American Singer/Song-writer Joe Settineri has released the official music video for his impassioned pop single “Hello Goodbye.” Originally premiered on Paste Magazine, “Hello Goodbye” was written in collaboration with platinum Nashville-based producer Mike Krompass (Smash Mouth, Nellie Furtado).
“Love lost, regret, and the power of saying, “goodbye.” Moving on, though is rarely that simple. Our love lives are tangles of good and bad – pushing and pulling – never wanting to let go, yet, needing to break free. Searching for that allusive feeling of ‘true’ happiness. Did we give up too soon? Will we ever know? Why can’t we forget? Does clarity ever present itself? This song emotively asks these questions and explores the purposeful intention to move on and the confusing, often conflicting emotions that come with it. I said goodbye, but why can’t I forget?” Searching for clarity — finding a new path – is never easy.” – Joe Settineri
“Clarity is never an easy path when it comes to this emotion called love, however, what Joe Settineri brings is his ardent musical talents as he carries his lyrics of rich passion simply and understandably. Joe’s vocals and the embracing notes from his piano show his arrival time is welcomed in the world of pop music while the video imagery is the perfect compliment to the heart of “Hello Goodbye.” Simply put, Joe Settineri’s music delivers the power to believe in love again.” – Paste Magazine
“… American singer-songwriter Joe Settineri has a habit of writing love songs, but just listen to his music and you’ll understand why … and understand the power of Joe Settineri.”
Originally from the mid-west, Los Angeles based singer songwriter Joe Settineri was a late bloomer. After the music world wooed him away from a finance career, and years spent being one of a handful of go-to singers in Los Angeles, Settineri established himself as an exceptional singer-songwriter in 2009 with his widely praised first studio album, STAY (LML Records). His second full studio album, BEYOND YOUR CONTROL, was released 2014 and followed up by his most recent EP, BE THE ONE in 2017.
Joe’s newest singles, “HELLO GOODBYE,” “BATMAN CRIES,” and “OXYGEN,” all collaborations with multi-platinum Nashville-based producer Mike Krompass (Smash Mouth, Nellie Furtado), are slated for release in summer 2018.
Joe lives in Los Angeles with his husband and two children.
TEMPE, AZ – We caught The Wrecks after their incredible acoustic performance at ALT AZ 93.3’s Graduate Hotel Sessions. Before they needed to take off for their show, we spoke to them about their impression of the crowd, and going from opening to headlining free concerts at Tempe Marketplace.
Rising local band All New Hopes were just voted for Song of the Week on ALT AZ 93.3’s “Homegrown with Mo”! They told us about their upcoming EP release, fellow locals they love, their dream show, and what it was like to win Song of the Week.
PHOENIX — Heavy metal legends Judas Priest drenched Phoenix fans in a fast-paced scintillation of velvety-strobing lights, squealing guitar riffs and the ear-splitting vocal prowess of leather-clad vicar Rob Halford, whose voice could be heard echoing through the streets of downtown outside Comerica Theatre. Priest announced English heavy metal pioneer Saxon and hard rock group Black Star Riders as openers for the U.S. leg of their 2018 “Firepower World Tour” earlier this year. Saxon is renowned for their influence on archetypal acts like Slayer, Metallica and Mötley Crüe and are noted for selling more than 23 million albums worldwide. Black Star Riders was formed in 2012 as “the next step in the evolution” of hard rock band Thin Lizzy. Their third and most recent album, Heavy Fire,reached #6 on the UK album charts in 2017.
In their announcement, Judas Priest also noted that thrash metal icon Megadeth would step in as the supporting act for the European leg of “Firepower”. As if that wasn’t enough, Judas Priest will also be appearing alongside Ozzy Osbourne on his farewell tour later this summer before co-headlining a tour with the infamous Deep Purple later this year.
Judas Priest’s 18th studio album Firepower’s explosive energy has shocked Priest fans, skyrocketing it to success and ranking the album at No. 5 on the Billboard 200 chart — the band’s highest-charting album in the United States to date.
With so much musical history under one roof, there were moments where the night truly felt like a spiritual experience. Black Star Riders took the crowd by storm early-on boasting a youthful stage presence, which positively intermingled with Thin Lizzy’s time-honored style.
After a minimal set-change, Saxon followed quickly thereafter, bringing the house down with a mix of heavy-handed hits and highlights from their latest album Thunderbolt, which was released in February of 2018 under producer Andy Sneap — who also joined Judas Priest on the “Firepower World Tour” to support Glenn Tipton, following Priest’s announcement that Tipton’s unfortunate battle with Parkinson’s had progressed to a level at which he cannot currently tour (Feb. 2018).
Among the audience were obvious diehard fans of all ages, including everything from seriously skilled air-guitarists energetically moving up and down the aisles, to children and families, headbanging all-together beneath an incredible display of vibrant, ever-changing lights which moved in-time to the note of each new song. One little girl, about 4 years old with tiny blonde pigtails, stood atop an empty seat with her father behind her, rocking out with every ounce of movement she had — proving once again that heavy metal music has a timeless quality to it that continues to bring together people of all ages and walks of life, challenging the status quo.
During the night’s first hidden set-change, a curtain displaying an impossible trident waved gently beneath the dimmed lights as red-orange flames swirled in the background. As the opening notes to Priest’s latest title track rumbled out across the crowd, the curtain shot upward to reveal Halford draped in gold from his suit pants to his tassel-adorned jacket. Sneap (Guitarist), Richie Faulkner (Guitarist), Ian Hill (Bassist) and Scott Travis (Percussionist) followed close behind, taking their place on stage among an illusion of pyrotechnic projections which were fitting alongside towering castle-like structures, topped off with a symbolic devil’s tuning fork which mirrored itself across the stage.
Halford then transitioned into tracks “Running Wild”, “Grinder”, “Sinner” and “The Ripper” from albums Killing Machine, British Steel, Sin After Sin and Sad Wings of Destiny before turning attention back on to their latest album for “Lightning Strike” which highlights Firepower’s eclectic mix of classic Judas Priest sound, and something quite a bit different — a savage expansion on Halford’s incredible vocal talent (at 66 years old) also reminiscent of old school Iron Maiden or Motörhead.
Next-up on the night’s setlist were “Bloodstone” (Album: Screaming for Vengeance), “Saints in Hell” (Album: Stained Class), “Turbo Lover” (Album: Turbo) and”Freewheel Burning” (Album: Defenders of the Faith), each of which was signaled by a change in Halford’s eclectic collection of hell-bent-for-leather type jackets, each song rivaled by the energy of the last.
Halford stepped center-stage to address the crowd, “Thank you all for for coming out and keeping your heavy metal faith tonight. And thank you for supporting evilness, evilness… Because evil never dies!”
Fans rejoiced in a sea of chants and fist-bumps, singing along to new crowd favorite, “Evil Never Dies” also off Priest’s latest album, before moving onto unbelievable performances of “Some Heads Are Gonna Roll” and the ever-anticipated “You’ve Got Another Thing Comin”, succeeded by an intermittent recording of “The Hellion”, during which Halford and his bandmates momentarily disappeared backstage. Despite having already put on a thrilling hour-plus performance, Priest emerged once more for a staggering finale.
Seconds after the closing notes of “Electric Eye” (also off of Album: Screaming for Vengeance), Halford shot across the stage on a black-and-chrome chopper while clips from the 1978 track’s music video faded on and offscreen above. Halford passionately belted out the lyrics to“Hell Bent for Leather” from atop the bike, before closing the evening with a powerful performance of “Painkiller”. Halford had one last surprise up his leather-studded sleeve — an earth-shattering encore. Fans were elated to see 70-year-old Tipton take the stage for three ultra-nostalgic and goosebump-worthy renditions of “Metal Gods”, “Breaking the Law”, and “Living After Midnight”.
After completing an astonishing 19-track setlist, it was clear that Halford and his bandmates show no signs of slowing down. Judas Priest proved to their fans once again that even after 40 years, they continue to ignite the fire.
PHOENIX — Amidst their “The Witching Hour” tour, shock rock quintet In This Moment had fans spellbound during a thrilling visually-charged performance at historically-located venue The Van Buren. Openers on the bill included The Word Alive — a metalcore group from Phoenix who’s most recent album Deceiver reached No. 97 on the Billboard 200 (2010), and fellow AZ-based nu metal band Ded, who’s been on the rise since the release of their wildly successful debut track “FMFY” in 2016. Audience members were elated to hear that In This Moment had offered both opening groups the option to extend their setlist for the night, in celebration of the obvious outpouring of support from local fans.
After a vigorous crowd sing-along to Journey’s “Don’t Stop Believin’,” ferocious frontwoman Maria Brink dawned the stage through a storm of purple-red smoke, spookily cloaked in all-black attire which was somewhat reminiscent of Emperor Palpatine in Star Wars.
As Brink positioned herself center-stage, horror-esque slivers from In This Moment’s music video for title track “Blood” spliced on and off on a large overhanging screen. Current members Chris Howorth (Lead Guitarist & Founding Member), Travis Johnson (Bass Guitarist), Randy Weitzel (Rhythm Guitarist) and Kent Diimmel (Percussionist) followed close behind her — also dressed to shock and impress in true gothic metal fashion.
The group transitioned into a haunting yet brutal performance of “Blood”, which was seamlessly followed by “River of Fire” from In This Moment’s latest album, Ritual (2017). In between these first two songs, Brink seductively shed her dark ceremonial garb for a ghostly white dress that shimmered beneath the spotlights.
With a mix of fire and wind enveloping her silhouette, Brink immediately dominated the stage with her display of unique showmanship and incredible ability to personify her lyrics through purpose-driven theatrics. Her gruff throaty screams and eerily dazzling vocals are a fitting accompaniment for the band’s vehemently aggressive rhythms, sludgy guitar and relentlessly rhapsodic percussion.
Although In This Moment’s 2017 album is in fact less sexualized than albums in previous years, Brink’s outlook on the highly-debated topic remains the same. The singer changed from costume to extraordinary costume throughout the show — reappearing on-stage in everything from skin-tight bodysuits and ritual garb, to Krueger-like talons, a top hat, and faceless creature masks. Backup dancers morphed from demons and witches to twinning alter-egos as the show’s storyline evolved before our eyes, exquisitely interpreting the lines of each song. Brink seduced the crowd with ease, gripping the audience with infectious performances of “Adrenalize”, “Roots” and “Burn”, which preceded a chilling vocal performance of ballad “Lay Your Gun Down.”
After an official band introduction, Brink disappeared from the stage leaving Howorth, Johnson, Weitzel and Diimmel in the spotlight for a savage Metallica tribute beginning with the opening instrumentals to “For Whom The Bell Tolls” and leading into a monster drum solo harnessing the chunky classic rock vibes that we all crave.
Next, Brink stepped center stage once again beneath a large crescent-shaped entryway, which appeared as two halves of a glowing moon, altar-style. The opening scene from “Black Wedding” featuring Rob Halford (of Judas Priest) strobed in and out to church music, teasing the energized duet between Brink and Ded frontman Joe Cotela which was to follow. The night finished strong with blazing performances of fan favorites “Big Bad Wolf”, a cover of Phil Collins’ “In The Air Tonight”, “Sick Like Me”, and “Oh Lord” — which had fans raging.
However, there was still one song yet to be desired. Audience members roared as Brink stepped out from behind the curtain for one final song — this time wearing the infamous blood-smeared dunce hat as featured in “Whore”, which Brink described to Steppin’ Out Magazine as “an empowering, beautiful song for women.” On-stage, as oversized balloons began bouncing across the crowd, she went on to explain that “Whore” is about reclaiming control of what hurts us and rising above it:
“I was told that I would amount to absolute shit”, she told the crowd. “That I would become nothing at all. So, you see this next song, this last song is about rising above other people’s expectations, all of these ideas about who and what we should be. This song is about taking other people’s hate and turning it into something powerful and liberating within. So tonight, ladies and gentlemen, if I can inspire just that, turning hate into love, then I am proud to say to you Phoenix — tonight, I will be your whore!”
The song’s title “Whore” is actually an acronym created by Brink to further communicate its underlying purpose:
It seems that with their most recent album, Brink and her bandmates have finally perfected the delicate balance between their sultry sex appeal and crust punk approach to the ideals of empowerment and strength embedded in their music. “The Witching Hour” tour is more than an unforgettable performance; it’s a wakeup call. We truly cannot wait for more.
PHOENIX — Unity, love, and an all-around good time were the three main focuses of the Lost in Translation Tour’s stop in Phoenix. “Don’t ever forget that each and every one of you here has the power to do anything you set your heart on,” said David Boyd, lead singer of New Politics.
New Politics, Dreamers, and The Wrecks put on an sensational sold out show at Crescent Ballroom, with each band bringing the energy of a headliner.
The Wrecks were first in the lineup with an electrifying set. Lead singer Nick Anderson’s unique voice took the crowd to a new level. The energy from the five piece band was reminiscent of early 2000’s pop punk. Their new EP Panic Vertigo, just released last month, showcased the growth of the band. The Wrecks played an unreleased song “Live”, and Anderson said the band only plays it when people in the audience have enough energy to give back. They ended with the upbeat angst filled song “Favorite Liar” which has been played frequently on 93.3 Alt AZ. The Wrecks hinted at wanting to do a headline tour with a stop in Phoenix soon.
Their band name describes their set: dreamy. The three-piece band played fan favorites such as “Painkiller” and “Sweet Disaster”, which have been on rotation on 93.3 Alt AZ as well. With catchy guitar riffs from lead singer and guitarist Nick Wold, strong rhythm from bassist and back-up vocalist Marc Nelson, and striking drums from drummer and back-up vocalist Jacob Lee Wick, the band amped up the crowd.The upbeat set proposed the feeling for New Politics’ upcoming performance. Their song “Bleed Through”, Wold explained, is about people who have jumped off the Golden Gate Bridge and coming back from that ledge; also for any who has fallen.
Inspiring the crowd to raise their hands immediately, the energy exuded by the three piece band from Copenhagen, Denmark, was mind-blowing, to say the least. With Boyd sporting pants that could have been inspired by Beetlejuice, and a John Lennon style hat, his charisma got the crowd rocking.
The trio started their set off with “Istanbul” from their latest record Lost in Translation, which was released last year (2017). Their set consisted of a variety of songs that showed how diverse they are.
“Girl Crush”, “Everywhere I Go (Kings and Queens)”, and “Dignity” were noticeably among the crowd-favorites.
“Tonight You’re Perfect”, “One of Us”, and “Harlem” are among the most well-known songs from the trio.
One of the more intimate songs played during the set was “Color Green”, which Boyd dedicated to his newborn daughter.
Guitarist and lead/backup vocalist Søren Hansen and drummer Louis Vecchio, were highly animated throughout the 20 song set. It was impressive to see the same energy that Boyd offers in Hansen and Vecchio.
Boyd knows how to perform. The lead singer engaged the crowd from all angles, and got intimate with the crowd multiple times by resting his leg in fans’ hands as he sang. It also seemed as if he would sing directly into fans’ phones. ULTIMATE FANGIRL DREAM.
By mentioning unity more than once, it was clear that Boyd places importance on giving fans a unifying experience. He showed his gratitude to the fans at the end of “One Of Us” by making bowing gestures toward them, suggesting that this experience is just as meaningful to him.
“I don’t want this to end”, Boyd exclaimed before the final song. “There’s only one thing we’re gonna have to do, is come back soon, right?”, he continued. “So what we’re gonna do right now, ‘cause endings are so sad, we’re gonna do the opposite. We’re gonna take this energy here, and we’re gonna celebrate that we f***ing did it! Alright? And we’re gonna cherish every memory of tonight, and we’re gonna even make it better, and there will be a surprise…”
The band certainly knows how to end a show with a grand finale, by playing the explosive “Yeah Yeah Yeah”, with Dreamers’ Wold singing the first verse, and The Wrecks’ Anderson coming back to rap during the second verse.
How to end a show: with Hansen crowd surfing as he plays his guitar solo. √ CHECK
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 — It was nearly Christmas Eve as Lindsey Stirling’s fans gathered at Comerica Theatre. Donning their Santa caps and winter scarves, they fell down the rabbit hole that is the visually stunning show on the Warmer in the Wintertour. The last show on Stirling’s tour landed here, in her hometown of Phoenix, and fans couldn’t be happier to welcome her back home for the holidays. Stirling has recently competed on “Dancing with the Stars”, and her dance partner Mark Ballus was opening for her on the tour with his band Alexander Jean. It was the last show on her tour, and she didn’t slow down for one second, inspiring the audience to follow their dreams, break boundaries and defy industry.
Stirling emerged from a curtained archway, sparkling in ruffles of metallic purple, silver and gold playing “All I Want for Christmas”. Surrounding her were snow-covered illuminated houses, straight from a children’s book. She was joined by her four dancers, and together they ignited the audience with their smiles and choreography.
For the next number, snowflakes swirled in the background as the notes to “Frosty the Snowman” and “Let it Snow” were merged. The dancers twirled with black umbrellas that sprinkled snow as they glided across the stage. The Christmas spirit was alive and swelling inside the theatre as Stirling performed “Warmer in the Winter”, in which she both sang and played violin, and the classic fiddle song “I Saw Three Ships.” Visions of the ocean and pirates flickered on the screen as dancers appeared in plaid skirts with bouncing steps.
After a short musical break, Stirling reemerged in a stunning sheer dress adorned with sparkling silver sequins. She and her bandmates sat down on the floor toward the front of the stage for a special treat. Stirling had laid out “instruments” for them all to play: two kazoos, a toy piano and a tiny violin. She told the crowd that she had an advantage because her instrument wasn’t a toy, it was the violin that most children start playing on at the age of 5. She laughed, saying “this one’s name is Pickles” as she held the tiny violin in the air. Together the group serenaded the crowd with a medley of tunes starting with “Jingle Bells”, merging into the Harry Potter theme, and winding down with a saucy “Santa Baby”.
At the end of the group’s medley, the pianist Kit challenged Stirling to play “The Devil Went Down to Georgia” on the tiny violin, claiming “it’s what the audience is really wondering.” And she smiled, rising to the challenge as she played about 20 seconds of the fast-paced classic fiddle song. The crowd erupted in cheers as they quickly cleared the little instruments from the stage.
The first few notes of “Crystalize” fell over the crowd, mesmerizing them as Stirling elegantly danced across the stage in a mist, with slivers of light casting eerily beautiful shadows over her. The audience listened as if under a spell, being broken only by Stirling herself, as she addressed the crowd before her next number. She spoke powerful words about her own experiences with anorexia and self-esteem. She reminded the crowd, as they listened to the next song, to remember that even if they don’t see the beauty in themselves “someone sees the beauty in you.” She then went on to perform “Hallelujah” with the curtain closed and only her guitarist to accompany her. The curtains then opened as dancers joined her on stage to perform “Angels We Have Heard on High”, wearing swaths of white fabric that draped and swirled around them as though they were angels themselves.
For the last part of the show, Stirling emerged once again in a different costume; a shining pink strapless dress, with her iconic marching band hat, with white feathers reaching towards the sky. The show pulsed with excitement as lights and sound were pushed to an impressive high. After a stunning rendition of “Dance of the Sugar Plum Fairy”, Stirling went right into “The Grinch”, where her dancers flowed across the stage in red sequins. They held giant red feather fans. At one point covered Stirling, who emerged from the fans in shorts after shedding her ruffled skirt, ready to dance about on the stage. They continued with “Carol of the Bells” as the stage lights flickered with the beat, a visual feast for the eyes and ears.
Before the last number, Stirling addressed the audience one more time and shared her family tradition of wearing matching PJs every year. “Christmas C’mon”, with a track of vocals by Becky G, rang through the theatre, as lights and dancers in matching pajamas spum around the stage. Once finished they left the stage, but the audience waited, clapping and yelling. Stirling reappeared to the ample applause of the crowd and shared a very personal story. She said while she usually likes to leave a crowd with a big number so she can read on their instagram that they just “went to a violin concert and got their face melted off.” This time, however, she was going to close on a more personal note. She shared the story of the loss of her father last year around this time, and that this song was very dear to her. She asked the audience to remember those they loved and hold them close, and played “Silent Night” to close out the night.
The “Warmer in the Winter” Tour was like a traveling snow globe, shaken up with a wonderland of lights, sounds, and dancing. Stirling touched hearts with her words and music, and spread smiles with her jokes and shining personality. As people poured from the theatre that night, they were ready to celebrate not just Christmas, but their family, friends and loved ones and everything that they held dear.
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
Miss Krystle recently released her new EP Inevitable earlier this fall. As Arizona cools down from a particularly “Cruel Summer,” and as the US at large continues to struggle with obstacles across the board, Inevitable is a breath of fresh air ready to bring a second wind to all who listen. The Inevitable EP will be “on your mind and in your dreams… burning in your memory,” as it is truly “Unforgettable.”
Ever the inspiration, Miss Krystle continues utilizing all her passions and talents to their fullest potentials in all 6 tracks on the EP. She is a humanitarian, a philanthropist, an intellectual juggernaut, and a phenomenally talented musician; not only is the EP immensely entertaining, it is also incredibly uplifting and nurturing. Miss Krystle had this to say about her new EP: “It was my mission to be impactful. We were going for in-your-face, this is how it is. We also wanted it to be empowering. I wanted to tell my fans that despite everything that has been going on socially and politically this year, you can find your power and your voice. I want them to remember to never give up. Lastly, I wanted to showcase my own vulnerability.” Throughout the entire album, these words certainly do ring true.
The Inevitable EP is a wild journey through many of the emotions, passions, experiences, and darkest thoughts that the human mind is capable of. The energy levels of the album are like a rollercoaster, with some songs pumping the listener up and getting them ready for a night on the town and others making the listener wonder if they should curl up on the couch with a comfortable blanket and a pint of their favorite ice cream. Miss Krystle has a one-of-a-kind style in her approach to music, but it fits in perfectly with other contemporary pop artists. Some of her new songs also seem like they’d easily find a place on a Dance Dance Revolution playlist, as they would be delightfully fun to dance along to. Others still would be perfect for someone’s first pick at karaoke.
Generally, pop music and similar genres are not known for their depth or insight, yet Miss Krystle easily marries popular culture, philosophy, and deep introspection in her musical work. During a preliminary listen, her songs sound as if they’d easily find a home in any club or on one’s favorite Top 40 radio station. Don’t be fooled, however—upon further inspection, the lyrics peel away, layer by layer, revealing a deep exploration into the human condition and how it impacts contemporary society.
From anthemic, affirmational title-track “Inevitable”, Miss Krystle explores themes of fitting in, watching the world around us, learning from our experiences, seeing the horrors of humanity and the world around us, yet still keeping calm and carrying on.
She tackles the concept of how “they tell us how to fit in… tell us how to get by,” while still struggling to find our own identities in this mad world. While the song could be about so many different topics, from love to revolution, it instantly becomes a bright beacon in the night, guiding all who may feel lost.
In fact, out of all the songs on this EP, “Inevitable” itself may be the most exceptional and singularly profound track. Coming out at a time when many of us may feel utterly lost and hopeless, Miss Krystle reminds us to “rise for what matters, lasting until the end.” She needs us standing with her, united. This is a call to arms, not to fight what is wrong in this world, but rather to fight for the ability to support one another, to remind ourselves that we are all in this together. “We are, none of us, alone,” as ancient Chinese philosopher Fushumongu stated long ago.
As we’ve seen, time and again across this country, people are “taking it to the streets, not afraid to take a stand.” We do have strength in numbers, and we will fight. We have had enough. We’ve all woken up to this new day, and we “can’t give up on what we love.” Victory truly is inevitable. This song, like a mantra, shall inspire countless others to greatness in the coming days.
On top of any newfound courage in the realms of love and activism, Miss Krystle also calls us to come “together, woman and man.” This is truer now more than ever before. None of us can ignore the future, no matter how hard we try. Now, let’s get ready to “spark it up.”
Wild Like Fire
While the more insightful songs and verses from Miss Krystle’s new EP are absolutely striking, the album has a great mix of fun and fiery tracks as well. When “Wild Like Fire” comes on, it’s difficult to not instantly get pumped up. This song is a true energy boost, from the lyrics to the beat. “Welcome to the show.” Miss Krystle “can’t control it,” because she really is a pro. This song is great to drive to with the volume up, but it would also find a home in any club or, perhaps, bedroom. While Miss Krystle certainly has her own, unique style, fans of Kylie Minogue and similar artists may really enjoy “Wild Like Fire” and other songs off this EP.
Better Than You Think
On top of Miss Krystle’s self-assuredness and self-knowledge of her more primal urges and experiences, she also covers those more intimate feelings that often accompany physical connections between lovers. “Better Than You Think” is a love ballad of sorts, reminiscent of a modern Shakespearean sonnet in its lyrics. The symbolism and imagery in this song are quite powerful, from “collecting stars like fireflies, I’ve never felt this much alive, living the life before we die, and we return back to the sky,” to “baby the altitude is fine, on this journey, you and I, watching auroras hypnotize, getting lost deeper in your eyes.” The romantic notions in this song would melt even the coldest of hearts.
As much as many of us know that the only person we can truly rely on in this universe is ourselves, Miss Krystle explores feelings most of us have felt before. She shows a serene vulnerability, acknowledging the dangers but also the securities that can come out of relying on another beautiful soul for sustenance. Someone else to share this journey, and the wonders of the universe, with, as she serenades us with “and if I burn up on reentry, I knew you’d want to be here with me, you knew that one last kiss could save me, floating with you for eternity… everything’s good as long as you’re here with me.” Miss Krystle takes us on an odyssey to space, giving us “galactic goosebumps everyplace” as we cruise “on highway milky way.”
Just as Miss Krystle explores these elements of our humanness, she also explores how the best intimate relationships involve two souls coming together, knowing more about each other than they may let on. Indeed, Miss Krystle shows that she knows us better than we think that she knows us, as our human experiences are similar to one another despite their singularity. In fact, through her work, Miss Krystle may also reveal how she may know herself better than she thinks that she knows herself.
While many of us can relate to the feelings Miss Krystle explores in “Better Than You Think”, some of us may have unfortunately experienced some emotions and experiences that are quite antithetical to that beauty. “Erase You” is a song that explores the darker side of love, when we find ourselves in a relationship that ends up being something we were not quite expecting. Still, Miss Krystle’s penchant for self-examination and metacognition still shines through brightly in the lyrics. “I never understood your distance, I thought I got it right, but now you’re gone and I’m alone.” Anyone who has been through something like this can empathize with how painful this situation is.
Miss Krystle counters this betrayal with self-empowerment, starting the song with a vigorous mantra: “You’re in the presence of a Goddess, but you forgot to bow, and now I got my eyes up on the blade I’ll use to take you out.” She continues with some conflicting lines later in the song, showing the sort of infighting and uncertainty our spirits must endure in terrible times such as this treachery of love. As she struggles with these feelings, she shares her efforts to forget: “You can hand it over, no more staying sober, I drink it away to erase you. I need to escape what you put me through. I drink it away to erase you.”
While coming to terms with reality and coping mechanisms, Miss Krystle also explains some positive strategies for her situation: “So you thought you’d be a martyr, and leave me with your sin, but little did you know, I gave it up before your words began… I’m glad you’re gone and I’m alone, so I can go and live my life.” While all is fair and love and war, this war takes no prisoners, and the cost is high.
Despite Miss Krystle’s best efforts, she is only human, and the song ends with more of this battle still to be fought. “If I could just wake up with you next to me, everything would be just how I need it to be. I don’t want to feel all this pain, don’t want to be alone. I need you to feel the same, and get your arms back around me.” These heart-wrenching lyrics make it apparent that there are no happy endings in the real world, but we all have the power to make it through as stronger versions of who we used to be.
From the second “Anything” begins playing, it is difficult to not imagine it being played while a model walks down the runway, or while a contestant on RuPaul’s Drag Race lip syncs for her life. The beat really gets the blood flowing, and it is great to drive or work out to. It’s nearly impossible to not feel sexy and powerful while “Anything” plays, so “why you actin’ so shy?” Miss Krystle shows us something that will make our hearts bleed, so we “best be getting ready” because she’s gonna get us rockin’ steady. While it may be hard to focus, Miss Krystle helps us learn to “live it up.”
The song “Relevant” was saved for the end of the EP, and for good reason. “Relevant” is rife with self-awareness and introspection, and it is clear this song is very personal for Miss Krystle. However, it also serves as a reminder to the rest of us to let go of where we began “and be reborn in the wake of it.” These lyrics are quite relevant to the theme of symbolic rebirth, and it is also quite fitting for Phoenix, Arizona.
Miss Krystle also reminds us to “feel at home in the place” we’re in, and to “never mind the storm.” Our dreams will keep us warm. We all struggle to become relevant while traversing our own paths through this life, and “we constantly test our innocence.” Likely pulling from her own experiences, she reminds us of the ultimate cost of giving parts of ourselves away in order to reach our goals: “May our broken halos serve as evidence; pieces of our souls for percentages.” As she states proudly, “I’m holding on to me.” We all may get a little lost on the way, but we must always remember who we are and where we came from.
Continuing this philosophical journey through personal trials and tribulations, Miss Krystle explores how “we all wanna be somebody,” but in the end, “all we really need is somebody… down to make us feel we’re relevant now.” Perhaps that somebody is a lover, a family member, or a friend; that somebody may even be ourselves, especially when the path becomes increasingly treacherous, or when the storm becomes too tempestuous. To quote Miss Krystle, “At the end of the day, all we are really looking for is someone to make us feel like we matter. My message is that the only person who should make you feel relevant and loved is ultimately you.”
Don’t forget, “we make our own strength, we make our own peace,” and we really are so strong. “We can do this.” We are all a part of history, but Miss Krystle and her new EP Inevitable have certainly found a comfortable home in modern popular culture. As we all enjoy these 6 sublime songs, we also wait with bated breath for future releases from Miss Krystle. Hers is a flame we do not want to go out, as she brings a lot of light to this oft dark world.
PHOENIX — Pop recording artist Miss Krystle has just released the six-song EP Inevitable as the follow up to her successful Woman In Motion CD. This night was a showcase of the new songs along with an offering of music from her first three studio CDs. The intimate VIP party was held in a controlled private studio called the Premier Room at Premier Studios on Indian School Road. Guests arrived in anticipation of the live show and explored the venue and the well-stocked merchandise booth while networking with friends and industry associates.
Miss Krystle lit up the room at 8:30pm when she hit the stage dressed all in black; a dramatic contrast to her signature fiery red mane. The set started with “Right Movement” a collaboration with KJ Swaka (Pendulum and Destroit) and “Take Me Home” which was produced by Zion Brock. The hard-hitting electronica tracks are brought to life by the solid rhythm section of That Orko on bass and Brent Hensley on drums. This music transcends labels of pop or electronic dance music. It is edgy and in-your-face, but it is uniquely Miss Krystle. With lyrics like, “I’m a wolf, not a sheep,” she has no regrets in blazing new trails forging her own sound.
Miss Krystle commands the stage and pours her soul into each line. The fans in the audience are under her spell and sing along with the next two songs from Woman In Motion; “Dukes Up” and “Pressure”. The high energy has been non-stop and her performance has been an aerobic workout, but still the vocals are spot on. From assertive lines of angst to soft soaring notes she is matching the studio versions of the songs note for note.
At the end of this introductory frenzy, there is a catharsis. The band exits the stage and Miss Krystle is left alone with keyboard and a spotlight. This is where we learn that Miss Krystle is more than a pretty face with rock star vocals as she demonstrates her classical training on piano and delivers some of her original songwriting. The three-song solo “acoustic” set starts off with her song “I Don’t Cry” from the Run CD. This song has a beautiful music video where she performs in elegant body paint and has over 200,000 views. The crowd cheers as she begins singing. Next up is “Relevant”; the first song played from the new EP. In an interview with The Arizona Republic, Miss Krystle described the message of this song saying “The only person who should make you feel relevant and loved is ultimately you.” The studio version of the song has a sonically big production that conveys the emotional message, but ironically this stripped down piano/vocal version may have emoted even more heartfelt emotion. The third song in the set was a totally unexpected cover of “God Only Knows” by the Beach Boys. This brought a smile to everyone’s face and it seemed to be a true expression of love to some lucky person in the room.
The band returned to the stage and the energy again cranked up for two more songs from the new EP, “Inevitable” and “Wild Like Fire.” Miss Krystle has been very prolific at self-producing high quality music videos and her latest is for the song “Inevitable.” In an industry where record deals seem to have lost their teeth, she has been successfully gaining celebrity through self-promotion and a lot of hard work. Her new songs are collaborations with her musical partner, That Orko, who has helped to elevate her production sound and inspired her to write songs that she says are some of her “best music to date.”
Miss Krystle isn’t relying on sex appeal to connect with her audience, but she definitely isn’t trying to hide it either. There is a seductiveness to her moves that matches the message in “Focused All Night” from Woman In Motion. She strips one layer of black and eventually focuses on each person in the room, one at a time, making eye contact and making a personal connection. One can envision her doing this same performance on a national stage with backup dancers, lights and pyrotechnics, a 10-piece band, and a stadium crowd. Although her surroundings were much more reserved, her performance proved that she is ready for prime time.
The 14-song set culminated in trio of covers that kept in sync with the high energy of the evening with “Lap Dance” by NERD, “Breath” by The Prodigy, and an homage to Beyonce with “Crazy In Love” that had everyone moving. Lastly, it was back to an original for the final song of the night which was “Unforgettable”…literally and figuratively. This song’s haunting melody is addictive and complements the lyrical intent to never fade into anonymity, “Burning in your memory you know I’m unforgettable…On your mind and in your dreams I’m a part of history.” The band left it all on the stage and there was no holding back to put on a fantastic show.
This was a VIP experience so everyone had their chance to meet the band, take selfies, and get their CDs, prints, and t-shirts autographed. The venue was a perfect place for a band showcase and the sound was appropriately loud while remaining clear. The only annoyance was the automated lighting chase that wasn’t synched to the music and each scene was monochromatic. Other than that, the space was a perfect venue to promote the new EP from Miss Krystle. Look out for her next music video release for the song “Relevant” coming soon to her bustling Youtube channel.