Tag Archives: concert

REVIEW: AWOLNATION Conquers the Coliseum at AZ State Fair (10-23-19)

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. (UPDATE: Despite Bruno’s comments during the concert, Phoenix was not included when the tour dates were announced.)

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.

AWOLNATION
| Photographer:
Andrea Stoica © All Rights Reserved.

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.

Aaron Bruno (Vocals), Michael Goldman (Bass), Isaac Carpenter (Drums), AWOLNATION
Photographer:
Andrea Stoica © All Rights Reserved.

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.

Zach Irons (Guitar), AWOLNATION
| Photographer:
Andrea Stoica © All Rights Reserved.

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.

Photo Gallery

Photographer: Andrea Stoica

AWOLNATION – Arizona State Fair 10-23-19

Photography © Andrea Stoica. All Rights Reserved

REVIEW: Saints and Sinners Celebrated in the Mosh Ring of Fire with Flogging Molly & Social Distortion at Mesa Amphitheatre (9-29-19)

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

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.  

Mike Ness (Lead Vocals), Social Distortion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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. 

Brent Harding (Bass), Social Distortion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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”.

Social Distortion
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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

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.

Flogging Molly
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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. 

Matt Hensley (Accordion), Flogging Molly
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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. 

Spencer Swain (Guitar), Flogging Molly
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

“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. 

Dave King (Lead Vocals), Flogging Molly
| Photographer:
Rodrigo Izquierdo © All Rights Reserved

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.

Photo Galleries

Photographer: Rodrigo Izquierdo

View Separately: Flogging Molly | Social Distortion

Flogging Molly & Social Distortion – Mesa Amphitheatre 9-29-19

Photography © Reagle Photography
All Rights Reserved

REVIEW: Puddles Pity Party Treats the Crowd Like Royals in Mesa (12-7-18)

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 - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

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.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

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.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

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 Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

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.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party with concertgoer
Photography:
Rodrigo Izquierdo © All Rights Reserved

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.

Puddles Pity Party - Photo Credit: Rodrigo Izquierdo
Puddles Pity Party
Photography:
Rodrigo Izquierdo © All Rights Reserved

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.

 

Photo Album

Photographer: Rodrigo Izquierdo

Puddles Pity Party – Mesa Arts Center 12-7-18

Photography © Reagle Photography
All Rights Reserved

REVIEW: Justin Courtney Pierre Gets Intimate With Fans at Valley Bar (11-30-18)

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.

Photography: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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.

David Jarnstrom - Photo Credit: Katherine Amy Vega
David Jarnstrom (Drummer)
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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.

Shannon Burns - Photo Credit: Katherine Amy Vega
Shannon Burns (Bassist)
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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.

Justin Courtney Pierre - Photo Credit: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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 Continental takes 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.

Justin Courtney Pierre - Photo Credit: Katherine Amy Vega
Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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!

Lydia Liza - Photo Credit: Katherine Amy Vega
Lydia Liza (Guitarist, Vocalist) & Justin Courtney Pierre
Photography:
Katherine Amy Vega © Kataklizmic Design.
All Rights Reserved

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.

Thomas Rehbein - Photo Credit: Katherine Amy Vega
Thomas Rehbein (Guitarist)
Photography:
Katherine Amy Vega © Kataklizmic Design
All Rights Reserved

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.

 

PHOTO ALBUM

Photographer: Katherine Amy Vega

Justin Courtney Pierre – Valley Bar 11-30-18

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: A Perfect Circle Finishes North American Tour “On a High Note” in Phoenix (11-20-18)

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Jeff Friedl (Drummer), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

A Perfect Circle - Photo Credit: Katherine Amy Vega
Greg Edwards (Touring Keyboardist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
A Perfect Circle at Comerica Theatre
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Maynard James Keenan (Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Maynard James Keenan (Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Jeff Friedl (Drummer), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Matt McJunkins (Bassist) & Greg Edwards (Touring Keyboardist),
A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

“My partner-in-crime: Mr. Billy Howerdel,” he concluded. Howerdel (Lead Guitarist, Keyboardist, and Backup Vocalist) is also frontman of Ashes Divide.

A Perfect Circle - Photo Credit: Katherine Amy Vega
Billy Howerdel (Guitarist, Keyboardist, Backup Vocalist), A Perfect Circle
Photography:
Katherine Amy Vega, Kataklizmic Design © All Rights Reserved

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.

REVIEW: Covet Blossoms on Stage at The Rebel Lounge in Phoenix 7-22-18

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.

HOLY FAWN

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 - Photography: Rodrigo Izquierdo
HOLY FAWN
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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

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 - Photography: Rodrigo Izquierdo
Vasudeva
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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.

Covet

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.

Covet - Photography: Rodrigo Izquierdo
Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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.

Covet - Photography: Rodrigo Izquierdo
Forrest Rice (Drummer), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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.

Covet - Photography: Rodrigo Izquierdo
Yvette Young (Guitarist), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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. 

Covet - Photography: Rodrigo Izquierdo
David Adamiak (Bassist), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

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.

effloresce - Album Cover

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 time after 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!

 

Photo Album

Photographer: Rodrigo Izquierdo

Covet, Vasudeva, & HOLY FAWN – The Rebel Lounge 7-22-18

Photography © Reagle Photography
All Rights Reserved

REVIEW: Raising The Roof with Tech N9ne at The Van Buren 5-13-18

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.

Joey Cool

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”.

Mackenzie Nicole

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.

Just Juice

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.

Tech N9ne

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”.

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

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).”

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

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.

Tech N9ne - Photography: Andrea Stoica
Tech N9ne & Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

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”.

Tech N9ne - Photography: Andrea Stoica
Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

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”!

Tech N9ne - Photography: Andrea Stoica
Tech N9ne & Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

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”!

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

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.

 

PHOTO ALBUM

Photographer: Andrea Stoica

Tech N9ne – The Van Buren 5-13-18

Photography © Andrea Stoica. All Rights Reserved

REVIEW: Taylor Swift Blows Away Opening Night of Reputation Stadium Tour in Glendale 5-8-18

Reputation Album Cover - Click to Buy

GLENDALE, AZ – Taylor Swift kicked off her Reputation Stadium Tour in gorgeous Glendale, Arizona. Swift’s sixth studio album Reputation came out late 2017, and she’s worked tirelessly for months to perfect the album’s tour. Fans, or “Swifties” as they like to be called, poured into the University of Phoenix Stadium. They came armed with stuffed snakes, homemade signs declaring their love for Swift, and creative shirts with Swift’s image or impactful lyrics from different songs. Some fans had signs referring to Swift’s “Rep Room” hoping they might get lucky and be selected to meet Swift later that night. Inside the venue, Charli XCX and Camila Cabello warmed up the fans.

Charli XCX sang in a bright bubblegum pink raincoat and pants delighting fans with seven songs, two being cover songs – “I Love It” by Icona Pop, and ending with “Fancy” by Iggy Azalea. Cabello then took the stage, singing nine songs while wearing a white corset with glittery see-through sleeves and black pants with thigh-high slits. Cabello closed her set with her well-known song, “Havana”.

Swift started with a bang. First, “Bad Reputation” by Joan Jett and the Blackhearts played over the sound system, followed by a video introduction addressing Swift’s reputation. Swift then emerged on stage singing “…Ready For It?”, the first track of her latest album, to the stadium of screaming fans.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Swift spoke to the crowd before the third song saying, “I wish you could see yourselves. You’re beautiful; more than beautiful… What would that be?” fading into the song “Gorgeous”. Swift later said, “I’ve done fourteen shows in Arizona in thirteen years. Not all of them were in arenas like this. Most were in shopping malls, clubs, then opening for other artists. Now I’m doing stadiums like this, breaking the record with 60,000!”

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift Photography: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Using state-of-the-art production on three different stages, the center being the largest at 110 feet tall, Swift exceeded expectations for those thousands of fans. Colorful confetti rained down on fans, and another round of confetti was designed as mini newspapers with “Reputation” in bold, and “Taylor Swift” written all over it. There were firework-like flares, amazing choreography with sixteen dancers, and of course no show is complete without pyro.

Creatively, Swift had a tilted stage to go along with her song “Look What You Made Me Do”. This song’s music video gained over 43.2 million views during its first twenty-four hours on YouTube, breaking the record for the most-viewed music video in one day.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Before Swift went into “Delicate” she gave the crowd an uplifting speech, “Wow I missed you guys. Since I was sixteen I’ve lived on a schedule, make an album then go on tour. Over and over, five times in a row. This time I decided to break that record with this last album. I decided I wanted to see who I would be and what my life would be like if I didn’t have a spotlight on me all the time. It was important for me, but I really missed you.” Swift shared some profound thoughts on how brave it is to pursue relationships, knowing that there’s an incredible chance to find mutual love, and also the risk of heartbreak. “It’s just delicate, you know?” As she sang “Delicate”, she was lifted in a sparkly, swirled cage, to her second stage in the back of the stadium.

When she landed, she happily asked the hungry crowd, “What’s going on back here?” She then broke into “Shake It Off” with tourmates Chari XCX and Cabello joining her. Smiling, Swift spoke again, “How is it going on this side of the stadium?” She mentioned following what her fans were saying on social media and trying to put together what they wanted for this tour. She said, “One of my favorite things about you guys in fifteen years is the music industry tells you what they [the fans] want. You can’t sing with that person or make a pop album because your fans are Country and would never understand. And I would say to them, ‘I’m pretty sure I know them better than you do.’ You stuck with me with my musical change. Thank you for that. I still write the same way. I pick up an instrument and the words come.”  

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

After “Blank Space” Swift ran off the stage across the field seating, touching fans’ hands along the way, to her third stage. There she asked fans, “Do you like my dress?” She was greeted with cheers as the song “Dress” began. Swift transitioned to “Bad Blood”, making the entire crowd dance. During each song, the light up bracelets each fan received pulsed with the beat.

Swift had giant blow-up snakes on all three of her stages, a snake-themed mic, and she was lifted from the third stage to return to the main one in a floating snake ribbed cage. Later in the show, Swift explained the reason behind the snake theme, which every Swiftie knew. She explained that someone called her a snake on social media, along with other things. “I went through some really low times because of it. I didn’t know if I’d be able to do this anymore.” she said. “Thank you for taking the time to get to know me. For seeing me as a human being,” she concluded. Swift played a blend of “Long Live” and “New Years Day” on a sleek black piano with the word “Reputation” written in gold.

Swift got everyone on their feet with “We Are Never Getting Back Together,” the lead single from her fourth studio album, Red. That song quickly became a hit and reached the top slot on iTunes’ digital song sales chart just fifty minutes after releasing, earning the “Fastest Selling Single in Digital History” for Guinness World Record.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Swift ended her incredible twenty-song setlist with “This Is Why We Can’t Have Nice Things” with a real water fountain on center stage. With beloved songs both old and new, Swift left her “Swifties” screaming and wanting more. Her opening night in Glendale was specular, and even if Swift is an artist who started in Country music and moved toward pop, that only made her a bigger sensation. Swift may even be one of the biggest pop stars in today’s music industry, and she doesn’t care about her reputation anymore. Swift told the crowd goodnight and high-fived her dancers before leaving the stage. The show ended with the words, “And in the death of her reputation, she felt truly alive” on the screens.

 

PHOTO ALBUM

by Katherine Amy Vega

Taylor Swift – University of Phoenix Stadium 5-8-18

© Kataklizmic Design. All Rights Reserved.

 

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PHOTOS: Black Label Society & Supporting Acts at Marquee Theatre 2-24-18

Black Label Society - Photo Credit: Rodrigo Izquierdo
Zakk Wylde (Vocalist, Guitarist), Black Label Society
Photography: Rodrigo Izquierdo © All Rights Reserved

Tempe, AZFebruary 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.

Photo Album

Photographer: Rodrigo Izquierdo

Black Label Society, Corrosion Of Conformity, & EyeHateGod – Marquee Theatre 2-24-18

Photography © Reagle Photography
All Rights Reserved

REVIEW: Lights Returns to Arizona Stronger Than Ever at Marquee Theatre 2-8-18

TEMPE, AZ – Lights, along with special guests Chase Atlantic and DCF, illuminated Marquee Theatre last Thursday. This eclectic mix of musicians magnetized a diverse crowd to The Marquee’s doors, and together, the entire venue celebrated a night of pure joy and musical euphoria. Fans of all ages blissfully enjoyed the great sound, atmosphere, and company of each band, but Lights certainly shone brightest of all — fans were dazzled by their otherworldly sounds and gorgeous visuals on stage, and it is clear for any outside observer to understand why they command an army of such devoted fans.

For those who know and love Lights already, they’re aware that this is certainly not Lights’ first rodeo — they’ve been to Phoenix many times since 2008, but as lead singer Lights Valerie Poxleitner put it, they come back stronger every time. From The Nile to Warped Tour, Lights certainly know how to command a stage of any size and location, and their attention to detail certainly transfixes audiences on multiple levels. As Poxleitner is an artist in more ways than one, it is no surprise that Lights’ live performances are as much visual spectacle as they are aural extravaganza. It’s no wonder that Lights has recently received nominations for the Pop Album of the Year and Artist of the Year categories in the 2018 JUNO Awards.

DCF

The first performance of the evening was DCF, an artist who is a compelling example of contemporary pop, alternative, and indie music styles. His was a solo act, yet he projected enough energy and personality to decently command the entire stage and crowd. Concert-goers, in fact, were somewhat devastated when it came time for Prince DCF to exit the stage after an acoustic version of “Misery Business” by Paramore, letting out an audible sigh as he departed.

SCF - Photography: Katherine Amy Vega
DCF
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
Click for More DCF Photos

DCF’s interesting style, mix of genres, and unique take on what is considered pop music all went well with what could only have been a Napoleonic-era Royal Navy Admiral’s Coat. Together with his stylish hairstyle and glasses, DCF exudes confidence and mirth as he DJs, sings, cracks jokes, and finds any other way to entertain a crowd. His performance was certainly a great ice breaker for the evening, though it did end on a relatively anticlimactic note.

Chase Atlantic

Next up was Chase Atlantic, a wonderful group visiting all the way from Australia; they likely chased the Pacific in this case, but everyone at The Marquee was certainly happy to see them. They instantly took over the stage and crowd, carrying the momentum over from DCF and further building fans up for Lights later in the evening. Their high energy was contagious, and they also shared a unique take on contemporary music, just as DCF had done before them. It would be difficult to say exactly what they sound like, but all alternative musicians seem to be elusive when it comes to absolute definition.

Chase Atlantic - Photography: Katherine Amy Vega
Mitchel Cave (Lead Singer), Chase Atlantic
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
Click for More Chase Atlantic Photos

Due to their eclectic mix of sounds, it was easy for everyone in the crowd to join in on the fun. Lead singer Mitchel Cave, who first got his big start on the world stage by performing on X-Factor Australia, must have chugged several energy drinks prior to coming out, because he was moving at the speed of light all over the stage. He also seemed to love having the audience join him in the adventure, jumping down to join them briefly, before hopping back up on stage to hype everyone up even further. Chase Atlantic was definitely a great act to follow DCF with, and these boys made the transition into Lights’ scintillating performance a flawless one.

LIGHTS

Though the performances of Chase Atlantic and DCF were fantastic, some fans simply could not contain their excitement for the main act of the evening — Lights; in fact, one young fan was spotted running all over The Marquee, seemingly unable to contain her excitement. It was clear this was likely not her first time seeing Lights, and her excitement proved to be quite the harbinger of the incredible musical and visual adventure ahead.

Lights came out on stage after quite the setup time, but the wait was certainly well worth it. Immediately, fans were greeted by lead vocalist Lights Valerie Poxleitner’s silhouette in front of a massive screen; the bright, neon lights behind her perfectly symbolized the band’s name, and the hype and tension felt throughout the crowd instantly reached a breaking point. The buildup to her full visual reveal was palpable, and her glamorous, vogue-like poses as she sang in her spectral, ethereal form brought out the best fashion week vibes. Finally, she emerged from the darkness and into the light to a feverish sea of fans.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

We Were Here Tour – Issue One

Lights performed in 3 major acts throughout the evening. During the first act, Poxleitner kept the energy from Chase Atlantic going, with some of their most exciting, upbeat songs. During this portion of the show, she asked the audience if anyone here has seen them live before. There was a resounding, screaming yes, with the majority of hands within the crowd immediately shooting up as high as they could go. She continued, clearly pleased by this reaction, explaining that they love coming back to Phoenix, and that their first time here was at The Nile (Nile Theater) over in Mesa, AZ back in 2008, where they performed with Copeland. They’ve been back many times, including to Warped Tour, and she stated, “Year after year, we keep coming back stronger.” For fans who missed out on this tour, I think it is safe to assume that Lights will surely be back soon.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

As the mood seemed to chill out a bit, Poxleitner began a new discussion: “I wrote this song when I was going through a shitty time. Who’s been through a shitty time?” The oddly enthusiastic screams from the crowd were certainly clear answer enough; “We’ve all been through shitty times. Do you know what helps get us through it? Friendship, a little bit of wine, and music.” The crowd loved this strategy, and prior to performing “Face Up,” Poxleitner gave them further inspiration: “Your weaknesses become your strengths.” This phrase would certainly make a great tattoo.

“Your weaknesses become your strengths” – Lights

We Were Here Tour – Issue Two

After “Face Up,” Lights retreated off stage for a brief respite. During this time, Poxleitner displayed some of her artwork on the huge screen on stage. Since she is an artist and illustrator, it only made sense — we got to see some of her characters and settings from her Skin & Earth comic series, synonymous with Lights’ new album of the same name, which currently has 6 issues out for purchase. The images and scenes shown were quite similar to the trailer for Skin & Earth, which can be viewed here: https://youtu.be/FnbL7ZE4hmo

Skin & Earth illustration at concert - Photography: Katherine Amy Vega
Illustration on screen from Lights’ comic book series Skin & Earth
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

During this phase of the performance, Lights returned to the stage with a more somber attitude. The setup had changed during this short intermission as well — suddenly, there was a piano with lots of candles on top, helping to relax the mood even further. It was time for some calm, more acoustic songs. Poxleitner was back on stage in a new outfit, sporting an acoustic guitar. It was a pleasant change of pace, and it certainly kept the vibes fresh for the evening. It also made the grand finale that much more powerful.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

We Were Here Tour – Issue Three

After another quick break and some more stunning illustrations on the big screen, Lights was back on stage, and Poxleitner was sporting a third and final outfit. They brought back the high energy with a vengeance this time around, and Poxleitner joined the band with her own electric guitar. This guitar, she explained, represented her second character in her comic books, and it sported the beautiful Skin & Earth logo seen on stage, on the cover of her books, and all over her website and social media accounts — not to mention she also has it tattooed on her arm. She transitioned into her song “Running with the Boys” after this interesting discussion.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

A highlight from this phase of the show was the video clips of Sailor Moon’s transformation and Street Fighter’s Chun Li pronouncing, “I am the strongest woman in the world!” playing in the background, which perfectly complemented the power behind Lights’ performance. Towards the end of this third act, Poxleitner brought up her song “We Were Here,” asking everyone, “When the song starts, do you hear waves or a storm?” The majority seemed to scream, “WAVES!” Poxleitner replied with, “Fuck. I always hear a storm.” She continued to discuss the music video for “We Were Here,” saying that she doesn’t recommend burning a bus, but that it was definitely a lot of fun: “Full disclosure — a pyrotech got to do it. But I got to throw the lighter.

Bonus Issue – The Encore

Once more unto the breach, Lights came back on stage for a quick encore. They weren’t off stage long, likely because the crowd’s chants, screams, and claps were so demanding. Poxleitner picked the mic back up and asked, “Do you guys wanna hear another song?” Everyone, of course, responded with a loud “YES!” She replied, “Alright, so be it, but you guys gotta dance, and you gotta sing,” and the crowd certainly complied. To reward fans, Poxleitner jumped down into the crowd for a bit to give most people up front the best high-fives ever before jumping back on stage for a special surprise for Poxleitner’s sister.

Poxleitner pulled out her phone near the very end of the show and told everyone that it was her sister’s birthday. She wanted to get a video of herself singing “Happy Birthday” with everyone in the audience, so the lights lit the house up, and everyone sang along while she recorded. “I’ve never done one of these before!” she exclaimed after. Her sister certainly got the best little gift from that moment.

Overall, the Phoenix stop of Lights’ We Were Here Tour was an exhilarating experience for everyone, and it was clear the entire band had just as great of a time as the crowd. In fact, Poxleitner may have had the most fun of all — she truly seems to love what she does, and this shines through in her incredible displays of creativity. From the life-sized cardboard cutouts of her comic book character illustrations out in the lobby to the strange vegan pizza box introduction to some synthy song intro tunes, her contagious enthusiasm spread throughout Marquee Theatre and well beyond. This went well with her aura of power her music, and she herself exudes, in addition to her uplifting spirit. She is an inspiration in many ways — a true Renaissance Woman.

Lights - Photography: Katherine Amy Vega
Lights Valerie Poxleitner (Lead Vocalist), Lights
Photo Credit:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved
(Lights Photo Gallery Below)

Prior to heading out for the evening, Poxleitner explained that Lights is part of Plus 1, a movement and organization that ensures $1 from every ticket sold for participating shows and artists goes to causes they believe in. Lights decided on GRID Alternatives, an organization that helps to bring solar power to places across the states. Poxleitner closed by stating we all need to “protect this little planet that we have… it’s all we got.” They left the stage to resounding cheers of joy, leaving everyone to their evenings with a little positive thinking and a lot of great memories.

PHOTO ALBUM

by Katherine Amy Vega

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