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 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
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
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 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.
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.
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!
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.
Cast for the Evening
Michael Wilton – lead guitar (1980–present)
Eddie Jackson – bass, backing vocals (1980–present)
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.”
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.
Photographer: Rodrigo Izquierdo
Black Label Society, Corrosion Of Conformity, & EyeHateGod – Marquee Theatre 2-24-18
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
PHOENIX — In the brisk evening air of December 1st, fans waited outside the Marquee Theatre in eager anticipation. It was Friday night and fans were ready to throw their weekday woes away and get ready to listen to the raw sounds awaiting them. On tonight’s agenda: long established metal bands Arch Enemy and Trivium.
Fit for an Autopsy & While She Sleeps
The night opened with New Jersey’s Fit for an Autopsy whose bass lines seemed to tremble right through the floor into your very breath. The stage splashed with red and blue light as they worked up the crowd. Next up was While She Sleeps, all the way from Sheffield, England. Lead vocalist Lawrence Taylor was a whirlwind of energy headbanging and even crowd surfing. Calling to the audience, he challenged them to “meet him” by crowd surfing all the way to the pit. Needless to say, many met his challenge. Taylor was all over the stage, even standing atop the drum set. After their set, the crowd was definitely ready for Arch Enemy.
As equipment was set up and sound checks were made, more and more people crowded into the room, shouldering and squeezing into their own perfect spot. A backdrop reflecting hell itself stared back at the audience, with twisted demons and a red glowing reflection. As the music started, a laser show of lights flooded the stage and members of the Swedish band Arch Enemy descended. Vocalist Alissa White-Gluz dominated the stage with her powerful voice and energy. She was a force to behold in her skeletal ripped bodysuit and wild blue hair. Alongside her, guitarists Michael Amott and Jeff Loomis did amazing fingerwork and left the crowd screaming after their amazing guitar duo.
Arch Enemy promoted their new album Will to Power, showcasing some amazing songs such as “The World is Yours” and “The Eagle Flies Alone.” In one moment, Alissa called to the audience, before the song “Will to Power”, to shine a light – and her will was done as the audience swayed their phones in the air. She closed off the set with one of her favorite songs, “Payday.” It’s safe to assume many who came to see Trivium that night left an Arch Enemy fan as well.
After a short break for set changes, Trivium was about to take the stage. In the dim lights, the audience got so excitedly impatient that they started chanting the band’s name: “Trivium!… Trivium!…” Their chants were met with red and white flashing lights, and Trivium took the stage. The backdrop was the same as the cover of their new album, The Sin and the Sentence. Blanketing the wall was solid black with clean gold lines and iconic images, a great reflection of the band.
Lead vocalist Matt Heafy’s passionate and clean vocals were accented by the raw enraged voices of guitarist Corey Beaulieu and bassist Paolo Gregoletto. While Trivium’s sound has changed over the years, the audience was in full agreement that they sounded amazing! Many fans sang along with the lyrics, Heafy’s clear and thought provoking words making this an easy task. Songs like “The Heart from Your Hate” and “The Sin and the Sentence” are surprisingly addictive, with their fast paced melodies and powerful lyrics.
The show was five straight hours of metal. There is something about metal that is cathartic, raw, and enticing; this show was no exception. Arch Enemy and Trivium helped take the week’s stress, ball it up, grind it into the ground and just let loose in the music, allowing everyone to start their weekend refreshed.
Photographer: Dale Hurt
Trivium, Arch Enemy, & More – Marquee Theatre 12-1-17
TEMPE, Ariz. — For a few hours on March 22nd, current and former orchestra geeks got to feel like the epitome of cool for one more night as Yellowcard wound down their 20 year career to a sold out crowd at the Marquee Theatre in Tempe.
After an acoustic opening set from former bassist Sean O’Donnell and a brief audio message humorously decrying the use of cell phones during the set, the house lights dimmed and Yellowcard exploded onto the stage with a fiery performance of Ocean Avenue lead off song “Way Away”. Despite setting the bar high with such a high-octane classic track, the band showed no signs of fatigue as they powered through a massive 24-song setlist featuring tracks from most of their 10-album catalogue.
While the band chose to spend the majority of their stage time blasting from song to song with scarcely enough time to breath between tracks, the few pauses afforded to the crowd were rife with a welcome wistfulness from lead singer Ryan Key as he reminisced on the band’s trajectory leading up to that night. Whether he was explaining how early shows at the Nile Theater in Mesa served to help the band cultivate their first true out-of-state fanbase, or pridefully detailing the various emotions surrounding each album, Key spoke from a place of true sincerity and love for the band which has encompassed the majority of his life.
An unassuming viewer could be easily forgiven for not realizing that Yellowcard’s performance that evening was their third to final show. Every member of the band was visibly having a great time flying around the stage with abandon as they effortlessly nailed every note. Violinist Sean Mackin in particular seemed to visibly buzz with energy as he leaped across the stage and even nailed his signature backflip from the bass cab with seemingly minimal effort. Lead guitarist Ryan Mendez was visibly having a great time playing the old songs as he added discords and dive bombs not present in the album versions, smiling ear to ear as the audience bounced up and down to the tempo.
For Yellowcard these final shows were clearly a celebration of a two-decade career still capable of churning out fantastic material, not the death toll of aging rockers far past their prime. Having loved Yellowcard since they played my junior high auditorium (seriously), it was definitely difficult to watch such an amazing set realizing it would be the last time I could do so.
However, the beauty of a band leaving on the power of their own strengths was a truly amazing site to behold, and one that every attendee will likely never forget for as long as they live.
Highlights: Despite being familiar with much more than Ocean Avenue, I truly have overlooked a great deal of Yellowcard’s albums from the middle section of their career. The sheer energy of this show has definitely lead me to further explore their discography with a newfound appreciation.
Low Points: For the first time in a long while, there truly aren’t any moments I can recall from this show that were anything other than ideal.