was spectacular, and by the look on his face, he loved every second of it. He gave the music so much energy, and his massive smile could pierce even the darkest of sorrows. Meanwhile, Young was in the zone, hyper-focused on plucking the strings on her collection of beautiful, unique guitars. Tying it all together was Adamiak, traipsing around the stage with his bass guitar, really getting into the music and the moment.
Young has made waves in recent years with her unique style of playing the guitar, and she has also recently been featured in a few interesting articles that reveal some insights into her artistic powers. While she plays many instruments, the way she plucks the guitar strings is quite unique; the sounds this technique creates are fascinating and entrancing. Not only does this show off her sheer mastery of guitar, but her immense creativity as well. It is no wonder she has been called a true “Renaissance woman” by many.
Adamiak brought his own creative spin to the show as well. While he merrily wandered all over stage, he made sure to engage with the audience whenever possible. If he didn’t make eye contact with every single person in The Rebel Lounge, it must have been close! He also seemed to have a great time making silly faces at people, as well as jumping out at the crowd from time to time to really rock out. At the end of the show, he made sure to dispense plenty of high fives to those at the front, too! Rice ran up to join him in the high fiving at that point, so there was plenty of love to go around.
Covet had such a pleasant presence on stage and infected the entire crowd with their joy. Along with spreading the music love, they also shared some beautiful stories and useful information. They referred to HOLY FAWN and Vasudeva as their “ultra homies,” told a story about the importance of staying hydrated, and thanked the audience profusely for joining them that evening. As Adamiak said, “thanks for staying out so late with us, on a Sunday night of all nights.” He repeated similar sentiments at the end of the show.
At the end of the show, Covet performed “Howl” from their new album effloresce, which just came out on July 13th; this song is a great way to send a crowd on their way, as it is full of phenomenal energy truly worthy of a grand finale. After, Adamiak said “you guys make us really happy” and mentioned they’d all be by the merch later if anyone wanted to say hi. However, the crowd chanted “one more song” for a brief timeafter they had left the stage, so the grand finale wasn’t so final after all.
They came back on stage, and Adamiak said “y’all are a bunch of sweethearts, thank you.” As he was letting his hair down, he added, “we’re gonna do one that doesn’t require hair ties.” Then, “on a very serious note,” he introduced the song “Ares” as their actual final song for the evening. While not quite as thunderous as “Howl,” it is still a superb way to end a show.
When the show was over, Covet, Vasudeva, and HOLY FAWN were all hanging around the merch area waiting to greet fans, sign merch, and say some farewells. For fans of HOLY FAWN, the farewell isn’t so long either — earlier in the show, Adamiak also added that HOLY FAWN will be having an album release at The Rebel Lounge on September 21st, so mark that one on your calendar!
Photos by Rodrigo Izquierdo
Covet, Vasudeva, & HOLY FAWN – The Rebel Lounge 7-22-18
PHOENIX— It was a Sunday night that just so happened to be Mother’s Day, but they still came out in droves to see Tech N9ne and his cast of labelmates at The Van Buren in Phoenix. Rapper Aaron Dontez Yates, a.k.a. Tech N9ne, brought his semi-automatic speed rhymes to the house in support of the 2018 release Planet. The album was just released in March and instantly shot to number one on the independent album chart. This was spurred by the charting single and video for “Don’t Nobody Want None”, a solid track with beat boy throwbacks to analog synths lifted from Hashim – Al-Naafiysh (The Soul), scratching, and breakdancing in the video. This concert was a four-hour marathon and it was high energy from eight to midnight… and that’s probably when the after-party was just getting started because they showed no signs of slowing down.
The “Planet Tour 2018” is a family affair with artists on the roster of the Yate’s Strange Music record label including Joey Cool, Mackenzie Nicole, and of course Krizz Kaliko, along with a few friends of the family with King ISO and Just Juice. Phoenix was the 24th stop on this 60-city tour and it was a sold-out show with standing room only.
King ISO and King Kash
The show opened with King ISO and King Kash sporting orange prison jumpsuits, wrist shackles, and sacks over their heads. Then it was 100-mile-per-hour rhymes for twenty minutes culminating in their signature “1s in the air for Mental Health and Suicide awareness”. Showing true fan appreciation, each act took time at the merchandise booth to meet and greet the fans and sign anything from t-shirts to body parts during the break.
Next up was Joey Cool, just signed to Strange Music last October and supporting his debut self-titled album. He and Yates both hail from Kansas City and collaborated on “Life Sentences” from the Special Effects album. Tonight Joey was joined on stage by DJ Tiberias who played the only instrument all night when he picked up the bass for the new single “Under Pressure”.
In the three-hole was Mackenzie Nicole introducing songs from her new album The Edge on Strange Music. Nicole’s set was a refreshing break from the angst and monotonous beats of the opening rap acts and introduced melodic pop music to the crowd. The expectation was that the Tech N9ne crowd would boo a Taylor Swift-inspired artist singing to tracks and syncopated video, but the crowd adored her and she seemed genuinely surprised at the enthusiastic response from Phoenix. She later told Burning Hot Events, “I loved this Phoenix crowd, this was the best show yet!” Although the music seemed a little out of place for this concert, Mackenzie Nicole has a great signature voice and the songs were instantly familiar.
Another break. On the stage are two larger-than-life video screens flashing the winged snake logo of Strange Music. Expectations are high for internet sensation Just Juice, but instead, we are greeted by his unknown MC sidekick. So sure he was a comedian doing his schtick, but he did get the crowd fired up with an overused countdown dance for a crowd yell. Finally, Just Juice appears in a white jacket and his trademark bucket hat. Props to his mic skills and lyrical tirades, but the banter between songs about his doubters and haters in high school got old. He’s young and shows lots of potential, and it was awesome that Tech N9ne gave him the opportunity to be on this tour, but his set was uninspiring. The audience, on the other hand, were on their feet and connecting and gave him a warm Phoenix welcome.
There was ample time to buy t-shirts and swag, down some cold beer, and from the smells in the air there may have been some medical marijuana patients in the audience getting prepared for the main event. The intermission mixtape was filled with favorites that had everyone rapping in place and getting amped.
Eventually, the groundswell culminated as the lights went down and the “Klusterfuk” mixtape heralded the coming of The G. Two 12-foot screens flash with the beat and an 8-foot crystal ball glows purple from within with the blood-red winged serpent logo locking in that brand identity. The video to the right explodes with Yates as ‘The King’ adorned in brown medieval robes in a deserted misty forest. On the left screen, he is ‘The Clown’ and wearing all white and donning the skull cap touting the “A” for anarchy. Fans scream as the crystal ball turns to reveal ‘The G’ dressed in all red except for the white jersey number, and obviously, that number is “9”.
“What the fuck’s up Phoenix!?,” he shouts, “I…am…what? Fresh out of fucks!” It was on. This was what everyone came for. This is really when the SHOW started. One-hundred mile-per-hour chopper style flowing with his hand in the air and each finger typing the lyrics into the sky. The Clown and The King are the on-screen backup singers for The G and this power trio continues to entertain with “Comfortable” and “No Reason (The Mosh Pit Song).”
Just when it seems like we’ve reached the pinnacle of excitement, Krizz Kaliko hits the stage and takes it up another notch, prancing back and forth like a caged panther. The virtual trio becomes a quartet as they launch into “Riotmaker”, “Dysfunctional”, and “Einstein.” The G takes a knee and lets out a primal scream to end the song while explosive smoke cannons erupt. He gets to his feet and shouts, “Happy Mother’s Day, Mom I love ya” and he exits the stage.
Then it was Kaliko’s turn to take center stage to hammer out “Anxiety.” He was also dressed in all red except for his white spider logo on the front of his jacket and a white towel that he waved around like a magic wand. As the song faded, he exited the stage. Eerie music played and a chant began: “long live the clown.” There was an explosion on the left video screen and the clown was gone, replaced by a twerking dancer in lingerie and a medical gown.
Symbolically jumping from the screen, Yates reappears donning the clown mask and the white uniform. We were in Clown Town now and the set includes “Tormented”, “URALYA”, “Straight Out The Gate”, and “Starting To Turn” (note, this one was awesome), “So Dope (They Wanna)”, and then he dedicated the show to his mother and shot into “Blackened the Sun”.
Kaliko was back on stage and did a dope medley of songs that included homages to Hall & Oats “I Can’t Go For That”, to “Rock Me Amadeus”, and host of song snippets that kept everyone entranced. Krizz Kaliko can obviously rap, but his singing voice was even more impressive and he was leaving it all out on the stage. The twerker on the left screen had gone away and The King was replaced on the right screen with another twerker wearing very little medieval garb in front of a throne made of dead wood.
A choir of angels heralded the coming of The King. Yates dressed in his priestly robes and gave a schooling demonstration of speed and enunciation that is unrivaled. This set included “Sriracha”, “He’s A Mental Giant”, “Worldwide Choppers”, and wrapped up with “Speedom (WW2)” that featured Kaliko and Eminem on the Special Effects CD.
The last act of the show was aptly titled “House of Hits” and Yates returned to the stage in all black and admitted that they’d been ‘sippin’ all day and they’d be sippin’ all night.’ The feel of the show transformed from “why so serious” to “let’s get delirious” and all of the opening acts took turns collaborating. King ISO rocked “Bad Juju” and Mackenzie Nicole brought vocal prowess to “One More”. The party was in full swing, both the audience and performers were showing signs of being under the influence, and what better time to break into “Caribou Lou”; the song that inspired the Tech N9ne craft beer “Bou Lou”!
The song selections covered the entire Tech N9ne career, which led us to 2018 and to the song that’s ignited the interest of the newcomer fans, “Don’t Nobody Want None”. He was out of breath as any normal human being would be at the end of a four-hour show, but it wasn’t over yet. There was some drinking on stage and the full cast of characters came out for the finale of “Hood Go Crazy” and the last rites of the 14-second “Stamina” from the Anghellic CD. What an awesome way to end the show as everyone on stage recites the final words, “Tech N9ne”!
One last shout out to this crew for being genuine and for respecting the fans. They had been doing these long nights since the beginning of the tour for the past two weeks, and they still took time at the end of the show to meet and greet everybody at the merchandise booth… not just the elite VIP, but every fan. That’s cool, and it makes them even more appreciated. Phoenix may have been just another stop on Tech N9ne’s tour across the planet, but he showed that he genuinely cared about the fans in this town and that will be remembered for a long time to come.
Tempe, AZ — February 24th, 2018, shortly a month after Zakk Wylde’s 50th birthday, he put on a great show at the Marquee Theatre with Black Label Society, showing that he’s definitely at a different level musically and also in showmanship. Opener EyeHateGod, a band that has been playing since 1988 showed great energy, starting what was about to be a great night of rock. Corrosion of Conformity, who I remember watching their music video “Dance of the Dead” when I lived in Chile, only raised the bar and rocked the house, closing with their most popular song, “Clean My Wounds”.
Then the show became the kind of show you’d expect to see at a full stadium, opening with pyrotechnics and a classic curtain drop, to the excitement of the fans that had filled up the venue to what seemed to be absolutely max capacity. This was my first time seeing Black Label Society live, and I could not have been more pleased, as their sound and showmanship was definitely beyond what you normally see at small venues like the Marquee Theatre.
Photos by Rodrigo Izquierdo
Black Label Society, Corrosion Of Conformity, & EyeHateGod – Marquee Theatre 2-24-18
PHOENIX – Arainy Valentine’s Day evening in Phoenix, Arizona – what a perfect night for one of the most bizarre acts to come through town. Moriah Rose Pereira, who goes by the name Poppy on the internet, is a multi-talented internet phenomenon. A young veteran in dancing, singing, acting, and creativity, Poppy was able to bring her peculiar act to the desert. Fans and onlookers of all shapes, sizes, and types gathered together at the Crescent Ballroom to see the internet come to life and behold the spectacle that is the “Poppy.Computer Tour“. It certainly did not disappoint.
What Exactly is Poppy?
Believed to be an android by many, acult leader by some, and an all-around weirdo by “normies” on the internet, Poppy found massive notoriety over YouTube after releasing her infamous video “I’m Poppy,” which can be viewed here. Produced with the help of Titanic Sinclair, another well-known internet phenomenon, musician, and director, Poppy was quickly able to gain the attention of the modern world, mostly through her series of outlandish videos.
She eventually turned this YouTube sensation into an effective tool in the pursuit of her ultimate dream: becoming a pop star. In fact, Poppy even won a Streamy Award in late 2017 for “Breakthrough Artist.” However, it would likely be more apt to label her an anti-pop star, as her work seems to revolve around calling out the absurdities of contemporary popular culture, pop music, and fame in the modern world.
While Poppy originally claimed not to be in a cult a little over a year ago, with Titanic Sinclair vouching for the accuracy of this claim, the “Poppy.Computer Tour” seemed to prove otherwise. This humorous take on possibly spinning criticism on its own head and turned it into another powerful tool in their digital and cultural arsenals; Titanic Sinclair and Poppy seem to embrace this cultish mentality, and they certainly took it and ran with it.
This cultish theme led to some fabulously interesting and entertaining moments during the show; from the computer-renderedspeech synthesis-style narration, to fans “drinking the Kool-Aid,” this cult-themed joke certainly balances itself on a thin line between satire and reality. Nonetheless, the screaming fans—aka “Poppy Seeds”—and fascinated observers did not seem to mind either way. After all, is this not the essence of modern popular culture? Undying fealty to those famous people all fans have sworn allegiance to.
The “Poppy.Computer Tour” is Poppy’s first time visiting real people as a musician, and it was originally planned to visit only 20 cities across North America, but likely due to its greater-than-expected success, the tour was expanded to include a stop in London, Tokyo, and 15 other stops in North America. Poppy and Titanic Sinclair planned this epic adventure in order to promote Poppy’s first official album, Poppy.Computer.
The most interesting aspect of this tour is that, with the exception of her Toronto show, there were no opening acts. Instead, Poppy substituted the time slot traditionally reserved for an opener for one of the characters off her YouTube channel – Charlotte the Mannequin. This same character also happens to be the main antagonist from Poppy’s new YouTube Red film, with a potential to become a series, titled I’m Poppy.
Poppy also traveled with two amazingly talented backup dancers, Alec and Jason. These two stole the spotlight during many points, yet they always made sure to give it back to Poppy when the time was right. They were their to support and augment her, after all, with their keytar dance moves, air drums, and even their own take on what looked like a Thousand Arms Dance. Complete with tutus, bleach blonde wigs, and face masks, they offered an unsettling yet oddly charming addition to the stage.
Charlotte the Mannequin
As fans eagerly awaited the unexpected, uncertainty swirled in the air. Would there be an opener? How would they start the show? What, exactly, was this going to be like? Those who knew Poppy from the internet likely had all sorts of wild ideas, and “Africa” by Toto was playing on loop as they contemplated the imminent future. As the song itself has become its own infamous meme, it seemed only fitting to fill the void of time while everyone waited for the show to start.
Charlotte Quin, or Charlotte the Mannequin, sat alone on the stage, aside a MacBook DJ setup and between two massive screens. She opened the show with a pre-selected audio set. While she isn’t the most animated character, she does have her very own YouTube channel where she occasionally copies Poppy’s ideas, makes her own versions of Poppy’s songs, and otherwise wreaks havoc on Poppy’s online presence. She also happens to have a diverse but excellent taste in music, sampling and playing songs of all genres and eras. There was certainly something for just about everyone in her playlist, and her transitions were seamless.
Songs and artists featured during this most interesting of opening DJ acts include: Daft Punk, Baha Men, Missy Elliot, N.W.A., Vanessa Carlton, TLC, Cake, Abba, Ke$ha, The B-52s, Of Montreal, Talking Heads, Madonna, Rihanna, LMFAO, Justin Bieber, Billy Joel, Britney Spears, Lou Bega’s Mambo No. 5, Jimmy Eat World, Electric Light Orchestra (ELO), Dr. Dre, Cyndi Lauper, Ed Sheeran, Nena’s (Original German) “99 Red Balloons”, and Miley Cyrus.
Throughout this playlist, symbols resembling every meme about the Illuminati played, mixed in with some of the visuals from Poppy’s videos—most notably, “This Birdcage” and “Where is Poppy?”, a video made in collaboration with entertainment company and internet phenomenon Super Deluxe. Strung throughout the set were also sound clips from various Poppy videos, most notably increasingly-frequent statements of “I’m Poppy.” Charlotte’s own statements of “Hello Internet“ and how she is going to be the “Queen of YouTube.” It also featured some sound clips of Poppy and Charlotte discussing the Bible, internet meme sensation Ain’t Nobody Got Time for That, and an old Blockbuster commercial.
Towards the end of Charlotte’s set, there was some banter between her and Poppy, ending with Poppy stating she was “Uncomfortable,” with Charlotte replying, “Uncomfortable? I’ll show you uncomfortable!” Poppy called for “Security!” As the final two songs played, the unusual opening act ended with the question, “Are you ready for Poppy?” playing over and over. They then played just about every ending theme ever, and random noises or themes, from things such as: The Simpsons, Castle Rock Entertainment, Windows ME, Viacom, Paramount, 20th Century Fox, and so on. It was hard to keep track of since they were only samples given in rapid succession, but the result was immensely entertaining.
To capitalize on this hype, Titanic Sinclair came out on stage just before the show began. He presented what was most likely a delicious Poppy beverage (Kool-Aid) prior to sampling some himself. He then set down the pitcher and prepared the crowd for initiation. Warning messages popped up on the screens, and then fans were inducted into the Cult of Poppy over three different Programming Sequences, complete with all the necessary digital and broadcast noises to make it just weird enough. Titanic Sinclair proceeded to pour cups of the delicious Poppy beverage during this time.
With all the grace granted to an android, Poppy slowly and quietly proceeded on stage with her two gender-ambiguous backup dancers, taking her place center stage with her back facing the audience. Her fans were ravenous, but Poppy is the master of timing and patience. Once the appropriate time came, she began to perform her iconic song and first single from her new album, “I’m Poppy“. She followed this up with “Computer Boy,” the second single from her new album.
She continued the weirdness by asking the audience, “Do you love me?” She then proceeded to hand out her delicious Poppy beverage, passing out Kool-Aid to a few people in the front row. Titanic Sinclair and the backup dancers also helped with cup distribution. It was a beautiful, if not strange, moment.
Later on, Poppy also brought up the LOVE METER on the large screens, and her backup dancers hyped the audience up – everyone screamed, cheered, and clapped as loud as they could in order to fill the meter up. It turns out that the crowd does, in fact, love Poppy, as they were able to fill the meter up completely. What a way to spend Valentine’s Day!
Poppy performed many of her popular songs from the new album, including “Let’s Make a Video,” “Moshi Moshi,” “Interweb,” and “Bleach Blonde Baby.” The music videos, styles, and live performances are all uniquely performed and designed, and they are all quite reminiscent of Japanese Pop Music (J-Pop).
Kyary Pamyu Pamyu (KPP) especially comes to mind when exploring Poppy’s musical styles and approaches – especially her songs “PONPONPON,” “CANDY CANDY,” and “Invader Invader.” The latter two of these are especially reminiscent of Poppy’s live performance, particularly regarding her backup dancers; CANDY CANDY features what is likely a male impersonator of KPP, dancing behind her with a wig in her same hairstyle and a mask that is an anime version of her face. In Invader Invader, she has many gender-ambiguous backup dancers as well. There certainly seems to be a lot of inspiration here from J-Pop, making Poppy’s performance a great mix of American and Japanese pop music styles.
Another marriage between pop styles can be seen with French pop artist Yelle, who is also famous for her interesting approaches to music, live performances, and music videos. While the connections aren’t as clear as between Poppy and KPP, Yelle’s upbeat and interesting approaches to pop culture certainly are sights to behold. Yelle’s hit song “Ba$$in” is particularly apt, as well as “Comme Un Enfant,” “Safari Disco Club,” “Complètement fou,” and “Ici & Maintenant.” If anything, her unique dancing styles are certainly comparable to Poppy’s own take on dance, which was Poppy’s first love.
In the middle of Poppy’s performance, she played her video “3:36“ and followed it up with some live additions: “Should we end the show early?” The audience, of course, said no, and she replied, “Okay.” However, it would not have been much of a surprise if she had ended it early.
Throughout the show, Poppy made excellent eye contact with just about everyone in the crowd. She was excellent at engaging people in that way while still maintaining her android-like, robotic façade. At one point, she did go through the front row and gave high fives or held hands, briefly, with as many fans as she could. Her backup dancers also, at one point, took 2 phones from fans in the crowd and took some photos of Poppy from their perspectives on the stage. It is clear that Poppy and company are trying their best to maintain their fans’ loyalty and love.
As the end approached, Poppy asked, “Can I be your Valentine?” The crowd, of course, agreed with great enthusiasm. However, all was not perfect, as Charlotte had to make her final attempt of the night at overthrowing Poppy – her voice popped up over the speakers, as she had just been sitting there, quietly, on stage throughout Poppy’s performance.
“Can I sing a song?” Charlotte asked. “You’ve already had your turn,” Poppy replied. She then requested for the crowd to join her in chanting, “Bye bye, Charlotte!” Apparently, at some point, Charlotte’s head was removed, so it is clear the crowd was quite serious about quieting her pleas for fame and recognition.
Poppy’s penultimate song for the show was her song, “Where’s My Microphone?” The audience, backup dancers, Titanic Sinclair, and Poppy all joined in on worrying about where Poppy’s microphone was, but everyone was quite relieved when she realized it was in her hands the whole time! “Oh, there it is!”
Finally, the time came for Poppy’s last song, “Software Upgrade.” She gave it her all, and her energy was quite infectious. Most in the crowd were having such a great time singing and dancing along, with a few wallflowers hanging around and enjoying their interesting Valentine’s Day adventure. Poppy finished the song by assuring everyone that she loved them prior to departing the stage as mysteriously as she had appeared, and the crowd chanted and screamed for an encore.
Unfortunately, that encore never came, and it ended up being an early evening for Poppy fans and Crescent Ballroom guests. Charlotte the Mannequin had played her set from about 8pm to 8:40pm, and Poppy performed from that point until 9:30pm. It was a short show, but it can be said this was certainly not the most traditional concert or musical experience anyway. While it would have been nice to see Poppy perform a couple of her original songs prior to the Poppy.Computer album, such as “Money“ or “Lowlife,” it was still an immensely surrealistic and enjoyable experience to see such an internet phenomenon in real life.
Overall, Valentine’s Day with Poppy at the Crescent Ballroom was an interesting yet amusing way to spend an evening, and it is clear Poppy will be going places. Her partnership with Titanic Sinclair has, so far, been wildly successful, and it will be interesting to see where they go and what they do next. If they do choose to come back to Phoenix, however, it might be best to visit another venue – Crescent Ballroom was a bit too small for her sold out show, and the stage is too low for everyone in the audience to see the screens fully. At times, it was even difficult to see the backup dancers or Poppy herself, which was disappointing during certain moments. This was a show one did not want to miss a moment of – so many small details were hidden throughout.
One thing is for certain, though – the lack of encore and the resuming of “Africa” by Toto at the end of the show was the greatest troll moment of all. Disappointing and unexpected, yes, but one cannot help to smile after such a thoroughly bizarre experience.
News & Reviews from the Fiery Mosh Pits of Arizona