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PHOENIX — The night kicked off with a light, Disney-esque melody, possibly a nod to her “Let It Go” cover from Disney’s pop-punk covers album A Whole New Sound. Behind the stage, a whimsical backdrop mirrored her albumfalling for robots and wishing i was one: a yellow brick road leading to the Emerald City, her name in bold red with yellow trim. A drum crash cut the melody short, and LØLØ bounded onto the stage in a very cute, circa-early-2000s pop-punk-princess look: a cropped argyle spaghetti-strap top, tight black miniskirt, fishnets, and her signature knee-high boots. “Ready to make some noise?!” she shouted, busting into her first song.
The opening song blended the lyric “It was only a kiss” from The Killers’ “Mr. Brightside” with her own “faceplant.” As an opening move, it was brilliant, dropping in one of the most recognizable alt-rock hooks guaranteed the crowd’s attention, even if they weren’t familiar with her music yet.
Simple Plan’s “Bigger Than You Think!” tour admat
Smiling, she announced it was her job to warm us up tonight for the legendary bands that raised her — a particularly funny line, considering we were in the desert and it was 100+ degrees outside.
Still, the respect conveyed in her tone showed she knew exactly what it meant to open for beloved pop-punk heavyweights like Simple Plan, Bowling for Soup and 3OH!3 on the “Bigger Than You Think!” tour.
After being part of the lineup for Simple Plan’s 25th anniversary tour, LØLØ will pick back up in November to finish the last leg of her ‘U Turn Me On’ U.S. headline run — which saw all but two shows sell out before pausing in March. See tour dates below.
Her second song, “2 of us”, found her bathed in golden spotlight while her guitarist and drummer played in violet and red shadows. She delivered the raw lines, “Do you think I’m stupid? Do you think I’m dumb? Well maybe I am, ’cause I still pick up…” with the kind of questions anyone who’s been in an endless rough relationship has asked as we answer the phone or text again.
“the devil wears converse” (her newest release) came next, and here she was fully in her element — moving with joyful precision across the stage, trading playful glances with her guitarist, and getting the audience clapping along. She never missed a beat, her live vocals spot-on with her recordings, her movements as expressive on stage as they are in her videos.
By the time she launched into “debbie downer”, the crowd was warming up too. She led a “Hey ho, let’s go” chant, flirty and confident as she playfully stumbled across the stage.
The second chant was a nod to the nostalgically millennial favorite film “Bring It On”, with the famous “It’s Cold in Here” chant while holding a blue pompom that ended with us all being officially inducted into her squad. The audience happily roared back.
The joy she has performing is infectious and obvious in the best way. “hurt less” had the whole crowd squatting down and popping back up on her command, and “u turn me on (but u give me depression)” was a clear highlight. Holding a striking blue-and-white guitar, she admitted the song was written about someone she’d obsessed over who made her “very mentally ill.” The crowd clapped along, and she stood more still here, letting the weight of the song land. At the end, she added, “If you were thinking of someone during that song, maybe take it as a sign to stop.” Solid advice.Just DON’T, per LØLØ.
“DON’T!” follows the same theme of hot, sexy bad-for-you exes — the late-night snacks of connections, filling but not fulfilling. She remained bubbly throughout the entire show, moving freely and animated, never losing her spark. “OMG” stood out as one of her best live numbers, alternating between breathy talk-sing verses reminding me of Taylor Swift and explosive choruses of “I can’t make it stop.” She threw herself into it, as bouncy and energized as the song demanded.
Then came the cover that sealed it: Icona Popfeat.Charli XCX’s “I Love It”, reimagined in her pop-punk style. Jumping, headbanging, leading the sing-along — she lit the room on fire, earning the biggest applause of her set.
Between songs, her banter made her even more likable. With a black guitar slung across her, she talked about her dog Slim (named after Eminem). A particularly fun audience engagement exchange was when she asked if we had exes. “Yes!” shouted the crowd. Then she asked if we had exes we hated. A louder “yes” from the crowd. She responded with a playful, “We all clearly need therapy.” She laughed before joking that it is perfectly healthy to imagine them burning in hell, then launched into the song “hot girls in hell”.
By the end, she gave her band their moment of love, calling for cheers as her guitarist took a solo and her drummer drove the beat behind him. Then, the three of them came together at center stage, bowing and thanking Phoenix for coming — a rare show of appreciation from an opener, underscoring how much it meant to them to play for Phoenix.
LØLØ understood the assignment; she warmed up the crowd with charisma, pop-punk attitude, practiced precision, and just enough chaos to keep it raw. The legacy of pop-punk shone through her endless energy and crowd engagement, channeling the spirit of icons like Paramore and Avril Lavigne. As she opened for some of the most influential bands that helped build the scene, it was refreshing to experience a fun female voice in a sea of predominantly male artists.
Simple Plan, 3OH!3, Bowling for Soup and Phoenix all seemed to embrace the addition of a rising “pop-punk princess,” who left her mark on the desert with a standout set that was entirely her own. If you come out to see this tour and have a great time, LØLØ is an opener you don’t want to miss.
Tempe, Ariz. — With triple-digit temps blazing outside, the best way to beat the Arizona heat is inside a venue blasting air conditioning and even louder music. The “Idobi Radio Summer School Tour,” proudly sponsored by Hot Topic, brought the heat in a different way on Sunday, July 27, at the Marquee Theatre. Doors opened early at 6 p.m. to make room for a stacked lineup featuring Rain City Drive, Charlotte Sands, Taylor Acorn, Beauty School Dropout , Arrows in Action, If Not For Me, and Huddy. As the tour continues its westbound run through mid-August, this Tempe stop felt like the perfect send-off to summer—one last electrifying night before the school year kicks in.
Huddy started the night with a burst of energy that set the tone for the rest of the show. Best known for his viral fame on TikTok and his role in co-founding the Hype House, Huddy (formerly LilHuddy) has steadily transitioned from influencer to full-fledged pop-punk performer. Far from just a social media personality, his set proved he’s serious about music.
Backed by a tight band and moody visuals, he ripped through a six-song set that included fan favorites like “Vendetta,” “All the Things I Hate About You,” and “The Eulogy of You and Me.” Tracks like “Partycrasher” and “Cyanide” kept the crowd moving, while “Fragile” offered a more emotional moment. Whether you knew him from the For You Page feed or not, by the end of his set, Huddy had everyone ready for more.
If Not For Me took the stage next and wasted no time unleashing their signature brand of high-intensity metalcore. Hailing from Harrisburg, Pennsylvania, the four-piece—Patrick Glover (vocalist), Hayden Calhoun (guitarist), Zac Allen (bassist), and Cody Frain (drummer)—brought raw power, tight musicianship, and undeniable stage presence.
Known for blending punishing breakdowns with catchy, anthemic choruses, they delivered an explosive set that turned casual listeners into instant fans. The band tore through six crushing tracks: “Demons,” “No Thanks to You,” “Alone,” “Say It to My Face,” “Blameless,” and “Feel Me Now.” Each song hit harder than the last, and by the end of their set, the crowd was alive and fully locked in.
Arrows in Action brought a vibrant shift in tone, blending feel-good alt-pop with emotional punch. Since forming at the University of Florida in 2017, the trio—Victor Viramontes-Pattison (vocalist/guitarist), Matthew Fowler (guitarist), and Jesse Frimmel (drummer)—has built a loyal following thanks to their infectious melodies and heart-on-sleeve lyricism. Though guitarist Fowler was absent in Tempe due to illness, frontman Viramontes-Pattison reassured the crowd with a smirk, “He’s sick in the hotel, not dead,” earning laughs and cheers.
Despite the lineup change, the band didn’t miss a beat. A beach ball bounced across the crowd as they played through a sunny yet emotionally rich set featuring “Feel It Again,” “Light Like You,” “Cheekbones,” and “Wide Eyes.” Tracks like “Empty Canvas” and “All The Ways I Could Die” showcased the band’s deeper side, while “Uncomfortably Numb” closed the set on a high. With or without a full lineup, Arrows in Action proved they know how to connect and keep the good vibes going.
The band will end their jam-packed year at the 2025 Vans Warped Tour in Orlando, Florida on November 15th. For more information on upcoming tour dates and to purchase tickets, visit the band’s website HERE.
Beauty School Dropout hit the stage with a kind of swagger. Formed in 2020 in Los Angeles, the trio—Cole “Colie” Hutzler (vocalist), Brent “Beepus” Burdett (bassist), and Bardo Novotny (guitarist/producer)—has been making waves ever since their early days. Backed by a heavy-hitting sound and an unfiltered attitude, their live set was a chaotic good time. “If you like mosh pits. If you like crowd surfing…” Hutzler teased the crowd with a grin, before laughing, “I see some scared faces.”
It was one of the most family-friendly pits of the night in the best way. Kids on their parents’ shoulders, outfitted in headphones, rocked out right alongside the longtime fans. The band’s setlist included high-energy bangers like “Fever,” “SEX APPEAL,” “FIGHT MODE,” and “A$$A$$IN,” with crowd favorites like “On Your Lips” and “WE MADE PLANS & GOD LAUGHED” keeping the energy alive. As the band exited the stage, the speakers cheekily played “Beauty School Dropout” from the film Grease, bringing their performance full circle.
Taylor Acorn lit up the stage with a firecracker set that had the crowd—especially the girls up front—jumping, screaming, and singing along to every word. The Nashville-based singer-songwriter has quickly become a standout in the pop-punk revival scene, thanks to her powerhouse vocals, emotionally raw lyrics, and a sound that hits somewhere between nostalgic and freshly fierce.
Known for viral hits like her 2022 breakout single “Psycho” (which has racked up over 11 million Spotify streams), Acorn brought a personal, heartfelt energy to the stage that clearly resonated with fans. The stage visuals added an extra layer of charm, two large video boards flashed her name with butterflies fluttering around, and skeleton hands throwing peace signs, hearts, and “I love you” signs punctuated her set with punk-rock flair. She shared that while she’s played in Arizona before, this was her first time performing in Tempe, and she “loved the city.” The love was mutual.
One of the night’s most anticipated moments came when Charlotte Sands joined her onstage for their collaborative track “Final Nail,” which the two originally recorded together—bringing their studio chemistry to life in a striking live duet.
Her set included fan favorites like “Hell of a Show,” “I Think I’m in Love,” and “Goodbye, Good Riddance,” along with deeper emotional cuts like “Burning House” and “Shapeshifting.” Acorn closed with “Psycho,” sending the crowd into one final singalong frenzy.
Charlotte Sands took the stage with a burst of bold energy—and her signature electric blue hair—to deliver one of the most emotionally charged sets of the night. Best known for her breakout 2020 single “Dress,” which went viral on TikTok, Sands has quickly carved out a space in the alt-pop/rock scene with her powerhouse vocals and deeply personal songwriting.
Her setlist hit hard from the start with “Tantrum” and “Bad Day,” and the energy never dipped. Songs like “pity,” “use me,” and “spite” showcased her ability to shift from vulnerable to defiant in a single breath.
Before performing “Alright,” Sands shared that she wrote the track during the COVID lockdown, when the world felt isolated and live music felt impossibly far away. She paused to reflect on how good it felt to be back in a room together again, then asked the crowd to light up the venue with their phone flashlights—a moment that turned intimate and unforgettable.
Rain City Drive closed out the night with a high-octane set that blended post-hardcore grit with anthemic rock melodies. Originally known as Slaves, the band has reinvented itself under a new name—inspired by Manchester, England, the “rainy city” where the five members first connected. Now fronted by The Voice runner-up Matt McAndrew, Rain City Drive has found a powerful new identity, releasing their self-titled album in 2022 on Thriller Records.
From the jump, the band commanded the room with “Lose My Composure” and “Over Me,” driving home why they’ve become a standout in the modern alt-rock scene. McAndrew’s vocals soared, and his playful banter kept the vibe loose: “If the crowd gets quiet,” he teased, “we’ll leave the stage.” No chance of that happening. The audience stayed loud through punchy performances of “Concrete Closure,” “Frozen,” and fan-favorite “Ride or Die,” which McAndrew shouted out as the band’s personal favorite.
Before launching into “Blood Runs Cold,” he rallied the room: “Let me hear you, Tempe. Make some noise, let’s pick it up!” They wrapped the night with the emotional “Talk to a Friend” and the hard-hitting “Medicate Me,” sending fans home sweaty, smiling, and fully satisfied.
Summer School Tour Leaves Tempe Fans Wanting More
As the final notes rang out and the house lights came up, one thing was clear; the “Idobi Radio Summer School Tour” delivered exactly what fans came for—high-energy sets, genre-spanning sounds, and a sense of connection that live music does best. From Huddy’s pop-punk punch to Rain City Drive’s emotionally charged closer, each artist brought something unique to the stage, creating a night that felt like both a celebration and a farewell to summer. This tour reminded everyone why we show up early, stay late, and scream every word. If the rest of the tour is anything like Tempe, then “Summer School” is a night that deserves a full house.
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Photographer: Mark Greenawalt
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Tempe, AZ — The Darkness returned to Arizona for a triumphant show as they celebrate the 20th anniversary of their debut album Permission to Land, and the special reissue collection that was released the day prior to the show: Permission to Land…Again. They last graced the Marquee Theatre stage in March of 2022 on their “Motorheart” tour. This October 2023 show was the 4th date of the US leg of the world tour celebrating their debut, and they played a setlist full of their biggest hits from that album and beyond. The Comancheros, a country/southern rock band from Missouri, opened the show with an infectious energy that warmed up the crowd for the high-octane headliner.
They began with their powerful song “Mississippi”, which electrified the room, and they followed up with a string of other hits, including “Long Hair”.
The band asked the audience if there were any beer drinkers and hellraisers in AZ while holding beer cans up in the air, then drank it up and kicked into their song titled “Beer Drinkers”.
They continuously engaged with the audience throughout their set and completed it with the songs “We Own the Night,” “George Jones,” “Cowboy Song,” “Drum/Gun/Chariot,” “Shoot Me Down,” and “Bird/Time Machine”.
On October 2nd, just five days before this show, The Darkness announced the launch date of their feature-length documentary, Welcome to the Darkness, that adds to their extensive discography with seven studio albums since their start in the early 2000’s. The film will arrive in cinemas for one night only on November 9th, and will then be available on Blu-Ray and digital download on December 4th.
The Darkness kicked off their set with a high-powered rendition of “Black Shuck.” Fans were immediately singing along and dancing fervently. The band followed that up with a string of their biggest hits, including “Get Your Hands Off My Woman,” “Growing on Me,” and “The Best of Me.”
Lead singer Justin Hawkins was in top form, delivering his vocals with power and precision. He showered the audience with guitar picks, ensuring the youngest fans got their concert memento by stretching and throwing as far as he could to get closer to them from the stage.
He had the crowd in the palm of his hand with his witty banter and stage presence. Guitarist Dan Hawkins, bassist Frankie Poullain, and drummer Rufus Taylor were also on fire, playing with some truly impressive musicianship.
During their performance, the engagement with the audience was ongoing, including a sing-a-long with a member of the audience, also named Justin (with Hawkins grinning after the audience member shared his name). The frontman also saw a group of 4 British fans in attendance, all dressed up in Union Jack patterned suits, with their companion in a full American flag outfit, wearing a bald eagle head mask that got thrown onto the stage. The drummer put it on and wore it while playing an entire song, before throwing it back to the audience member that threw it to the stage.
They closed out their set with a rousing performance of their signature song, “I Believe in a Thing Called Love”. The crowd went wild, with smartphones raised from almost everyone in attendance, prompting Justin Hawkins to stop and playfully ask the audience to ‘place themselves in their place, and to not record the performance’ before starting back up and, delighting the audience with a fantastic show, giving it his all.
For their encore, they emotionally played “I Love You 5 Times” before the vocalist announced they had one song remaining, and with a mischievous grin stating, “but is a pretty f***ing long song.” The Darkness closed the set with “Love on the Rocks with No Ice”. The shower of guitar picks continued as the band did their goodbyes, with no pick left behind.
Overall, The Darkness put on an incredible show at Marquee Theatre. They played a setlist full of their biggest hits and deepest cuts, and they delivered a performance that was both energetic and entertaining. If you have the chance to see them on this tour, you will be lucky to witness one of the best live bands in the world, with (at the time of publication of this article) just 9 more dates left for the US leg, and 36 upcoming world tour dates before coming back to the US in 2024 for the Monsters of Rock cruise festival in Miami, Florida.
If you’re a fan of rock music, then you need to see The Darkness live, and they’re sure to put on a show that you’ll never forget. Make sure to catch a screening of their feature documentary on November 9th, or look for it on Blu-Ray on on its December 4th release date.
Tempe, AZ — Marquee Theatre hosted a sellout crowd for the return of AFI to the valley for the first time since their February 2017 sold out show at the same venue. The AFI “Bodies Tour 2022” stopped in this college town following a short COVID postponement, and included opener Drab Majesty with their unique ethereal sound to excite the fanbase. Known for high-energy live performances, AFI had their loyal followers fist-pumping and singing every song word-for-word. It was a memorable show to be sure and well worth the wait.
Playing in low-light with some dramatic smoke, Drab Majesty took the stage with their purposefully androgynous uniform look. The two-piece band sported white shirts with gray jackets, white face paint and black goggles, with matching white choppy hair. They had a synth-heavy sound with monotonous vocals, inciting memories of 80’s bands like The Smiths or Spandau Ballet. One fan was overheard comparing them to Joy Division, and they are not wrong. With choruses repeating lyrics like, “When you were dead, I took you by your head” from their song “Cold Soul”, they add a dark edginess to their seven-song set.
The “darkwave” band was formed in 2011 in Los Angeles, California by Andrew Clinco – aka Deb DeMure – who currently provides vocals, guitar, and percussion for Drab Majesty. DeMure previously worked for the group Marriages as a drummer from late 2012 until 2017 when the band apparently broke. He is joined onstage by keyboardist and vocalist Alex Nicolaou – aka Mona D – who joined Drab Majesty in 2016.
Their record label, Dais Records, claims “DeMure insists that the inspiration for the songs is received from an other-worldly source that Deb is merely a vessel through which outside ideas flow inward”. The duo have 3 albums on the label: Careless (2015), The Demonstration (2017) and Modern Mirror (2019). They have previously toured with The Smashing Pumpkins.
AFI is touring in support of their 2021 Bodiesalbum, bringing “A Fire Inside” to Arizona, and what a show it was! The burgeoning crowd lit up from the first note of “Girls Not Grey,” from the 2003 album Sing the Sorrow. Frontman Davey Havok immediately climbed on a riser situated on the front of the stage, wearing a brass-studded vest with “Death of the Party” on the back, and the room exploded with energy. Havoc ran from one side of the stage to the other, and leaned precariously forward from the stage while singing directly to fans. When he wasn’t jumping from the riser, or swinging his microphone stand, he was belting out hit after hit from the AFI discography.
Onstage was Havok, along with original drummer and backing vocalist Adam Carson, with Hunter Burgan on bass, backing vocals and keyboards, and Jade Puget also provided backing vocals and on the keys. Their 18 song set was not shy of hits, including an intense version “Escape From Los Angeles” from 2021’s Bodies album, a super-sultry version of “The Boy Who Destroyed the World” from the All Hallows EP, and an encore including: “Third Season” from Shut Your Mouth and Open Your Eyes (1997) and “Silver and Cold” from Sing the Sorrow (2003). Notably missing from the setlist, however, was “Miss Murder”, from 2006’s Decemberundergroundalbum.
Havoc knows how to connect to people and there’s a palpable love that’s reciprocated. While singing “I Hope You Suffer” from Burials (2013), he trusted the fans to support him as he walked across the crowd. You read that right. In some sort of biblical walk-on-water feat, he used outstretched palms to walk into the crowd about 10 deep. A feat to behold, to be sure, and a bit of a surprise to the Marquee’s bewildered security. Perhaps they underestimated the crowd, who would never, ever let him fall. Havoc is an icon, and AFI is in their bloodstream.
AFI moved on to the “When We Were Young Festival” in Las Vegas the next day, leaving Arizona fans fulfilled, for now. This show has left a mark on the band’s devotees. Sometimes watching a crowd enjoy a show is as exciting as the show itself, and this is one of those times. AFI just brings it.
Tempe, AZ – Co-headliners Less Than Jake and Bowling For Soup stopped at the Marquee Theatre in Tempe for the second to last show before a break in their “Back From The Attack” tour, which will resume on September 2nd in San Diego. This tour was a long time coming: Less Than Jake and Bowling For Soup had briefly toured together in 2019, and have appeared at multiple festivals together, but they had never jointly embarked on a major, cross-country tour. According to Bowling for Soup lead vocalist Jaret Reddick, there were discussions of a tour before the world shut down for COVID-19, but it did not solidify until after society began to open up again. Joining the two long-time, legendary punk bands on this stop were CLIFFDIVER, a Tulsa, Oklahoma band who have dubbed their own sub-genre: elevator emo pop. Rounding out the bill was Doll Skin, a punk-rock band from Phoenix, Arizona.
As the doors to the Marquee opened, relieving fans from the sweltering mid-summer heat, they were greeted by a table operated by staff from Punk Rock Saves Lives. Reddick is the chairman of the advisory committee, and is a major advocate of mental health. The group helps connect people who need mental health services to the right resources. They also help sign up potential bone marrow donors as well. Mental health was a bit of a theme throughout the night.
Doll Skin
Doll Skin took the stage at 7 p.m. and opened with the chords of “Don’t Cross My Path,” from their 2019 album Love Is Dead and We Killed Her. If you heard the first few notes, you would be excused for thinking that this was a bit of a slow song, showcasing the smooth voice of lead vocalist Sydney Dolezal. The song, however, builds up and then explodes in the second verse, immediately electrifying the atmosphere and waking up even the sleepiest member of the audience.
During a break between songs – while drummer Scoot and guitarist Tori switched places, giving bassist Tay a bit of a break as well – Dolezal introduced themself to the crowd, saying that they had come to their first show at the Marquee when they were 12. After finishing a cover of Fugazi’s “Waiting Room,” Dolezal thanked the crowd for their participation, stating there would be more, but they wanted to say something before the show moved on:
“This state, my home state, has a fucking governor who’s a douche. *chuckles* Duceeyyyyy. I think my existence as a trans person, and a queer person, should not be inherently political and inherently divisive. I’m going to be fucking mad about it until I can exist, and the younger, queer people that are coming out to me and came before me can exist and live their lives.”
They finished by expressing their love for the community and dedicated “Eat Shit” to the people who prevent others from living their lives. The set was short – only 7 songs – but every aspect was memorable, from the impassioned speech Dolezal gave, to Dolezal jumping off stage during “Control Freak” and joining the mosh pit, while singing the entire time. As the band left the stage, Dolezal led the enthusiastic crowd in chants of “Doll Skin!” before wishing everyone goodnight.
This year has marked a lot of firsts for CLIFFDIVER. One is their debut album, Exercise Your Demons and another was experiencing the ridiculous heat that comes with an Arizona summer. Conversely, this is the first time that Arizona has been exposed to this lively emo band. The band is made up of co-lead vocalists Briana Wright and Joey Duffy, bassist Tyler Rogers, saxophonist Dony Nickles, guitarist/back-up vocalists Matt Ehler and Gilbert Erickson, and drummer Eliot Cooper.
While their song titles may catch your attention first – “Not All Those Who Wander Are Lost but Can Anyone Help Me Get Out of This IKEA?” seemed to be one of the crowd favorites – the sheer amount of talent these 7 possess should hold your focus. Wright and Duffy combined for a jaw dropping cover of Creed’s “Arms Wide Open” and “Higher” mid-set, much to the delight of those witnessing.
The music of CLIFFDIVER is a beautiful mix of open, honest, and devastating lyrics, set to music that makes you want to dance and yet make you think that you should call your therapist tomorrow morning. Between songs, the pair spoke about various topics, with Duffy discussing his bi-polar disorder and his sobriety, which recently reached 14 months. As the band and the crowd fed off each other’s energy, it was quite apparent that CLIFFDIVER was an experience, and that everyone involved would leave the Marquee just a bit better for having been there.
Less Than Jake started life as a band 30 years ago, and hasn’t slowed down since. Starting the show off with 1996’s “Automatic,” Less Than Jake made it very clear that they were in town to give everyone one hell of a show. Indefatigable frontman and guitarist Chris DeMakes is a fast-talking, fun-loving ska-punk legend who – along with the rest of the band – has a single-minded desire to make sure you leave the building feeling like you had one of the best nights of your life. The band is rounded out by co-lead vocalist and bassist Roger Lima, trombonist Buddy Schaub, saxophonist JR Wasilewski, and drummer Matt Yonker.
There was a sort of controlled chaos that erupted from the stage, where DeMakes and Lima – with the rest of the band joining in at various points – interacted with the crowd between songs, bantering with the crowd and with each other. DeMakes gleefully reminded everyone who was over 35 that it would indeed hurt in the morning, an observation that resulted in knowing nods from those who have long since left that milestone behind, and cheers from those who were much closer to that age and likely did not realize what lay ahead for them. Less Than Jake made sure that there would be plenty of opportunities to feel it in the morning, mixing up the old with the new, even pulling an older, lesser played song out – 1996’s “Rock-N-Roll Pizzeria” from their album Losing Streak – and throwing it into the mix with “Lie To Me,” from their newest album Silver Linings. There was a bit of something for everyone, and for every age as well.
At one point, DeMakes pulled two younger kids onto the stage as well as one of the fans who was fanning herself, because as he said “you’re using more energy fanning yourself,” and asked Nick – their roadie – to fan her. Nick did so for the start of “History of a Boring Town,” which DeMakes dedicated to Flagstaff, which is a fair assessment of said town. Another new song was “The High Cost of Low Living,” a song DeMakes promised would be a banger. It is indeed, and it featured the return – albeit short lived – of their 90s mascot Skullman, who disappeared as quickly as he showed up. It’s never easy saying goodbye to a band like Less Than Jake, but there is no doubt they will return soon, as they expressed their love for Tempe and their fans.
Bowling For Soup set is a bit unorthodox: They played 11 songs, and they spoke to the audience for about the same amount of time as they sang. Where Less Than Jake has mastered controlling the flow of energy in the building with their in between songs chats, Bowling For Soup has mastered the art of turning a set into equal parts comedy and music. Both methods work, and work well, but expecting Bowling For Soup to follow the stereotypical punk-rock structure would be to ignore most of their body of work. After all, Reddick is far more than just the lead vocalist; he is the voice of Chuck E Cheese, the chairman of the advisory committee for Punk Rock Saves Lives, and a country music artist. Is it not punk to defy expectations, even if those expectations are that the show – and the band – will be closer to what one considers traditional punk?
Nothing about the band and the music they play – brilliantly – is within the conventional norms, and that makes their show all that much more fun. Reddick is joined onstage by guitarist Chris Burney, drummer Gary Wiseman, and Rob Felicetti on bass – all three performing back-up vocal duties as well. Favorites like “Punk Rock 101” and “1985” were played between a dad joke contest – won by Wiseman with “There were two windmills on a windmill farm, and on this particular day there was no wind. One windmill, trying to start a conversation, asked the other what kind of music they listened to. The second windmill replied ‘You know what? I’m a huge metal fan.’” – and a magic show where Reddick made a “bird” (read: his middle finger) appear from Burney’s kilt.
In addition, there was a rain of guitar picks from both Reddick and Burney, so much so that their roadie had to make multiple trips just to refill the microphone stand holding their picks. A few of those picks were even flicked at the photographers in the pit, who Reddick jokingly called the paparazzi.
Bowling For Soup released a new album this year called Pop Drunk Snot Bread, which was reportedly first intended to be a recording session to make a few singles, but in the end the band decided to make it an album to spend even more time together. Unsurprisingly, the songs off this new album are fantastic, and the band treated the crowd to one: “I Wanna Be Brad Pitt,” a song about, and this may be a bit surprising, Brad Pitt. The music video is predictably hilarious, and watching it live is a treat unto itself. Reddick discussed mental health as well, sharing a bit about his own struggles over the years and what Punk Rock Saves Lives means to him and what it does for the community.
Punk is often thought of as a music genre, when in reality it is, or has become, a culture and community with some really good music that comes along for the ride. The flier handed out at the table had a quote on it from Joe Strummer: “Punk Rock means exemplary manners to your fellow human beings.” This, without a doubt, is a statement that all four of the bands lived up to on this night, and during every show.
Tempe, AZ — Swedish neo-classical metal guitarist Yngwie Malmsteen thrilled eager Marquee Theatre guests, along with openers Jessikill, Culprit and Deimer. The May 24th show was part of the “Parabellum Tour 2022”, named after Malmsteen’s 2021 album. Hehas been known as the gold-standard of guitar players throughout his career and fans couldn’t get enough of his masterful riffs, or the giant wall of 44 Marshall amplifiers. The show definitely “goes to 11” – as multiple people mused, referring to the famous line from “Spinal Tap”. How could it not? This tour doesn’t skimp on skills or thrills!
Jessikill
Jessikill from San Antonio, Texas opened the show with power-metal songs so heavy you can feel the bass in your soul. Led by Jessica Marie Espinoza on vocals, the band boasts 3 albums and awards that include “Best Metal Band”, “Top Local Band of the Year” and “Best Female Performer” at the 2016 SANA Awards. Jessikill has played opening spots for such national acts as John 5, Faster Pussycat and Jake E. Lee since they formed in 2012.
On lead guitar and keyboard is the talented Jyro Alejo, on drums is Jordan Ames, and bringing that big bass sound is Arturo Knight, who is also a backup vocalist. Regrettably, their set was short, clocking in at 18 minutes. It was hardly enough to showcase Espinoza’s vocals, which switched from a rough growling to high-note harmonies with effortless transitions, leaving the room wanting more.
Culprit
Seattle’s pre-grunge era band Culprit played a six song set, including title track “Layin’ Down the Law” and “Holy Roller” from their upcoming album. Established in 1981, Culprit tours with one original band member, bassist Scott Earl, and the current lineup includes Gabriel Colon on vocals, Fred Aching on drums, and P.J. Toyne on guitar.
The band’s Wikipedia page cites the original band’s break-up in 1985 to pursue “other endeavors”. Culprit still maintains an 80’s hair-metal band feel, sound, and look. Colon sings while swinging the microphone stand in a Steven Tyler-esque fashion, dressed in white leather hip-hugging pants and jacket with no shirt. Limited only by the seemingly short set, Culprit’s act stood the test of time and proved to be a solid opener for the tour.
Deimer
Not many musicians have IMDB credits that include being killed by Michael Myers in the “Halloween” movie series, but Kurt Deimer does. His character “Teller” didn’t survive the 2018 film with Jamie Lee Curtis, but Deimer is the one killing it in real life. He has a diverse resume including his title of President and Chief Executive Officer of Coolants Plus, Inc. (a wholesale chemical company), further IMDB acting and producing credits, and leader of the band Bald Man, whose 10 song debut album Music For the Rest of Us was released in 2020.
In 2022, Deimer and Canadian Bon Jovi guitarist Phil X (Xenidis) joined forces to provide direct support for the Parabellum tour. Deimer, sporting a black top hat and bedazzled beard, took the stage with a powerful presence. Teetering on the stage’s edge, he enticed the crowd with his catchy harmonies and haunting spoken lyrics on the band’s songs “Hero”, “Only Time Will Tell”, and “Back of the School”, as well as a metal version of Pink Floyd’s “Have a Cigar”. The set concluded with a heartfelt plea by Deimer to the crowd, asking that we “be nice to each other”.
In researching Yngwie Malmsteen, the term “virtuoso” is used repeatedly to describe him. Born Lars Johan Yngve Lannerbäck in Stockholm, Sweden, Malmsteen’s first band was formed when he was only ten years old. His musical influences included the classical genre, and in particular, the genius of Johann Sebastian Bach, as well as more contemporary artists, such as Ritchie Blackmore. His forty-year career includes 22 studio albums, and in 2009 Time Magazine named Malmsteen number 9 amongst the 11 greatest guitar players of all time.
Malmsteen played a ninety-minute set, covering a variety of hits from his expansive music career. Setting the mood were red stage lighting and fog machines, and the sound from the wall of Marshall amplifiers was so intense it felt like it could knock you into the wall. A cover of “Smoke on the Water” by Deep Purple with vocals by Malmsteen and a very metal version of the “Star Spangled Banner” were interlaced with classical and bluesy riffs. A master at his craft, Malmsteen plays with a finesse and skill unlike any other and sets the bar for aspiring guitarists.
A fan commented on the artist’s official Facebook page that his wall of Marshall amplifiers was fake, but Malmsteen was quick to retort, “I know it’s really sad, they’re very expensive and I take the real deal and everyone is accusing me of them being empty, it’s ridiculous :(”. Another fan made the astute observation that “The Great Wall of China and Yngvie’s wall of Marshalls are the only man-made objects visible from space.” They’re not wrong.
This was a Tuesday night that won’t soon be forgotten. It was mind-blowing. The 2021 release of the Parabellum album is available online, and one can assume it’s as fierce through headphones as it was live. “Parabellum” is a well put-together tour with the unique combination of Jessikill, Culprit, Deimer, and Yngwie Malmsteen.
Tempe, AZ — There are very few rock bands that are truly unique, but Queensrÿche has blazed their own trail since their inception in 1980. The media has tried to pigeon-hole their signature style as progressive, hard rock, or even lump them into the derogatory hair-metal category from the 80’s. They stayed true to their sound, and legions of fans showed loyalty even after the heyday of MTV airing the videos that delivered their music to the masses. Fair-weather fans started to fade away once the radio stopped playing their songs, and even some of those who passionately believed that Operation: Mindcrime was one of the greatest albums of all time may not have “checked-in” since the Empire CD was released.
This month, Queensrÿche released their new fifteenth studio album entitled The Verdictand brought the world tour to the Marquee Theatre to show both the die-hard fans and the fans who have been on hiatus that although they never really left, they are back!
Openers
The evening started early with two local bands. It’s very commendable for a headliner to pay-it-forward and give new and upcoming acts such an opportunity.
First up was Shadow Guilt, a four-piece band from Gilbert, Arizona. The crowd may not have expected a local act to amount to much, but they immediately commanded the stage and proved that they could hang. The songs were reminiscent of early Metallica and singer/guitarist Bryan Reid had a professional presence with a voice that soared from thrash to screamo.
The second Arizona band was Sectas, a three-piece that again surprised everyone with a big wall of sound and driving songs. Christian Lee is a weapon on guitar and sings with controlled mayhem while shredding.
Drummer Brian Regalado was entertaining to watch and seemed to have had the most fun out of any of the musicians all night. He poured his heart into each song until the last one, which was unfortunately cut short due to time constraints.
The third opening act was no stranger to Queensrÿche fans. Fates Warning also launched into progressive rock in the early 80’s and followed a similar trajectory. Their set began with “From the Rooftops” from their latest album, Theories of Flight — released in 2016.
The stage lights had apparently tripped a breaker, and singer Ray Adler said, “How about a little light up here?” into the dark crowd as the band continued to play. An unanticipated moment occurred when a sea of cellphones rose and illuminated the stage until the stage lights reengaged.
Original guitarist Jim Matheos was joined by the new guitar virtuoso Michael Abdow as they dove back in time to 1991’s “Life In Still Water” from the Parallels album and rekindled the audience participation. The band was rounded out with the longtime rhythm section of Joey Vera (bass) and Bobby Jarzombek (drums). One of the highlights of the 10-song set was watching Vera’s emphatic expressions and stage antics in contrast to the somber delivery from the other band members who poured the energy into surgically precise musicianship.
Fates Warning played two more from the new album (“Seven Stars” and “The Light And Shade Of Things”), but went back to the classic Parallels album again to close the set with “The Eleventh Hour,” followed by “Point Of View”. It was a solid outing and they thanked Queensrÿche for the opportunity and Arizona for the support.
It’s only been a couple of months since Queensrÿche was in town in an opening role on the Scorpions “Crazy World Tour”, and Burning Hot Events was there to review that show as well (click here). That night, they performed a 9-song set with the reduced light show and sound afforded to all opening acts, but this night would be different. This time they were the headliner.
Todd La Torre – lead vocals (2012–present), drums (2018 in studio)
Casey Grillo – drums (2017–present)
Before getting into the blow-by-blow, we might as well address the elephant in the room which is the band lineup. This is Queensrÿche led by frontman Todd La Torre, who has firmly planted his flag in the history of the band since 2012 and has now sang on three studio albums. He isn’t Geoff Tate, but he convincingly sings the entire Queensrÿche catalog with respect and command. Fans who can’t accept this change should give a listen to The Verdict to find out that they might be missing out. Guitarist Parker Lundgren, replacing the original guitarist and creative songwriter Chris DeGarmo, seems to be an easier pill to swallow since DeGarmo left willfully around the turn of the century, but this has also upset some purists. The one that may be the strangest now is that original drummer Scott Rockenfield is still the official drummer in the band, but he has been M.I.A. since the 2017 birth of his son. To add further confusion to this story, singer Todd La Torre played drums on the new album and kicked ass capturing the Queensrÿche sound and feel. Casey Grillo, the drummer from the band Kamelot, is the touring drummer, but not the official drummer for the band. It may sound like a dysfunctional family, but original guitarist Michael Wilton and bassist Eddie Jackson are the patriarch glue that is holding it all together to build a strong new regime.
OK, can we move on into the review finally?…
As the house lights were extinguished, the video screens on stage were ignited. Death, wearing a crimson hooded robe, was bidding the crowd to come forward. He was the “life”-size animation of the character on the new album cover. The anticipation continued to rise with more animated video while the intro music was playing the instrumental soundscape of “Launder the Conscience”. As the song faded, the video screens ushered in the spinning Tri-Ryche logo, and the fans were instantly connected to the hive mind.
Grillo was firmly planted on the drum throne when the band floated in from the wings to center stage. The cheers from the crowd had topped out, and then they were drowned out after a single hit to the snare drum took the night from zero-to-60 in seconds flat with the opening riff for “Blood of the Levant”. The guitarists took to their perches on opposite sides of the stage: Lundgren on the left wearing sleeves of tattoos and a leather vest, playing the white Orbit FX; Wilton on the right wearing a black leather jacket and playing the skull and crossbones limited edition ESP. Jackson joined Lundgen on the left wearing an unassuming black tee and playing a black custom 5-string Mike Lull bass. The sound was full of energy but the expressions and lack of stage antics announced that this band was here to deliver the perfect sonic backdrop for the main event and the freak of nature known as Todd La Torre.
Out of the gate, La Torre was like a raging bull exploring the stage, bracing for attack, and then allowing that Queensrÿche sound to emanate from his soul. If there was any doubt when you walked in, there was no doubt now that this band has reached a new pinnacle and the chemistry was working. This was a strong opening song and there was no need for comparisons… This was the lineup that played the song on the album (well, except for Grillo, since La Torre did the drums on the album). La Torre even took a few moments during the middle-8 to play some percussion and give a glimpse of his prowess with drumsticks.
The setlist was an interesting mix of songs from all eras of the band’s history, but there was some emphasis on songs from The Verdict. “You can’t create new classics,” said La Torre, “if you don’t play the new shit, right?”
Their second song from The Verdict was “Man the Machine” but before that they inserted two songs for the die-hard fans with “I Am I” from Promised Landand way back to 1984 for “NM 156” from The Warning. “Condition Hüman” is a beautifully crafted song and the performance was moving, but a look around the crowd told the story that very few knew the songs from this 2015 album.
Before the wind could completely leave the crowd’s sails, Michael “Whip” Wilton took center stage and laid into “Queen of the Reich,” and suddenly the fists were in the air. (Author’s Note – I still have my vinyl copy of this EP and this song still gives me chills.) This would be the proving grounds for La Torre with the elder statesman in the Queensrÿche army. Can he hit that note, hold it, turn on the vibrato, and own it? Yes, he did.
The follow up song was something completely different, and one that everyone knew from the first three notes. It was the iconic ballad “Silent Lucidity,” written by founding member Chris DeGarmo. This was one of the few songs that didn’t shy away from using backing tracks in lieu of bringing an orchestral ensemble.
The next set of four songs seemed like the breath in before the big finale. All good songs, but lesser known to the masses. La Torre introduced “Open Road” as one of the first songs he wrote with the band, and that was followed by two more from The Verdict; “Propaganda Fashion” and “Light-Years.” Then it was back to 1986 for “Screaming in Digital” from Rage For Order.
Those old enough to remember the song “Take Hold of the Flame” when it was in rotation can probably remember where they were when they first heard it. It’s that kind of song. The best way to hear the flanged guitars on the intro is to listen with headphones, but a close second way is to hear the duo of Wilton and Lundgren play it live. Journey found the needle in a haystack when Arnel Pineda replaced the “irreplaceable” Steve Perry, and Queensrÿche followed suit when they found Todd La Torre to replace Geoff Tate.
It’s important to mention the incredible songwriting talent that DeGarmo and Tate contributed to the legacy of Queensrÿche. “Take Hold of the Flame” is a perfect example, but perhaps some of their best collaborations can be heard on the Operation: Mindcrime album. Tate is now the only one that can perform this album in its entirety after the legal battle, but it is surprising that the the setlist only included one song from this album. They ended the set with the classic that brings back memories of the music video that documented the album’s concept – “Eyes of a Stranger”. It. Was. Awesome.
Eddie Jackson was flawless all evening, but it seemed he quite often slipped into the shadows and let the limelight fall on his bandmates. However, as the band returned to the stage for the encore, Jackson laid claim to center stage and delivered the legendary bass intro to “Jet City Woman” from the 1990 Empire album and the crowd went nuts (another gift from the DeGarmo and Tate songwriting team). La Torre returned to the stage sporting sunglasses and led the audience in the sing-along to this song which is ingrained in our collective memory.
Alas, it was time for the final song of the evening which would be the title track from the Empire album. This song featured Wilton on lead guitar and left fans satiated. The music industry has changed so much but through the years Queensrÿche has followed their muse and continued creating great music. The night was not only a trip down memory lane to get reacquainted with the songs of our youth, but also an invitation to reconnect with an old “friend” who is thriving with a new album and an incredibly talented line up. Check out The Verdict and find out what your verdict is! View Setlist
Cast for the Evening
Michael Wilton – lead guitar (1980–present)
Eddie Jackson – bass, backing vocals (1980–present)
Tempe, AZ — On Sunday night, Garbage played at the Marquee Theatre as part of the “20 Years Paranoid” tour celebrating the 20th anniversary of the release of their Version 2.0 album. Opening for them was Rituals of Mine, a Los Angeles-based duo previously known as Sister Crayon.
At the start of the show, it wasn’t clear that Ritual of Mine’s self-described electronic/downtempo R&B sound would appeal to the packed house of late-to-middle-age Gen Xers. But as Terra Lopez sang “To Show You Violence,” the mood in the theater shifted from one of silent, reserved judgement to silent awe. Her indisputably powerful and clear voice resounded throughout the theatre to the applause of a crowd won over.
Rituals of Mine recently collaborated with Tricky and The Glitch Mob, and the duo is now working on their sophomore LP. They will also accompany Garbage throughout the entire U.S. anniversary tour. “This is a dream for us,” Lopez told the crowd. While Rituals of Mine isn’t a new act, the tour along with their recent collaborations could expose the group to a much wider audience.
“It is a privilege to share our stage with them,” Garbage frontwoman Shirley Manson said later during the show, “’cause not all musicians are good people, you know what I’m saying?”
When Garbage finally took the stage, they opened with “Afterglow,” followed by “Deadwood,” and “Temptation Waits”. To the delight of the audience, Depeche Mode’s “Personal Jesus” was mixed in midway through “Wicked Ways.” By the time “Special” began to play, the crowd was fully amped.
“This is an incredible surprise for us… We never ever know what we’re getting, and it is always extraordinary and it’s fun,” a breathless Shirley Manson told the screaming crowd. “We’re here to celebrate a record that was immensely influential for us as people. It took us all over the world.”
Version 2.0, the band’s sophomore album released in 1998, was immensely successful, quickly gaining Platinum status in the U.S. and selling more than four million copies worldwide. It received two Grammy nominations, including “Album of the Year” and “Best Rock Album”. And in 1999, the single “Special,” was nominated for “Best Rock Performance by a Duo or Group With Vocal”.
Garbage has often credited Version 2.0 with solidifying their place in 90s rock music. In June, they reissued a special edition of the album that included 10 B-sides, several of which they played during their show at the Marquee, including “Lick the Pavement” and their cover of Big Star’s “Thirteen.” The group also has plans to record a new album for release in 2019.
One of Garbage’s last visits to the Valley was during a show at the Arizona State Fair to promote Strange Little Birds. Maybe it was the venue — the Veterans Memorial Coliseum has seen better days — or maybe it was just the changing state of affairs in the world at that time, but Manson seemed drained, world-weary and even a little sad. They delivered a powerful performance, but you couldn’t help leaving with the impression that maybe they weren’t coming back.
By contrast, Garbage was more alive than ever on stage at the Marquee. Manson seemed to have a renewed energy and vigor that made you forget you were singing along to songs that are now 20 years old.
During “Push It,” nearly the entire front of the house was jumping up and down with Manson and screaming the chorus. The stage was backlit with playful rainbow hues for “When I Grow Up.” Then, at the end of “Can’t Seem to Make You Mine,” Manson joined Duke Erikson at the keyboard to play glissandos back and forth across the keys.
“Despite what they will tell you, this is not a celebration of nostalgia,” Manson told concert-goers early in the evening. “It is a moment in which to collect you all in one space and feed off that mental energy that you just provided for us.”
But there was something undeniably nostalgic about the sound clips from familiar old movies interspersed between each song. Before “Hammering in My Head,” a clip of Rutger Hauer’s iconic monologue from the final scene of Bladerunner played: “I’ve seen things you people wouldn’t believe. … All those moments will be lost in time, like tears in rain. Time to die.” And before “Medication” they played a clip of HAL 9000 repeating: “Take a stress pill and think things over.”
Perhaps the most poignant messages of the night came after Garbage returned for their encore. “No life is very easy,” Manson told concertgoers. “Remember that today’s just a day. Tomorrow will be better. And if tomorrow isn’t better, maybe the day after that might be,” Manson said before dedicating “The Trick Is to Keep Breathing” to any fans who might be struggling.
They followed it with one of the band’s latest singles, “No Horses,” which Manson took some time to speak about.
“We must focus on the things that are precious. Not the things that are of the most financial value, but the things that are truly truly precious that make our world beautiful, that make us want to live, that make us want to breath and thrive. And this is what this song is about,” Manson said.
“It is about the fact that we must never fuck up our planet and our beasts and our animals and the things that don’t make money and that, above all else, human beings are our biggest and most important resource.”
Garbage closed the show on a high note with “Cherry Lips (Go Baby Go),” a song that Manson called their ode to the LGBQT community, which she has been a very vocal supporter of over the years.
“It’s good to be free, and it’s good to be a nonconformist. So this one goes out to you.”
Photo Album
Photographer: Rodrigo Izquierdo
Garbage & Rituals of Mine – Marquee Theatre 10-7-18
Tempe, AZ – On April 15th, Nightwish enchanted the Marquee Theatre with their music, and also delighted fans with a free two-disc CD of their Decades album featuring an archive of songs from 1996-2015 to celebrate their “DECADES: WORLD TOUR 2018”. For those unaware of Nightwish, they are a symphonic metal band from Finland. The band was formed by keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and former lead singer Tarja Turunen in 1996. In 2005, Nightwish said goodbye to Turunen. In 2012, Nightwish had to say goodbye to a second lead singer,Anette Olzon, but former Revamp singer Floor Jansen graciously filled in to finish the North American tour that year. Since then, Jansen became the lead vocalist for Nightwish’s album Endless Forms Most Beautiful and continues to tour with the band.
It was a cool night in Tempe, fans entered the venue and filled the entire floor. Everyone patiently waited for the music to begin. Nightwish greeted the fans with an audio recording, asking fans to go back to simpler times when they would not use phones to take pictures and videos during the show. They wanted everyone to enjoy the moment. Many phones went dark, but some fans couldn’t resist the urge to take a few shots of their favorite band. After that message, a one minute countdown began. As the seconds dropped to single digits, the crowd began to shout as each second decreased. Once it hit zero, the screen changed to gears, and one by one, the members of Nightwish took the stage, greeted by cheers.
Being Nightwish’s “Decades” tour, they picked their greatest hits from all eight of their studio albums. Nightwish didn’t achieve popularity in the United States until their 2004 album Once, and it sold more than one million copies. The biggest hit single from Once, “Wish I Had an Angel”, received MTV airplay and was the second song on their set list that night. As the first chords played, the crowd clapped and screamed. One fan held his hands to his face, in awe of the live performance he beheld. As Jansen sang, the video board had the well-known angel statue from the album cover seen through a gate, as if we were entering a cemetery.
As the first four songs played, fans mouthed the words and jumped to the beat. The video screen went perfectly with each song. For “10th Man Down”, the video soared over gravestones. For “The Kinslayer”, the video showed red candles as crimson light illuminated the band.
Before starting their fifth song, “Gethsemane” from the album Oceanborn, Jansen spoke to the fans, welcoming everyone to the “Decades” tour. She said she spotted some familiar faces in the crowd. The last time Nightwish visited the Marquee was May 2, 2015 for their “Endless Forms Most Beautiful Tour”. Jansen then asked who was seeing them for the first time. Hands all around the venue went up. Jansen smiled and said, “Buckle up. It’s going to be a bumpy ride.”
The band grew quiet for a moment as Jansen addressed the crowd before going into the beloved song “I Want My Tears Back”, from the album Imaginaerum; she said “Tempe is already warm, but let’s make it hot!” During the uilleann pipes solo midway through the song, Jansen urged the crowd to dance and throw their fists in the air. Jansen herself danced on stage and then said, “Tempe! Turn this place into a volcano!” After the song concluded, Jansen spoke again, “It is hard to dance in a volcano. You did a good job though. Thank you!”
It was vocalist and bass/acoustic guitarist Marco Hietala’s turn to address the crowd. He had a smile a mile wide as he asked, “How are you doing?” The crowd cheered and people put up devil horns to show their excitement. Hietala laughed and said again, “I’m not quite sure yet. How are you doing?” The crowd screamed louder. “Sounds like we’re having fun. Ready to rock!” Hietala replied as the song “Devil & the Deep Dark Ocean” from the album Oceanborn filled the air.
“What a night. It’s good to be back,” Jansen said later, “This one’s for the dreamers.” Just then, the instrumental of “Slaying the Dreamer”, from the album Century Child, swelled into the room.
Nightwish had an incredible nineteen-song set, and the fans were full of joy for every single note and lyric. After Nightwish finished their last song for the night, “Ghost Love Score” from the album Once, they left the stage, and in the darkness fans cried out for more. The band members came back to take a final bow and toss some lucky fans guitar picks and drum sticks. Nightwish had done it again — amazed another crowd and filled their hearts with beautiful music.
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.
Photo Album
Photographer: Rodrigo Izquierdo
Black Label Society, Corrosion Of Conformity, & EyeHateGod – Marquee Theatre 2-24-18
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