Glendale, AZ — Tool stopped in Glendale night to play the Gila River Arena to an ocean of patiently adoring fans that could not have been more excited to hear the band rip into their ear drums. However, little did everyone in attendance know that what transpired next would be far beyond even what their lofty expectations could prepare them for.
One might think after a 13-year hiatus from recording new music, that a band might be well past their prime but fortunately for Tool, they’re clearly an exception to the rule. With the release of their latest album, Fear Inoculum, this is a band that has proven they won’t compromise their artistic vision for the sake of putting an album out every two years or so. They take their time perfecting a raw, mysterious sound that fans have come to revere over the years.
UK veterans Killing Joke kicked off the night and proved to be an excellent opening act, getting the crowd pumped up with their whiplash-inducing brand of quasi-metal and goth rock sounds. They were definitely an interesting choice for the opening band, but Tool has always brought their friends and greatest musical influences along with them on tour. It was fascinating to observe and clear how Killing Joke’s unique take on music clearly influenced Tool’s own iconic sound as their set went on. Notably, Killing Joke has had many lineup changes throughout the years. But recently, all of their original members are officially back in the band. This brought an inspiring energy to the night that would only flourish in intensity as the time grew closer for Tool to take the stage.
Fans of Tool know very well the law of the land at their concerts: no photos or videos. One might find this to be disappointing, but in many ways, it enhances the concert experience as people allow themselves and others to become fully engaged in the moment. As the lights fell to black, the sounds of cheering cut in front of the ambient noise with the swiftness of a starving octogenarian jumping to the front of the line at an early-bird dinner buffet. You could reach out and touch the energy in the room, and just when it seemed like the arena would burst from the crowd’s anticipation, guitarist Adam Jones played the opening swells to the new album’s title track, “Fear Inoculum.”
This was a very good choice for the opening number, not only because it’s the first song on the new album, but also because it represents the first example of new music they presented to the world after a 13-year drought. The song was recreated beautifully in the live setting, and it was accompanied by some of the most impressive Alex Gray-inspired visuals to date. Incredibly long threads formed around the stage in a circular formation as intensely colorful images were projected onto the screen towering behind the band. These threads also allowed the images projected on stage to glide across them in a pseudo-3D effect that was nothing less than spectacular for lucky enough to capture it firsthand.
Familiar clay aliens and faceless men in business suits adorned the screen as fans were treated to the corresponding music videos for each of the band’s older songs. One particular highlight included a full live rendition of “Parabol/Parabola” in all of its 9-minute glory, to the uncontainable delight of many fans in attendance. The drums punched through the mix with a primal fury not seen from many other bands around today, thanks to the incomparable Danny Carey behind the monstrous kit. His effortless playing and ad-libbing enhanced the songs without it sounding too busy or as if he was showing off. Every single drum strike was as tasteful as the last, which is no small feat when you have such a large kit at your disposal to tempt a less stoic individual into overplaying.
Guitarist Adam Jones and bassist Justin Chancellor were also both in exceptional form throughout the night, proving their playing only continues to improve. The ear-piercing squeals of Jones’ dark Les Paul mixed with Chancellor’s thunderous yet melodic bass lines are truly a match made in heaven.
Other notable highlights of the night included the second song of the set “Ænima”, introduced by singer Maynard James Keenan happily declaring “Alpha Omega. AZ. It’s good to be home. We just got back from LA.” Immediately followed by the familiarly breathy “hey” repeated throughout the intro of the song about a great flood of biblical proportions consuming the entirety of Los Angeles in all of its perceived decay and decadence. This was followed by excellent performances of “The Pot”, “Jambi”, and “Schism”, with the latter incorporating an unexpectedly sped-up bridge section that had to be heard to be believed.
Tool have achieved what so many other bands who have been together for as long as they have only dream of doing successfully: standing the test of time. So many bands of yesteryear lapse into obscurity or worse yet, self-parody, as they make their comebacks. Tool is not one of them. They continue to deliver unprecedented, phenomenal live shows and mind-blowing visuals that only get better as time flows onward. If you get the chance to see them live, do yourself a favor by not missing out, because they deliver every single time.
PHOENIX — AWOLNATION returned to Phoenix after a nearly year long absence, playing at the Veteran’s Memorial Coliseum for the first time. The energy and the noise that AWOLNATION brought with them felt like it would bring down the Coliseum. AWOLNATION took a bit of a break from touring in 2019, only playing a total of four concerts all year thus far. This does not mean they sat back and took a year off; rather, they used this time to record. A teaser clip of “The Best” was released on social media on October 15th, and it will be released on November 5th. Next year’s tour dates should be released soon, and per frontman Aaron Bruno, will include another stop in Phoenix.
‘The Best’ is coming Nov 5! click below and pre-save it to get exclusive content & tour info.
The Arizona State Fair concert series are unique in that they are shorter, are often only a single band and under an hour and a half in length. AWOLNATION only needed 70 minutes to nearly shake the roof off the Veterans Memorial Coliseum. There was a small crowd on hand when the lights dimmed and Louis Armstrong’s “What A Wonderful World” started to play. Halfway through, it was cut short by the start of “Run”, creating a juxtaposition of the peaceful and the loud, of the lyrics, “And I think to myself what a wonderful world,” and, “I am a human being, capable of doing terrible things.” It was attention-grabbing. it was jarring. It was fantastic.
There are very few artists who can control the energy of an audience like Bruno does. He spoke to the crowd throughout the show, inviting them to dance right before launching into “Hollow Moon (Bad Woof)”. Right after finishing up “Kill Your Heroes”, he announced that he, “Came to party with you tonight!”,as the first notes of “People” were being played. It was indeed a party, a dance party to be precise: “We’re trying to throw a dance party tonight! I’m looking for the best dancer in the building, someone doing something I’ve never seen before!”
If one were to scan the crowd while “Not Your Fault” was playing in the moments after that pronouncement, they would find the old and the young doing everything they could to show him something that he had not seen before. He slowed the dance party down from an all-out frenetic dance to what he called a “perfect opportunity to have an old school slow dance” with “Table for One” — a slower track that lends itself to just that.
AWOLNATION did not keep the energy down for long, quickly bringing it back up with “Miracle Man”. Bruno had another request midway through this song: “I want everybody to jump with me. You don’t have to, but it’d be a lot cooler if you did.” In a matter of seconds the stands were shaking.
While much of the focus is on Bruno and his ability to connect and energize the fans, it is very important to note that the rest of the band is incredibly talented. In fact, Bruno seemed to insist that we recognize this, stepping out of the spotlight a couple of times so the entire focus was on the band. The first was “The Buffoon”, a song that starts slow and works the tempo up until one must wonder if it is humanly possible for Isaac Carpenter to play the drums much faster. The second was for a cover of AC/DC’s “Thunderstruck”, with Zach Irons absolutely shredding on the guitar, leaving many mouths agape.
The show ended with “KOOKSEVERYWHERE!!!”, played for the first time in concert since mid-2017, and finally Bruno looking out at the crowd and saying, “So. What should we do now?” “Sail”, of course. The song that really introduced the world to AWOLNATION closed out this incredible show.
If you missed out on this concert, fear not. AWOLNATION made it very clear that they will be back next summer, and you will not want to miss this one. Keep an eye out for the tour announcement, and buy your tickets to see this amazing band as soon as they go on sale.
PHOENIX — Bad Religion’s concert at The Van Buren, with support from Emily Davis and The Murder Police and Dave Hause & The Mermaid, was more than just a legendary punk band giving a show at an intimate venue in support of a new album. It was a night where their legacy was felt not only in the crowd but on the stage, too.
Their recent tour is in support of the band’s 17th album,Age of Unreason, released earlier this year. The reason for the band’s longevity is that from their initial formation in 1980 and first release, 1982’s How Could Hell Be Any Worse?, they have stayed true to their ethos and written righteous punk anthems exploring many of the same themes recurring in our society across those 39 years. Any doubt of their staying power could be quickly dismissed with a quick sweep of the audience, where longtime fans of the band loudly sang along and pumped their fists in the air, alongside kids ranging from teenagers and younger. At one point, a father hoisted his daughter up on his shoulders, so she could rock out hard to “Generator” late in the set.
Emily Davis and The Murder Police
The show’s opener was Emily Davis with her backing band The Murder Police, consisting of Jose Macias, Jorge Torres, and Tomas Tinajero. Davis has three previous solo releases, and is touring in support of her debut album with the band, 2018’s Same Old World. Hailing from El Paso Texas, Davis managed to flip the initial impressions given off by the country-ish twang of her vocals, as the songs would quickly explode into all out rockers. Davis describes her songs as “aggressive, introspective folk music,” which could be heard as she and her band tore through seven tracks from the new album with an intensity reminiscent of Neko Case fronting The Attractions, in place of Elvis Costello.
Late in her set, she told the concertgoers what an honor it was to be touring with Bad Religion, adding that her introduction to them came via Tony Hawk’s Pro Skater 2, which means “You” from their 1989 album No Control was her introduction to the band. She closed out her set with “Circles” and the album’s title track “Same Old World.”
Dave Hause and The Mermaid
Up next was Dave Hause and The Mermaid, and if anyone didn’t already know his music (and you should), they might have been fooled by their sound from his quick soundcheck with his band, consisting of short bursts of riffs from songs by Lynyrd Skynyrd and Metallica, which drew some surprising whoops of approval from the punk crowd. When Hause (pronounced like pause or cause, for the record) and the band came back out to start their set proper, he took a moment to joke with the audience that despite their appreciation for the soundcheck, they wouldn’t be hearing covers from either band. “For the rest of the night, you’ll only be hearing songs by me and Bad Religion because this is a punk show!” The crowd roared in approval (although that didn’t stop someone from yelling out for Metallica mid-set).
Hause and his band are touring to support of Kick, his fourth solo album since leaving his previous band The Loved Ones in 2009. His set drew heavily from the new album, save for one track from 2017’s Bury Me In Philly. Prior to forming his backing band The Mermaid, Hause performed most of his shows solo with a guitar, bantering with the audience between songs. Since forming The Mermaid, the sound is louder, but the impromptu moments of interactions with the fans have remained.
The band features Hause´s brother Tim on lead guitar, Miles Bentley (the son of Bad Religion bassist Jay Bentley) on bass, and Kevin Conroy on drums. His stellar song-writing aside, Hause shines when it comes to instantly generating a rapport with his audience. Even when he encouraged everyone to put up a middle finger and direct it towards a particular politician in Washington, and an audience member booed the moment, Hause turned the moment around to something light: “Oh, do you not agree with me? That’s okay. We’re not always going to agree, so go start your own band and write songs about why you think he’s so awesome.” The crowd (including the person who booed) laughed, and Hause tore into “Dirty Fucker.” Hause closed out his set with Kick highlight “The Ditch.” He’ll be back to Phoenix to headline in February.
Any band that’s approaching their 40th anniversary would be excused if their live shows were a serving of pure nostalgia and built a set list around the songs the audience loved from years ago. While Bad Religion managed to cover points all along their discography, what stands out the most about one of their live shows is how prescient the songs feel, with thirty-year-old songs feeling like they were a three-minute prophecy of events yet to happen. All of this is because as a band, Bad Religion has railed against the same ills of society since the band’s inception.
Led to the stage first by drummer Jamie Miller and guitarists Brian Baker and Mike Dimkich, original members bassist Jay Bentley and singer Greg Graffin came out last. Without a word, the band launched into “Them and Us” from 96’s The Grey Race. The song hit the room like an atomic bomb and sent everyone into a frenzy of moshing and crowd surfing. Security guards at The Van Buren earned their checks over the next ninety minutes, as they caught, set down, and guided out multiple people.
“We put out a new record this year, Age of Unreason,” Graffin exclaimed after “Them and Us” faded out, “which is #17 for those of you who are counting, and we just wanted to get back to play for you before the end of history,” setting up a track from the new album.
“End of History” was followed up by the to-the-point “Fuck You,” from 2013’s True North. Graffin complimented The Van Buren for being the perfect rock club. “How many of you have been to a lot of shows here before?” he asked. With everyone yelling out the number of shows they’ve seen, he joked, “Well, this will be the best one you’ve ever seen here!” This was followed by “Stranger Than Fiction,” the title track from their 1994 album, which in itself laughs at the absurdity of the real world.
They next performed “Dichotomy,” “Recipe for Hate,” and “Chaos From Within,” before Graffin paused again to survey the sea of people, noticing the range of ages staring back at him. Spotting one kid in the audience, he asked how old they were, but after being told the kid was 12 and starting to say that has to be the youngest one, another kid called out she was only nine. Laughing for a moment, Graffin said, “Well, I’ve always said it’s the kids who are our future,” which might have been a double entendre, referring to either society or the band. The show’s next fifteen minutes was a sprint through the band’s catalogue, covering songs from 1989’s No Control through the recently-released Age of Unreason.
To watch a Bad Religion show, you wouldn’t instantly know how long they’ve been playing together, as they bring the same energy to every song now as punk-rock elder statesman, as they did as kids starting out. Pausing after “Automatic Man,” Graffin looked around and asked the crowd where he was. “Oh yeah, that’s right: Phoenix! No matter where we all are, this is still the new dark ages,” as they played “New Dark Ages” from 2007’s New Maps of Hell, an album whose cover art and title served as a knowing nod to their first album How Could Hell Be Any Worse?, on its then-25th anniversary.
Taking a jab at himself, Graffin mused that he was born in the 1980’s and was only two when he wrote the next song. Guitarist Brian Baker chimed in that he was born in 1981. The song was the timeless “We’re Only Gonna Die,” from that first album, a song that shows no signs of being a now 37-year old song. It was quickly followed by “No Control,” which reignited the crowd. “Generator” and “Conquer the World” were played with the same fervor as when they were new releases.
While playing “21st Century (Digital Boy)” from their 1990 album Against the Grain, there was a moment that showed just how much their music has connected to everyone in the grade, both young and old: As the crowd sang along, a kid no more than 15 crowd surfed while screaming the lyrics “I don’t know how to read, but I got a lot of toys!” like the song was written only for him and his generation, even as he passed over the heads of men and women easily three times his age who sang it with the same energy. Bad Religion is still here because their music doesn’t age. There’s no nostalgia in their set. Songs from their debut all the way through the new album live in the moment, just as each member of the audience experienced them the first time.
“We’ve reached the climax of the show, and after you’ve reached the climax, you move into a refractory period. In this moment, we want to dedicate this next song to our favorite people: You!” After the No Control classic and “Paranoid Style,” Graffin told a story about their first album: “Back in the 80’s there wasn’t a whole lot of color choices, so we chose red with the shadowy figure of Los Angeles in the background, and we asked a simple question: How could hell be any worse?” The band’s original anthem led into “Sorrow” from 2002’s The Process of Belief, which was another sing-along across the generations in the crowd. As the song closed out, each member walked off the stage one-by-one, led by Graffin.
For the next two minutes, the fans cheered, clapped, and called out for one more song, before the band emerged for an encore. “I could get all sentimental about Phoenix,” said Graffin, “It was the second city we ever went to play a show. This song is about you and me.” The band closed out the show with “Infected” from Stranger Than Fiction, and “American Jesus” from Recipe for Hate. Before leaving the stage, they took one final moment to acknowledge the audience, pulling up their set lists and giving them to the kids in the crowd, and solidifying the next wave of fans who will continue to carry them on as a band who defies time and continues to produce powerful, relevant music that unites fans of all ages.
PHOENIX — Toto’s “40 Trips Around the Sun” world tour in support of last year’s eponymous greatest hits collection, and in celebration of their milestone 40th anniversary, came to the Celebrity Theatre. The theatre’s circular structure with its round center stage means there’s not a bad seat in the house, with every spot offering a close vantage point. This was perfect for the night’s show because it removed the feeling of barriers from the fans who so love a band that so clearly loves their fans in return.
Before the show started, the audience was promised that it was going to be two hours long, “with no opening act and no intermission,” and that we wouldn’t want to miss a minute — practically an understatement for the night to come. This tour has been a well-earned victory lap for Toto. The audience was not only filled with long-time fans, but also with younger fans who were new to the band; finding them through an occurrence of events starting just as they were making plans for the then-upcoming release and tour.
Toto’s signature song, and most enduring hit, “Africa” features one of pop music’s greatest hooks: “I bless the rains down in Africa.” A perfect storm occurred on the cusp of Toto’s 40th anniversary that reignited them, restored their proper place in popular culture, and reminded everyone exactly how incredible of a band they have always been. In December of 2017, nearly two months to the day before Toto would release their career-spanning greatest hits collection, a young Weezer fan began tweeting the band asking them to cover Toto’s “Africa.” When Weezer finally relented and performed the song on Jimmy Kimmel Live, with a guest appearance from Totokeyboardist Steve Porcaro, a new generation of fans flocked to Toto to discover what so many of us already knew: Toto is one of pop music’s most consistent bands, churning out catchy, crowd-pleasing songs for 40 years.
As soon as Toto emerged on the ramp and took their spots at their instruments at 8 o’clock, the energy they brought to the round stage in the center of the theatre was palpable. The show’s opening number was “Devil’s Tower,” a previously unreleased gem originally recorded during the sessions for Toto IVbut left off. It felt fresh and immediately energized the crowd that was ready to pop in anticipation of Toto’s arrival.
The second song of the set, “Hold the Line,” from their self-titled debut, brought the crowd to their feet for the first of many times in the night. It was during this moment that the stage began to rotate, as they played through a rolling wave of audience members singing the chorus of “Hold the line, love isn’t always on time.” What made this moment truly special was to see the fans in attendance who had been with the band for all 40 of those trips around the sun, singing the song alongside their own children, who are new converts.
Joseph Williams: Lead Vocals
Steve Lukather: Guitar and Vocals
Steve Porcaro: Keyboards
Lenny Castro: Percussion
Warren Ham: Saxophone, Harmonica, and Flute
Shannon Forrest: Drums
Shem von Schroeck: Bass
Dominique “Xavier” Taplin: Keyboards
Keeping with the tour’s mission statement, Toto’s setlist was a journey through their history with stops at every album along the way. “Lovers in the Night,” from their 1982 landmark album Toto IV,was followed by the brand new track “Alone” from last year’s greatest hits collection; a song whose foot-tapping rhythm seated it firmly alongside so many of their classic songs.
After runs through “I Will Remember” from 95’s Tambu and “English Eyes” from 81’s Turn Back, they cut loose on the extended bluesy jam of “Jack to the Bone” from 92’s Kingdom Of Desire. With the crowd energized, and the musicians clearly having a good time on stage, they next went into “Rosanna,” also from Toto IV, and arguably Toto’s second biggest hit. With the stage turning, and the crowd rocking, singer Joseph Williams made stops with each part of the crowd to let them have their moment to sing the infectious chorus “Meet you all the way, meet you all the way, Rosanna, yeah.” They kept the song going well past its album length, so that everyone had a chance to have their moment with the band.
As “Rosanna” closed out, chairs were brought out on stage, and the show took an intimate turn, as members told stories of the origins of a couple of the songs, in a style reminiscent of VH1’s classic series Storytellers. Founding member Steve Lukather told the story of keyboard player David Paich writing “Georgy Porgy,” and though Lukather at first thought the song was a little silly, it ended up being the first vocal he recorded for Toto and one of the staples of their live shows ever since.
Next, keyboardist Porcaro told the story of picking his daughter up from school, on the same day Toto was recording “Africa,” and she was crying because a boy had pushed her off the slide. As he drove her home, she asked him repeatedly through her tears, “Why?,” and though he tried his best to explain to her that the boy probably liked her, she kept asking “Why?” By the time he dropped her off and got back to the studio, her question of “Why?” had given way to a chorus of, “Why? Why? It’s only human nature,” and would turn into the song “Human Nature” written by Porcaro and performed by Michael Jackson on his album Thriller. On this night, they played a lush rendition of the song, with Porcaro singing the words inspired by his heartbroken daughter.
At this point, the chairs went away, and the musicians ran through the thematically-linked 1-2-3 punch of “I’ll Be Over You,” “No Love,” and “Stop Loving You,” before all members briefly left the stage. Meanwhile, touring keyboard player Dominique “Xavier” Taplin, filling in for original member David Paich, played what initially felt like a piano interlude but gave way to a longer, beautiful arrangement that left the crowd in awe. Taplin had previously played in Prince’s last touring band and this solo piano performance made it evident why Prince had enlisted his talents.
“Lion” from 1981’s Isolation was followed by a brief story of writing music for the David Lynch film Dune and trying to make the music sound “as David Lynchian” as they could. The ensuing performance of “Dune (Desert Theme”), so fitting for Arizona’s own dry landscape, showed the song was vintage Toto, even if they were trying to make it sound Lynchian. Lukather talked briefly of their 2002 album Through the Looking Glass, a collection of cover songs by artists that had either influenced the band early on or of whom they were fans. Identifying George Harrison as both his first guitar hero and later his friend, Lukather led them in a cover of The White Album classic “While My Guitar Gently Weeps” that both paid loving tribute and also featured some Toto flourishes, including Lukather adding an extended guitar solo to the end of the song.
After playing “Make Believe,” them gave the crowd the moment they wanted: “Africa.” It should be noted here that song’s reputation is well-earned, as it is indeed truly a pop masterpiece. On a night where it was obvious how much fun Toto was having on the tour, this was the moment you could tell they relished the most. The performance was note-perfect, and set up the final moment of goodwill and love between a band and their audience, as they turned the singing over, giving the crowd one more chance to come together and show their love for Toto. With everyone on their feet, singing and dancing, Toto played on but stepped back from their mics, and the audience took the final chorus. One by one, the founding members left the stage, leaving the touring members to keep the groove going, while the crowd sang on. Percussionist Lenny Castro, who has played with Toto from their early days, took the lead on congas to accompany the crowd.
When Toto returned to the stage for the encore, a rollicking performance of “Home of the Brave” from a 1988’s The Seventh One, the end of the show and the band’s choice for a closer felt like a parting piece of advice to the crowd. Just as Toto has made their 40 trips around the sun, staying true to the ethos they established for themselves on trip number one in 1978, this moment was a reminder to all to keep themselves moving forward with each of their trips, and that we are in charge of our future and our fate with the show’s final lyrics: “You gotta remember, you don’t have to be afraid. You still have the freedom to learn and say what you wanna say. You gotta remember, don’t let ’em take away the land we call the home of the brave.”
PHOENIX — On the cusp of their sophomore album release, Chase Atlantic and opener Lauren Sanderson celebrated at Crescent Ballroom with contagious energy. Touring the US from coast to coast with 29 stops, and their self-produced PHASES set to release on June 28, the alt-pop three-piece have played to sold out venues in Pittsburgh, Nashville, Charlotte, Ft. Lauderdale, and now Phoenix.
“This album feels as though it is truly a work of astronomical measures,” says lead vocalist, Mitchel Cave. “It’s the first time we were able to honestly and openly hone into something so monumentally special and raw without compromising even an inch of our integrity as artists. We’ve developed a completely new sound within a matter of months that has never been tapped into before. Chase Atlantic is now dwelling within a realm of its own; it’s both scarily isolating and blissfully euphoric at the same time. Welcome to a whole new era.”
Lauren Sanderson, an Indiana native with a huge Twitter following of over 100,000 people, gave her first Ted Talk, titled “Stay Positive N’ Stay You”, only a year after graduating high school. Shehit the stage with a bright smile and a burst of energy that set the table for the main course of the night: Chase Atlantic.
During the intermission between Sanderson and Chase Atlantic, the music kept the audience energized and singing along as they played one of Lauren’s songs, to the crowd’s delight.
When the lights went out, the crowd went wild with anticipation. The back LED screens came on, and a fantastic and electrifying drum solo by Jesse Boyle got everybody screaming. A few seconds later, the shouts intensified as frontman Cave walked onto the stage, followed by band members Christian Anthony, Clinton Cave, and Patrick Wilde.
Mitchel yelled to the crowd, “Make some noise if you came with a friend!” The crowd roared and the song “Angels” began a night of jumping and motion that could practically induce seasickness.
During “What U Call That”, “Her”, “The Walls”, “Friends”, and “StuckInMyBrain”, the madness continued with nonstop singing, jumping, and partying like the world was about to end.
As they hit the stage again, following a quick and well-earned interlude, they made the announcement everybody was waiting for: their new album PHASES was just made live a day early, and Cave encouraged the whole crowd to open up their cell phones and download the song right then and there. He even asked to get a thumbs-up once each audience member had finished the transaction. An ocean of cell phone screens lit up the inside of Crescent Ballroom as the download frenzy went on for a few moments, to the delight of the band. Thumbs started to go up enthusiastically and smiles filled the faces of the musicians.
The crowd was rewarded for their instant downloads with one of Chase Atlantic’s most popular and well-known songs, “Swim”, followed by “Love Is Not Easy”, then by Cave and Anthony taking off their shirts suggestively right before their song “Lust”.
Cave’s statement matched that of the opener by saying that “this has been the best show of their whole f***ing ride.”
“Drugs & Money” kept the energy as high as it had been since the opening and continued with “Heaven And Back”, followed by Anthony asking the crowd, “Who feels like a rockstar?”, then pointing towards Cave and telling him, “I know you do,” then playing “Like A Rockstar”.
During their last song, “Uncomfortable”, Cave took a cell phone from the audience to take a selfie with the crowd, then carefully returned it to the fan without breaking or slowing down the energetic performance.
As they walked offstage, they said to the crowd, “We can play a f***ing encore if you want one more!” The crowd chanted incessantly and, over the speakers the band instructed everyone to scream “F*** yeah!” in unison. The crowd again obliged and chanted until the band returned to the stage.
Chase Atlantic closed the show with their last song, “Okay”, commanding the crowd in a way seasoned musicians do. The band coerced the whole crowd get down low, almost lying on the ground, and brought them back up to dance and jump. They welcomed Lauren Sanderson back to the stage for a high-octane rock n’ roll sound with heavy guitar riffs and powerful drum beats, and the night ended by leaving the audience exhausted and excited, as only great and memorable shows can do.
PHOENIX – Christina Aguilera brought her Liberation tour to Comerica Theatre on October 29, 2018. This is the first tour for Aguilera since her “Back to Basics” tour in 2007. The last time she had a show in Arizona was on February 28, 2007, at Jobing.com Arena in Glendale — now renamed Gila River Arena. There have been quite a few bumps for Aguilera on the Liberation tour; two dates were postponed due to illness, and one postponed due to production-related safety concerns at the venue.
Big Boi opened for Aguilera, also known as Antwan André Patton. Big Boi is an American rapper, songwriter, record producer, and actor. He’s best known for being a member of Outkast, an American hip hop duo, alongside André 3000. With Outkast, he produced six studio albums. In July 2010, Big Boi’s solo debut Sir Lucious Left Foot: The Son of Chico Dusty was released. Hip-hop didn’t seem to be everyone’s go-to genre in the audience, but there were clusters of fans that got up to dance to the beat. Toward the end of their set Patton addressed the crowd, “Welcome to the Liberation tour. Where it gets louder after every song!”
It was rumored that Aguilera was to take the stage at 9:15 pm, but that time came and went. The crowd grew restless around 10:00 pm, and some randomly cheered in hopes of making Aguilera appear, while others did the wave to keep their energy alive. Fans were talking amongst each other, concerned that Aguilera wouldn’t show at all. Seventy-five minutes passed by and the crowd booed.
Finally, “5 minutes” popped up on the screen that hid the stage. It switched to a giant face of a clock, with the hands turning counter-clockwise as it counted down the minutes. The concert began with images of Aguilera holding various timepieces. Fans stood when a video played, showing Aguilera in a red dress and a flowered crown, and a little girl wearing the same, wandering through a house as if Aguilera was chasing her past self.
The screen went black, and the word “Liberation” appeared in bold white letters. A dancer came on stage, smelling flowers and then dropping them as she danced, before suddenly running off stage. Then, the word “Searching” displayed on the screen. As the lights brightened, Aguilera stood tall on an elevated stage. The screen and background were of clouds, making Aguilera seem like she was in the sky as she sang the opening lines of “Maria” from her 2018 studio album, Liberation.
Aguilera had a perfect mix of old and new songs in her setlist. The second song was “Genie in a Bottle” from her first studio album self-titled, Christina Aguilera. That lead track from the album was a trendy pop and R&B song in 1999. It peaked atop the Billboard Hot 100, and among other charts in twenty other countries. It has sold over seven million copies, making it one of the best-selling singles in the world. During the song, images of past albums appeared on the starry background as her dancers twirled red umbrellas around her. Aguilera wore a robe reminiscent of Disney’s Mulan, from which her debut single “Reflection” came.
Throughout the show, Aguilera would have videos play before she sang her well-known songs. During the song “Dirrty”, from her 2002 studio album Stripped, Aguilera wore a red and black leather outfit much like the assless chaps she wore in the “Dirrty” music video. On one sleeve was “2018” and on the other sleeve was “XTINA”. Her dancers wore black assless chaps as they backed her up during the song.
Aguilera finally addressed the crowd and explained why she was so late coming on stage.
“I’m here you guys. I climbed and scratched my way here. I had two planes both have mechanical failures and that’s freaking scary shit. I’m sorry. I was like ahhh, what! I was so freaking scared. So the third plane (third time is the charm), the third one came through and I was able to get here on time to be here with you guys, but I made it, I made it to the stage tonight, but it took a little longer. Lord in Heaven. That played some scary stuff on my nerves, and you know, I get some bad anxiety sometimes. That was not fun today. You know, I’m going to unleash some of that on stage tonight. Get it out of my system.”
She laughed and continued, “But it feels so good to be back here after so long and getting to be in some beautiful theaters, oh I’ve never done that before. It’s just so beautiful, so intimate, so wonderful to see you all up close, and personal. It’s just so amazing after all this time. It means so much my loyal, amazing fighters.”
She patted herself on the chest, adding, “I’m not going to cry tonight, but you guys have brought me to tears before. This love has meant so much to me. It really has, you guys. Allowed me to raise my family and be there for my kids because being a hands-on mom is important to me. But also being on this stage, because you know this has been in my life since I was seven. We got some old stuff, older stuff you might remember and we have some new stuff. So let’s see if you guys remember this one.” Aguilera then started to sing lines to “What a Girl Wants” from her self-titled album.
Aguilera sang songs from her past in order, explaining her career. After “What a Girl Wants” she moved to sing some of “Come On Over Baby (All I Want is You)” and addressed the crowd again. Aguilera said, “It’s the show I have right before Halloween too. That’s extra fun. We actually have a Halloween treat for you later. I love Halloween. It’s kinda like Christmas, so it’s insane. And I see some costumes tonight, that’s really cool. Yes. So after, umm, after ‘What a Girl Wants’ and after ‘Come On Over’ I was tired of playing by everybody else’s, you know, the label and suits’ rules, and I had things I wanted to say. It came a time when, you know, my sophomore album I wrote a record called Stripped. — Which just had its sixteenth birthday and it was a very special record for me because, you know, it was the first time I got to tell my stories, talk about some of my pain and struggles and that’s really important, you know, I think that makes the best people and sometimes builds the best character. And I thank you guys for sharing your stories with me; it really inspires me as well and there’s no shame in coming from hard places at all. It means you’re a strong person.
This next song I wrote for the album, there’s quite a few of them, but you know, about standing your ground and in face of adversity or someone says you can’t do something. This song was never a single, but sometimes those are the best ones to me. And I still get a lot of requests for this. This one, you know, no matter what people say, no matter what people tell you what you can’t do. You gotta keep doing you. This one is called ‘Keep On Singin’ My Song,’ sing along if you know it.”
During the songs “Deserve” and “Accelerate”, both from the Liberation album, Aguilera and her dancers wore S&M-styled outfits and mimed an occult-like ritual at a long table with candles that they danced on. One male dancer had on a spiked mask, and the other a pig’s head. The female dancers had different masks covering their faces. Aguilera wore a bondage headpiece that went from the top of her head and down her nose with a bejeweled black top, fishnets, and a thin black skirt. After “Deserve” a quote appeared on the back screen. It read: “‘If you’re going through hell, keep going…’ –X’cess”. During the song “Accelerate”, Aguilera introduced her dancers, who each had their own moment to showcase their skill on the table in the center of the stage.
For “Lady Marmalade” (a LaBelle song famously covered by Aguilera, P!nk, Mya, and Lil’ Kim for the Moulin Rouge! soundtrack) Aguilera wore a white coat, and her dancers matched as they circled around her with ivory fans in their hands. A video of a close-up of Aguilera in red played on the backdrop.
Aguilera’s next songs were “Ain’t No Other Man” from her 2006 Back to Basics album, “Say Something” by Great Big World, “It’s A Man’s Man’s Man’s World” a James Brown cover, and “Fighter” from her Stripped album. Following each video, Aguilera would change her outfit to fit the mood of the song.
After “Fighter”, the videos stopped working. Aguilera came out with a mic in hand. “Sorry,” she told the crowd. She looked behind her to her band. “Are you ready for me?” She laughed, “Sorry. I know. I’m ready for you and you’re ready for me.” The crowd cheered for her. “Thank you very much,” she said, with a big smile. “I told them to cut to a certain video and it’s not playing right now and I’m upset about it. So I’m sorry. Oh well. The show goes on and I’m here. It’s been an insane day.”
A fan in the crowd yelled “I love you” and she replied, “I love you too. That’s why I’m here, but not without some anxiety. I’m kind of a nervous flier, but it’s Halloween so it’s a special time. Thank you guys for coming out tonight. And your patience for the last ten freaking years. Thank you so much. But my soul was suffering, my soul was hurting and it sometimes takes us a while to figure it out, and I was scared of having children. ‘How am I going to juggle this?’ And also for them not to feel like they are living in my shadow and stuff like that.
Honestly, it’s been such a great experience, and to feel your love and give this to my children as an experience as well. Show them what mama does for a living and what I do for the love. It brought them into this world. Thank you so much for giving me an opportunity to get back on the stage. This is for all of you guys. For all my fighters. It’s a weird night, but whatever. So this song is appropriate.” Aguilera than started singing “Beautiful”, and fans sang along waving their hands or phones in the air.
Aguilera ended the show by bringing a fan onto the stage to share her story. The woman talked about how Aguilera inspired her to be herself and how Aguilera’s music helped when life was dark after addiction and coming out as gay. She has since found a woman who is like a mother to her and is eleven years sober. She told Aguilera that, due to the addiction, she couldn’t remember Aguilera’s concert she last attended back in 2007, and she always thanks Aguilera or adds a song lyric in her grad papers. Aguilera was clearly touched and hugged the ladies, saying, “Thank you” and “I hope you remember this concert.” The last song of the night was “Let There Be Love”. The back screens turned over and became rainbow lights, while everyone on stage danced like it was a celebration.
The concert ended just a little past midnight, with delighted but tired fans pouring out of the venue. Despite the delay, video problems, and the bass being too loud to the point of sometimes cringing in pain, most fans left happy to see Aguilera on stage after all these years. She’s a fighter and she’s a pop music legacy not to be missed.
Featured Photo (top) by Kevin Mazur/Getty Images for Live Nation
PHOENIX – Covet, touring with special guests and friends HOLY FAWN and Vasudeva, bloomed in a magnificent way at The Rebel Lounge and shared their sublime sounds during the hottest period of the unrelenting desert summer. Luckily, nobody was a pile of goo by the time the show started.
This esoteric collection of musicians was a sight to behold, sharing a fascinating mix of influences from genres such as post-rock, math rock, ambient music, alternative rock, indie rock, experimental sounds, and many more. While stage banter and lyrics may have been at a minimum, fans certainly have a lot to talk about after witnessing this stunning bouquet of musical aptitude.
Kicking off the evening was local band HOLY FAWN, self-described as “four creatures making loud heavy pretty noises.” They certainly lived up to their description, as the noises varied from gentle electric sounds to earth-shattering riffs and screams. They were also the only band of the evening to feature some vocals in their songs, but for the most part, they fit right in with a heavy focus on unique instrumentals.
HOLY FAWN began their set with some ambient music playing over a dark stage covered in laser lights. The darkness and the soothing sounds made for some great ambiance, but soon it was time to rock. Without really announcing themselves, HOLY FAWN made their way to the stage from the merch booth area — not a long walk at all in the cozy, intimate Rebel Lounge. One member said “alright, let’s do this,” as they prepared for the show.
As HOLY FAWN began to play along with the ambient music, their energy slowly rose until climaxing with some epic, loud sounds. The vocals were hard to discern in The Rebel Lounge, but the music was still enjoyable. It was all about the instruments, with some screaming thrown in every once in a while for good measure.
Vasudeva took the stage shortly after HOLY FAWN, and they brought a different sound to the room. Their approach is purely instrumental, and each band member can play their instruments brilliantly. Watching all three of them on stage is a beautiful sight, and it is clear they love playing music together. Not only is their music beautiful and enjoyable, but so is their presence on stage. Their commitment to the craft is hypnotic.
Vasudeva spent most of their time on stage rocking out and sharing their captivating sounds with the crowd, but they were sure to add a quick “thank you” after each song was over. They were also sure to throw in a few other tidbits, such as “this is dope,” “this is so cool,” and “righteous.” They were also sure to thank Covet for asking them to go on tour together. Vasudeva said, “Our friends Covet are on after us. Give it up for them! We’ve been touring with them for about a week now. Wish it was longer.”
Each member of Vasudeva was really into the music and the performance, and they finished their set with an energizing finale. While many people may have come to The Rebel Lounge to see Covet, Vasudeva certainly gave them their money’s worth. The crowd was prepped for more scintillating instrumental music, but it was clear that everyone had immensely enjoyed the show so far. Unfortunately for Vasudeva fans, merch was sparse; as they said, “we’ve been on tour for a while, so we’re running low on merch. We have 2 records left. It’s crazy.” That didn’t stop people from rushing to buy things later, though.
At long last, it was time to effloresce. Similar to how HOLY FAWN began, there was ambient music playing — a prologue to the epic odyssey that was about to commence. Covet took the stage by gentle storm, with David Adamiak coming out to join the ambient music and add some bass currents to the mix. Shortly after that, Yvette Young and Forrest Rice joined him on stage to a ton of applause.
As Covet says, they are “just 3 people making music” — this is the best way to describe their performance on stage. Rather than one person taking center stage, with the others supporting them, Covet is a group of musicians who somehow share the spotlight evenly. What could easily devolve into a discordant mix of conflicting instrumentals becomes a truly majestic melody.
Rice, the drummer, truly rocked The Rebel Lounge into oblivion. His performance was spectacular, and by the look on his face, he loved every second of it. He gave the music so much energy, and his massive smile could pierce even the darkest of sorrows. Meanwhile, Young was in the zone, hyper-focused on plucking the strings on her collection of beautiful, unique guitars. Tying it all together was Adamiak, traipsing around the stage with his bass guitar, really getting into the music and the moment.
Young has made waves in recent years with her unique style of playing the guitar, and she has also recently been featured in a few interesting articles that reveal some insights into her artistic powers. While she plays many instruments, the way she plucks the guitar strings is quite unique; the sounds this technique creates are fascinating and entrancing. Not only does this show off her sheer mastery of guitar, but her immense creativity as well. It is no wonder she has been called a true “Renaissance woman” by many.
Adamiak brought his own creative spin to the show as well. While he merrily wandered all over stage, he made sure to engage with the audience whenever possible. If he didn’t make eye contact with every single person in The Rebel Lounge, it must have been close! He also seemed to have a great time making silly faces at people, as well as jumping out at the crowd from time to time to really rock out. At the end of the show, he made sure to dispense plenty of high fives to those at the front, too! Rice ran up to join him in the high fiving at that point, so there was plenty of love to go around.
Covet had such a pleasant presence on stage and infected the entire crowd with their joy. Along with spreading the music love, they also shared some beautiful stories and useful information. They referred to HOLY FAWN and Vasudeva as their “ultra homies,” told a story about the importance of staying hydrated, and thanked the audience profusely for joining them that evening. As Adamiak said, “thanks for staying out so late with us, on a Sunday night of all nights.” He repeated similar sentiments at the end of the show.
At the end of the show, Covet performed “Howl” from their new album effloresce, which just came out on July 13th; this song is a great way to send a crowd on their way, as it is full of phenomenal energy truly worthy of a grand finale. After, Adamiak said “you guys make us really happy” and mentioned they’d all be by the merch later if anyone wanted to say hi. However, the crowd chanted “one more song” for a brief timeafter they had left the stage, so the grand finale wasn’t so final after all.
They came back on stage, and Adamiak said “y’all are a bunch of sweethearts, thank you.” As he was letting his hair down, he added, “we’re gonna do one that doesn’t require hair ties.” Then, “on a very serious note,” he introduced the song “Ares” as their actual final song for the evening. While not quite as thunderous as “Howl,” it is still a superb way to end a show.
When the show was over, Covet, Vasudeva, and HOLY FAWN were all hanging around the merch area waiting to greet fans, sign merch, and say some farewells. For fans of HOLY FAWN, the farewell isn’t so long either — earlier in the show, Adamiak also added that HOLY FAWN will be having an album release at The Rebel Lounge on September 21st, so mark that one on your calendar!
Photos by Rodrigo Izquierdo
Covet, Vasudeva, & HOLY FAWN – The Rebel Lounge 7-22-18
PHOENIX —SHE is a dark horror comedy film that was produced in the Valley by Gravel Road Production and lead actress Hannah McKay; it will premiere on July 5, 2018 at a private screening at Filmbar. The 90-minute film has already stirred some controversy, having been described as a jarring film about female empowerment. The plotline involves an Airbnb owner, who uses her sexuality to manipulate her male guest into doing her evil bidding.
(Viewer discretion is advised – some scenes may not be suitable for all audiences.)
Q & A with Film Writer/Director Will Goldstein
SHE’s Writer and Director, Will Goldstein, spoke with Burning Hot Events about the film and it’s impact:
What is your background in filmmaking?
I’ve been making films since I was a teenager. I studied film production as an undergrad at U of A, then got a Masters at USC. Since then I’ve directed or produced a handful of indies that you can find on Amazon.
Your IMDB profile shows credits dating back to 2010 – How long have you been doing it?
The first short films I made that actually got shown publicly were screened as early as 2010, so that IMDB timeline makes sense.
What inspired the plotline for this film?
My original goal was to write a horror movie that took place in one location, and had a dynamic female lead. When I set out to write, the sexual assault scandals had been all over the news and I think that subconsciously influenced the tone and narrative arc of the film, and it became less of a horror movie and more of an outrageously over-the-top dark, dark comedy.
In your opinion, what are some films that would be favorites of someone who would enjoy SHE?
Ah, cool question. The film that inspired me the most is a bizarre Greek movie called Dogtooth, though fans of that film are few and far between. It’s a lot to stomach. A more mainstream comp might be Kill Bill, if it was directed by the Coen bros. And that’s on SHE’s ‘best’ day.
What do you think makes this film different from others in the same genre?
I’ve been personally struggling with the film’s genre. I think that’s what makes it so unique, though. It’s an amalgam of a few genres.
How long did it take to write the script?
About 3 weeks.
What style of cinematography was utilized for this film?
It’s a very raw, verite style. A good comparison visually might be the films of Kathryn Bigelow.
Some would describe the Phoenix filmmaking scene as a desert. Why do you think that filmmaking has been underrepresented in our arts & culture scenes?
There’s a ridiculous amount of filmmaking talent in Phoenix. The issue is, in my opinion, that these artists don’t have a significant mouthpiece in the local media. For instance, azcentral only employs film reviewers that review theatrical fare. There’s no appointed person in a position to cover local productions.
How has the film provided opportunities for local talent, and in what ways do you think the film will help the production communities in Phoenix in the future?
This film was made entirely by local talent, excluding the sound editor. The producers, actresses, actors, and crew are all Phoenicians. I’m hoping that, with this film, which will definitely play as controversial to a variety of audiences, we’re able to galvanize the media to take a more active look at local film productions.
Why did you choose Filmbar for the premiere?
Filmbar is the best. It’s the indie film hub of the community. They have a ravenous spirit for the weird and avant garde. And our film is definitely that.
What importance do you think a venue like Filmbar plays in our society?
Indie theaters like Filmbar are so few and far between outside of major cities like LA and NY, and that’s unfortunate because they’re so necessary as a distributing outlet for artists that are taking chances and making challenging films that aren’t afraid of alienation at the cost of vanity.
Will the audience have the opportunity to meet you and/or the cast at the premiere?
Local band Jane N’ The Jungle provided the title track for the film. Will they be doing anything for the premiere?
They’ll be in attendance.
In the past, you worked with the band when you created their music videos for “Wild Side” and “Killed Someone”. What made you feel that JNTJ would be a good fit for the film’s soundtrack?
JNTJ are genius at disguising contentious subject matter as fist pumping, radio friendly anthems. I think that’s really brilliant in a subversive way, and that’s primarily why I think they’re a great fit. Subversion.
In the current climate of the entertainment industry with the #metoo movement, and recent killings that have been tied to self-proclaimed “incels” (involuntary celibates), some individuals and groups believe that women use their sexuality as a weapon. In the renaissance era, paintings were made of women having relations with demons and animals because female sexuality was so heavily feared. Can you explain how you think the film is progressive in terms of female empowerment? And how do you think viewing the film would impact someone who shares those viewpoints on female sexuality?
I think everyone is going to have differing opinions on this front, and part of the construction of this film is to incite a reaction, whether positive or negative. Without giving anything away, I will say that the film subverts the traditional sociological role of ‘agency,’ as it’s respective to gender.
To your second question, I honestly can’t say. I can’t purport to know how anyone will react specifically, but we’ll find out soon enough.
The lead character is shown to be calling the male guest (Troy) a “pussy” on multiple occasions. Does the film shed light on the topic of toxic masculinity?
I think it does. I was aiming for a meaner, satirical display of toxic masculinity.
Can you tell us more about what other/related controversy has been triggered by the film?
I can tell you that it involves subject matter that will have some people heading for the doors.
Do you feel that controversy can bring about anything positive?
Absolutely. In the jaded world we live in, I think controversy has to be stoked to even start a debate.
Would SHE pass the Bechdel test?
Actually, it would. Barely. But it would.
It’s admirable that Hannah McKay both served as a producer, and lead actress of the film. How did McKay initially become involved in SHE, and what lead to her to wearing both hats in the production?
I would say it’s more than admirable. The role of producer is demanding enough itself. If you add to that a leading role, with a character that has pages of dialogue that not only has to be memorized, but delivered so precisely take after take for hours a day, I don’t think ‘admirable’ is the most apt term. Maybe ‘superhuman.’ I dare any actress or actor to try to pour themselves out emotionally for 6 hours straight while simultaneously worrying about the status of film permits, actor’s schedules, and whether or not lunch will be prepared in time.
I met Hannah on the set of JNTJ’s “Killed Someone” video shoot. She played the lead in that video. She’d had no prior acting experience. I thought she had a natural, honest demeanor on camera, and that’s such an unbelievably difficult trait to come across, so I asked her if she’d be potentially interested in acting in a film. Luckily, she was.
Did McKay have a lot of input on how her character, Jane, was portrayed?
When you’re working with actors, you’re collaborating. The script version of the character takes on a new form in a new body, and together you try to make this new entity as honest as it can be. So of course that requires an open mind, suggestions, and encouragement.
How did the actresses and actors influence the final product?
Funny you ask that. I think the actresses and actors are the reason this film evolved from a horror into a dark comedy. And it’s so much better because of that.
Are there any opportunities left for local artists to be involved with SHE?
Definitely. I would love to work with a variety of local musicians on the soundtrack. JNTJ did a cover song that works perfectly in the film, and I’d love to get other local acts on the team if there are any willing to collaborate.
What is the biggest piece of advice you would give to someone that dreams to be a writer and/or director?
Learn all the “rules,” and then do whatever you can to break them.
What is your favorite inspirational quote?
“I’ll rebel against powers and principalities, all the time. Always, I will.”
– Paul Thomas Anderson
Is there anything else you’d like to tell us about SHE?
Don’t watch it.
Phoenix band Jane N’ The Jungle does incendiary title track for brash indie film SHE
Popular local PHX band Jane N’ The Jungle is expanding their repertoire to film soundtracks, covering Aloe Blacc’s “The Man” as the title track for the contentious local indie flick, SHE, that has been stirring debate here in the Valley. The song was selected by the film’s director and frequent JNTJ collaborator, Will Goldstein.
“The original song is sung by a man, with male-dominated lyrics. When we perform it, the song takes on an opposing point of view,” says Jordan White, the band’s front-woman.
At a time when sexism has been a featured topic during the #metoo movement, the irony of a woman performing such a male-centric song is intended to spark discussion about a male-dominated culture that undermines female power. The raw, stripped down performance by Jane N’ The Jungle, has a haunting grit that embodies the controversial film.
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
PHOENIX – Arainy Valentine’s Day evening in Phoenix, Arizona – what a perfect night for one of the most bizarre acts to come through town. Moriah Rose Pereira, who goes by the name Poppy on the internet, is a multi-talented internet phenomenon. A young veteran in dancing, singing, acting, and creativity, Poppy was able to bring her peculiar act to the desert. Fans and onlookers of all shapes, sizes, and types gathered together at the Crescent Ballroom to see the internet come to life and behold the spectacle that is the “Poppy.Computer Tour“. It certainly did not disappoint.
What Exactly is Poppy?
Believed to be an android by many, acult leader by some, and an all-around weirdo by “normies” on the internet, Poppy found massive notoriety over YouTube after releasing her infamous video “I’m Poppy,” which can be viewed here. Produced with the help of Titanic Sinclair, another well-known internet phenomenon, musician, and director, Poppy was quickly able to gain the attention of the modern world, mostly through her series of outlandish videos.
She eventually turned this YouTube sensation into an effective tool in the pursuit of her ultimate dream: becoming a pop star. In fact, Poppy even won a Streamy Award in late 2017 for “Breakthrough Artist.” However, it would likely be more apt to label her an anti-pop star, as her work seems to revolve around calling out the absurdities of contemporary popular culture, pop music, and fame in the modern world.
While Poppy originally claimed not to be in a cult a little over a year ago, with Titanic Sinclair vouching for the accuracy of this claim, the “Poppy.Computer Tour” seemed to prove otherwise. This humorous take on possibly spinning criticism on its own head and turned it into another powerful tool in their digital and cultural arsenals; Titanic Sinclair and Poppy seem to embrace this cultish mentality, and they certainly took it and ran with it.
This cultish theme led to some fabulously interesting and entertaining moments during the show; from the computer-renderedspeech synthesis-style narration, to fans “drinking the Kool-Aid,” this cult-themed joke certainly balances itself on a thin line between satire and reality. Nonetheless, the screaming fans—aka “Poppy Seeds”—and fascinated observers did not seem to mind either way. After all, is this not the essence of modern popular culture? Undying fealty to those famous people all fans have sworn allegiance to.
The “Poppy.Computer Tour” is Poppy’s first time visiting real people as a musician, and it was originally planned to visit only 20 cities across North America, but likely due to its greater-than-expected success, the tour was expanded to include a stop in London, Tokyo, and 15 other stops in North America. Poppy and Titanic Sinclair planned this epic adventure in order to promote Poppy’s first official album, Poppy.Computer.
The most interesting aspect of this tour is that, with the exception of her Toronto show, there were no opening acts. Instead, Poppy substituted the time slot traditionally reserved for an opener for one of the characters off her YouTube channel – Charlotte the Mannequin. This same character also happens to be the main antagonist from Poppy’s new YouTube Red film, with a potential to become a series, titled I’m Poppy.
Poppy also traveled with two amazingly talented backup dancers, Alec and Jason. These two stole the spotlight during many points, yet they always made sure to give it back to Poppy when the time was right. They were their to support and augment her, after all, with their keytar dance moves, air drums, and even their own take on what looked like a Thousand Arms Dance. Complete with tutus, bleach blonde wigs, and face masks, they offered an unsettling yet oddly charming addition to the stage.
Charlotte the Mannequin
As fans eagerly awaited the unexpected, uncertainty swirled in the air. Would there be an opener? How would they start the show? What, exactly, was this going to be like? Those who knew Poppy from the internet likely had all sorts of wild ideas, and “Africa” by Toto was playing on loop as they contemplated the imminent future. As the song itself has become its own infamous meme, it seemed only fitting to fill the void of time while everyone waited for the show to start.
Charlotte Quin, or Charlotte the Mannequin, sat alone on the stage, aside a MacBook DJ setup and between two massive screens. She opened the show with a pre-selected audio set. While she isn’t the most animated character, she does have her very own YouTube channel where she occasionally copies Poppy’s ideas, makes her own versions of Poppy’s songs, and otherwise wreaks havoc on Poppy’s online presence. She also happens to have a diverse but excellent taste in music, sampling and playing songs of all genres and eras. There was certainly something for just about everyone in her playlist, and her transitions were seamless.
Songs and artists featured during this most interesting of opening DJ acts include: Daft Punk, Baha Men, Missy Elliot, N.W.A., Vanessa Carlton, TLC, Cake, Abba, Ke$ha, The B-52s, Of Montreal, Talking Heads, Madonna, Rihanna, LMFAO, Justin Bieber, Billy Joel, Britney Spears, Lou Bega’s Mambo No. 5, Jimmy Eat World, Electric Light Orchestra (ELO), Dr. Dre, Cyndi Lauper, Ed Sheeran, Nena’s (Original German) “99 Red Balloons”, and Miley Cyrus.
Throughout this playlist, symbols resembling every meme about the Illuminati played, mixed in with some of the visuals from Poppy’s videos—most notably, “This Birdcage” and “Where is Poppy?”, a video made in collaboration with entertainment company and internet phenomenon Super Deluxe. Strung throughout the set were also sound clips from various Poppy videos, most notably increasingly-frequent statements of “I’m Poppy.” Charlotte’s own statements of “Hello Internet“ and how she is going to be the “Queen of YouTube.” It also featured some sound clips of Poppy and Charlotte discussing the Bible, internet meme sensation Ain’t Nobody Got Time for That, and an old Blockbuster commercial.
Towards the end of Charlotte’s set, there was some banter between her and Poppy, ending with Poppy stating she was “Uncomfortable,” with Charlotte replying, “Uncomfortable? I’ll show you uncomfortable!” Poppy called for “Security!” As the final two songs played, the unusual opening act ended with the question, “Are you ready for Poppy?” playing over and over. They then played just about every ending theme ever, and random noises or themes, from things such as: The Simpsons, Castle Rock Entertainment, Windows ME, Viacom, Paramount, 20th Century Fox, and so on. It was hard to keep track of since they were only samples given in rapid succession, but the result was immensely entertaining.
To capitalize on this hype, Titanic Sinclair came out on stage just before the show began. He presented what was most likely a delicious Poppy beverage (Kool-Aid) prior to sampling some himself. He then set down the pitcher and prepared the crowd for initiation. Warning messages popped up on the screens, and then fans were inducted into the Cult of Poppy over three different Programming Sequences, complete with all the necessary digital and broadcast noises to make it just weird enough. Titanic Sinclair proceeded to pour cups of the delicious Poppy beverage during this time.
With all the grace granted to an android, Poppy slowly and quietly proceeded on stage with her two gender-ambiguous backup dancers, taking her place center stage with her back facing the audience. Her fans were ravenous, but Poppy is the master of timing and patience. Once the appropriate time came, she began to perform her iconic song and first single from her new album, “I’m Poppy“. She followed this up with “Computer Boy,” the second single from her new album.
She continued the weirdness by asking the audience, “Do you love me?” She then proceeded to hand out her delicious Poppy beverage, passing out Kool-Aid to a few people in the front row. Titanic Sinclair and the backup dancers also helped with cup distribution. It was a beautiful, if not strange, moment.
Later on, Poppy also brought up the LOVE METER on the large screens, and her backup dancers hyped the audience up – everyone screamed, cheered, and clapped as loud as they could in order to fill the meter up. It turns out that the crowd does, in fact, love Poppy, as they were able to fill the meter up completely. What a way to spend Valentine’s Day!
Poppy performed many of her popular songs from the new album, including “Let’s Make a Video,” “Moshi Moshi,” “Interweb,” and “Bleach Blonde Baby.” The music videos, styles, and live performances are all uniquely performed and designed, and they are all quite reminiscent of Japanese Pop Music (J-Pop).
Kyary Pamyu Pamyu (KPP) especially comes to mind when exploring Poppy’s musical styles and approaches – especially her songs “PONPONPON,” “CANDY CANDY,” and “Invader Invader.” The latter two of these are especially reminiscent of Poppy’s live performance, particularly regarding her backup dancers; CANDY CANDY features what is likely a male impersonator of KPP, dancing behind her with a wig in her same hairstyle and a mask that is an anime version of her face. In Invader Invader, she has many gender-ambiguous backup dancers as well. There certainly seems to be a lot of inspiration here from J-Pop, making Poppy’s performance a great mix of American and Japanese pop music styles.
Another marriage between pop styles can be seen with French pop artist Yelle, who is also famous for her interesting approaches to music, live performances, and music videos. While the connections aren’t as clear as between Poppy and KPP, Yelle’s upbeat and interesting approaches to pop culture certainly are sights to behold. Yelle’s hit song “Ba$$in” is particularly apt, as well as “Comme Un Enfant,” “Safari Disco Club,” “Complètement fou,” and “Ici & Maintenant.” If anything, her unique dancing styles are certainly comparable to Poppy’s own take on dance, which was Poppy’s first love.
In the middle of Poppy’s performance, she played her video “3:36“ and followed it up with some live additions: “Should we end the show early?” The audience, of course, said no, and she replied, “Okay.” However, it would not have been much of a surprise if she had ended it early.
Throughout the show, Poppy made excellent eye contact with just about everyone in the crowd. She was excellent at engaging people in that way while still maintaining her android-like, robotic façade. At one point, she did go through the front row and gave high fives or held hands, briefly, with as many fans as she could. Her backup dancers also, at one point, took 2 phones from fans in the crowd and took some photos of Poppy from their perspectives on the stage. It is clear that Poppy and company are trying their best to maintain their fans’ loyalty and love.
As the end approached, Poppy asked, “Can I be your Valentine?” The crowd, of course, agreed with great enthusiasm. However, all was not perfect, as Charlotte had to make her final attempt of the night at overthrowing Poppy – her voice popped up over the speakers, as she had just been sitting there, quietly, on stage throughout Poppy’s performance.
“Can I sing a song?” Charlotte asked. “You’ve already had your turn,” Poppy replied. She then requested for the crowd to join her in chanting, “Bye bye, Charlotte!” Apparently, at some point, Charlotte’s head was removed, so it is clear the crowd was quite serious about quieting her pleas for fame and recognition.
Poppy’s penultimate song for the show was her song, “Where’s My Microphone?” The audience, backup dancers, Titanic Sinclair, and Poppy all joined in on worrying about where Poppy’s microphone was, but everyone was quite relieved when she realized it was in her hands the whole time! “Oh, there it is!”
Finally, the time came for Poppy’s last song, “Software Upgrade.” She gave it her all, and her energy was quite infectious. Most in the crowd were having such a great time singing and dancing along, with a few wallflowers hanging around and enjoying their interesting Valentine’s Day adventure. Poppy finished the song by assuring everyone that she loved them prior to departing the stage as mysteriously as she had appeared, and the crowd chanted and screamed for an encore.
Unfortunately, that encore never came, and it ended up being an early evening for Poppy fans and Crescent Ballroom guests. Charlotte the Mannequin had played her set from about 8pm to 8:40pm, and Poppy performed from that point until 9:30pm. It was a short show, but it can be said this was certainly not the most traditional concert or musical experience anyway. While it would have been nice to see Poppy perform a couple of her original songs prior to the Poppy.Computer album, such as “Money“ or “Lowlife,” it was still an immensely surrealistic and enjoyable experience to see such an internet phenomenon in real life.
Overall, Valentine’s Day with Poppy at the Crescent Ballroom was an interesting yet amusing way to spend an evening, and it is clear Poppy will be going places. Her partnership with Titanic Sinclair has, so far, been wildly successful, and it will be interesting to see where they go and what they do next. If they do choose to come back to Phoenix, however, it might be best to visit another venue – Crescent Ballroom was a bit too small for her sold out show, and the stage is too low for everyone in the audience to see the screens fully. At times, it was even difficult to see the backup dancers or Poppy herself, which was disappointing during certain moments. This was a show one did not want to miss a moment of – so many small details were hidden throughout.
One thing is for certain, though – the lack of encore and the resuming of “Africa” by Toto at the end of the show was the greatest troll moment of all. Disappointing and unexpected, yes, but one cannot help to smile after such a thoroughly bizarre experience.
News & Reviews from the Fiery Mosh Pits of Arizona