Tempe, AZ — The Darkness returned to Arizona for a triumphant show as they celebrate the 20th anniversary of their debut album Permission to Land, and the special reissue collection that was released the day prior to the show: Permission to Land…Again. They last graced the Marquee Theatre stage in March of 2022 on their “Motorheart” tour. This October 2023 show was the 4th date of the US leg of the world tour celebrating their debut, and they played a setlist full of their biggest hits from that album and beyond. The Comancheros, a country/southern rock band from Missouri, opened the show with an infectious energy that warmed up the crowd for the high-octane headliner.
They began with their powerful song “Mississippi”, which electrified the room, and they followed up with a string of other hits, including “Long Hair”.
The band asked the audience if there were any beer drinkers and hellraisers in AZ while holding beer cans up in the air, then drank it up and kicked into their song titled “Beer Drinkers”.
They continuously engaged with the audience throughout their set and completed it with the songs “We Own the Night,” “George Jones,” “Cowboy Song,” “Drum/Gun/Chariot,” “Shoot Me Down,” and “Bird/Time Machine”.
On October 2nd, just five days before this show, The Darkness announced the launch date of their feature-length documentary, Welcome to the Darkness, that adds to their extensive discography with seven studio albums since their start in the early 2000’s. The film will arrive in cinemas for one night only on November 9th, and will then be available on Blu-Ray and digital download on December 4th.
The Darkness kicked off their set with a high-powered rendition of “Black Shuck.” Fans were immediately singing along and dancing fervently. The band followed that up with a string of their biggest hits, including “Get Your Hands Off My Woman,” “Growing on Me,” and “The Best of Me.”
Lead singer Justin Hawkins was in top form, delivering his vocals with power and precision. He showered the audience with guitar picks, ensuring the youngest fans got their concert memento by stretching and throwing as far as he could to get closer to them from the stage.
He had the crowd in the palm of his hand with his witty banter and stage presence. Guitarist Dan Hawkins, bassist Frankie Poullain, and drummer Rufus Taylor were also on fire, playing with some truly impressive musicianship.
During their performance, the engagement with the audience was ongoing, including a sing-a-long with a member of the audience, also named Justin (with Hawkins grinning after the audience member shared his name). The frontman also saw a group of 4 British fans in attendance, all dressed up in Union Jack patterned suits, with their companion in a full American flag outfit, wearing a bald eagle head mask that got thrown onto the stage. The drummer put it on and wore it while playing an entire song, before throwing it back to the audience member that threw it to the stage.
They closed out their set with a rousing performance of their signature song, “I Believe in a Thing Called Love”. The crowd went wild, with smartphones raised from almost everyone in attendance, prompting Justin Hawkins to stop and playfully ask the audience to ‘place themselves in their place, and to not record the performance’ before starting back up and, delighting the audience with a fantastic show, giving it his all.
For their encore, they emotionally played “I Love You 5 Times” before the vocalist announced they had one song remaining, and with a mischievous grin stating, “but is a pretty f***ing long song.” The Darkness closed the set with “Love on the Rocks with No Ice”. The shower of guitar picks continued as the band did their goodbyes, with no pick left behind.
Overall, The Darkness put on an incredible show at Marquee Theatre. They played a setlist full of their biggest hits and deepest cuts, and they delivered a performance that was both energetic and entertaining. If you have the chance to see them on this tour, you will be lucky to witness one of the best live bands in the world, with (at the time of publication of this article) just 9 more dates left for the US leg, and 36 upcoming world tour dates before coming back to the US in 2024 for the Monsters of Rock cruise festival in Miami, Florida.
If you’re a fan of rock music, then you need to see The Darkness live, and they’re sure to put on a show that you’ll never forget. Make sure to catch a screening of their feature documentary on November 9th, or look for it on Blu-Ray on on its December 4th release date.
PHOENIX — Before Flogging Molly’s concert at The Marquee Theater – with support from Vandoliers and Russkaja – even began, there was a vibe in the crowd different from anything seen the last time concerts were a normal occurrence, and it led to what made this show so special. You see, back in those waning, naïve days of January and February of 2020 – before our lives were collectively turned upside down, leaving us wondering if any semblance of normalcy would return, let alone gathering en masse to enjoy live music once again – we could see live shows whenever we wanted. Though we may not have realized it then, we took live music for granted.
No, the crowd on Tuesday night at the Marquee was buzzing with a noticeable sense of joy, community, and most of all, gratitude. Strangers happily chatted away with each other when the house lights were still on and an array of punk and classic rock was piped through the P.A. Conversations centered so much on “I was supposed to see… until…” and many specifically mentioned having tickets to see Flogging Molly in spring of 2020. No one was taking this moment for granted, because so much was survived to get to this point.
Openers Vandoliers hail from Dallas, Texas and were described on the hype sticker on the vinyl pressing of their 2019 album Foreveras sounding like a cross between Boston Irish punk legends Dropkick Murphys and Arizona’s own Calexico. With so many physical miles between Boston and Tucson and just as many musical style miles between the two as well, the description was intriguing. At the start of their set, the description immediately made sense. With a similar style of rhythm section, made up of bassist Mark Moncrieff and drummer Trey Alfaro, combined with guitar and aggressive vocals from Dustin Fleming, the Murphys-punk influence was evident. What made their sound so unique, though, was the addition of fiddler Travis Curry and multi-instrumentalist Cory Graves who combined to bring a southwest seasoning on top of the Irish punk brew.
Their seven-song set was fast and furious, punctuated with shout-along should-be classics like “Cigarettes in the Rain,” “Sixteen Years,” and “Troublemaker,” which should be the band’s anthem and the anthem for anyone who were told early on that they’d “be a problem” in life. They closed their set with a cover of Scottish rock duo The Proclaimers’ classic, “I’m Gonna Be (500 Miles),” recasting the early 90’s alternative sing-along smash as a rowdy West Texas bar band end-of-the–night, last-call rager. If there was a person in attendance not singing along throughout, they were not easily spotted amongst the packed crowd.
Austria’s Russkaja, self-described as “Russian Turbo Polka Metal,” played second. With a foundation of traditional Russian music, they layer it with a confluence of styles, ranging from punk to ska to metal to, yes, polka, all rolled into a wholly unique sound. Founding member and vocalist Georgij Makazaria leads the charge alongside bassist Dimitrij Miller, guitarist Engel Mayr, violinist Lea-Sophie Fischer, Mayr, potete player Hans-Georg Gutternigg, and drummer Mario Stübler, with each member contributing their own particular stitch to their vast tapestry of sound. Mayr’s guitar playing shifted effortlessly between ska and metal, not just across the entire set, but even within one song.
The highlight of their hard-charging set, though, was not even music, but a somber moment midway when Makazaria and Miller stood together and spoke to the crowd not as musicians but as citizens of two countries. Makazaria is Russian and Miller is Ukrainian and together they condemned the war and called for peace and love.
“The people of Russia and Ukraine have to fight against each other, and it is terrible. This is the politics that is destroying peace. We condemn this fucking war. We are against this war! Instead of battle stations, we bring some music equipment and make a festival. We will not give the world a chance to destroy our music!”
It was as powerful, if not more so, than any note played or any lyric sung, and it underscored a theme, intentional or not, that was playing throughout the evening: through disease and war and a score of so many other horrible things plaguing our world now and in the future, we are all very lucky to be together sharing a space and letting live music nourish our souls.
What was once an annual tradition, Flogging Molly’s St. Patrick’s Day Tour, like so many other tours, was put on hold, going on a two-year hiatus, save for a St. Patrick’s Day show done via Zoom for fans last year. While their concerts are always a must-see event, they performed with a renewed vigor. Opening the show with “Drunken Lullabies,” from their 2001 album of the same name, there was an extra punch to every note and every lyric.
Hitting some old favorites early in the set, that theme noticed so early in the night amongst the crowd chatter re-emerged as frontman Dave King touched on the feelings so many of us had surviving the past two years, with the emotional struggles and low-low points before launching into “The Worst Day Since Yesterday” from 2000’s Swagger, which immediately took on a new feel. They followed it with their first new song of the night, written during those early scary and confusing days, called “These Times Have Got Me Drinking,” which given the crowd’s reaction to it, will easily stand beside so many of the band’s greatest.
Flogging Molly have always been a tight band, both on their albums and performing live, but each member was in top form throughout the night. King regularly shouted out members of the band between songs. With such an incredible group of musicians holding down each song, it allows King to be so many things throughout the show: singer, showman, dancer, and all-around master of ceremonies. A lesser band would not be able to afford such freedom to the frontman, but Bridget Regan (violin, tin whistle, and King’s wife of almost 15 years), Dennis Casey (guitar), Matt Hensley (accordion), Nathen Maxwell (bass), Spencer Swain (mandolin, banjo, and guitar), and Mike Alonso (drums) are all so accomplished that it gives King a wide lane in which to play. One minute, he’ll be bantering with fans, and the next, he’ll have his pant legs pulled up, as he dances around the stage, sometimes doing an impromptu jig and others doing a one-man chorus line.
This is what makes a Flogging Molly concert so special: it never feels overly-rehearsed but instead gives each show an impromptu feel, like each moment is special for that night’s audience exclusively. These moments accompanied a run through a great many classics, including a particularly rousing run through “If I Ever Leave this World Alive.” They left the stage after “Seven Deadly Sins” from 2004’s Within a Mile of Home that felt like it was a well-rehearsed rendition between the band and the entire crowd who sang along and mimicked each one of King’s movements.
Returning for an encore, they finished the set with “Tobacco Island,” also from Within a Mile of Home. That was not, however, how they closed the show. While it has become the norm for many bands to have a walk-out song (Vandoliers came out to The Vandals’ “Urban Struggle,” Russkaja played an anti-war message set to a dark, ominous beat as they walked out, and Flogging Molly themselves used The Who’s “Baba O’Riley,” paired with the acapella intro to their own “The Wrong Company”), but very few bands have a walk-off song. While most shows end with a good night, band walk off, and the house lights coming on as music is piped over the P.A., Flogging Molly played “Always Look on the Bright Side of Life” from Monty Python’s The Life of Brian.
While not as well-known to the audience, save for this journalist and others within his particular age range, the lyrics, even to fresh ears, served to punctuate the night’s theme: “If life seems jolly rotten, there’s something you’ve forgotten, and that’s to laugh and smile and dance and sing.” As the song played out, the group stood together, joined by various members of Vandoliers and Russkaja in kick lines, as King handed out set lists to the younger fans (there were many older fans in attendance with their children), and playfully blew kisses to the audience before everyone at last left the stage with the song’s fading notes and those awkward feelings of 2020 despair dissipating. Nights like this remind us to never again take live music for granted, because it’s one of our true blessings, and that alone should hopefully keep us all on the bright side of life.
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.
TEMPE, Ariz. — Energy coursed through the crowd as Dashboard Confessional fans spewed through the doors of Tempe’s Marquee Theatre Wednesday night, anxiously awaiting the return of frontman Chris Carrabba’s sweet-sounding lyrical prowess.
Following a charismatic opening performance by acoustic duo This Wild Life, Vinyl Theatre took the stage with a magnetic energy that immediately caught our eye. Each track appeared to pulsate through them, elegantly rocking out between heavy drop-beats, vivacious keyboard riffs and catchy lyrics which boasted a similar rawness to that which Dashboard Confessional is known for. Vinyl Theatre closed out their set with a commanding performance of newly released track “Built by New Machines,” which explores universal ideas on human existence and our current world state.
The Dashboard Confessional crew wasted no time setting stage. In fact they even made time to whisp what appeared to be Palo Santo smoke around each instrument, also positioning a small Himalayan salt lamp at the foot of guitarist Armon Jay. Minutes later, Carrabba stepped center stage immediately kicking things off with timeless track “The Good Fight” off Dashboard Confessional’s sophomore album The Places You Have Come to Fear Most, followed by longtime favorites “Saints and Sailors,” “The Sharp Hint of New Tears,” “As Lovers Go,” and “Remember to Breathe.”
Beneath a glaze of violet light, Carrabba’s voice settled as he began to address the crowd, “I’ve been thinking lately. You know, because the world went to shit these past three weeks.” The audience responded in overwhelming applause. Carrabba went on to speak on the current social tensions revolving around topics like sexual orientation, race and religious differences. “What the fuck does it matter?”, he said. Before going into the next song he finished his thoughts with a message for the audience, “Go out into the world and try to talk to as many people with opposing views as you can. Find out why they believe what they do and learn from that.” As Carrabba stepped back for another quick guitar switch, the audience was able to catch a closer look at drummer Ben Homola’s t-shirt, which read “Equal Is Equal. No Matter The People.”
Next up was “We Fight” off the group’s latest unreleased album which Carrabba has been steadily building anticipation for since co-headlining with Third Eye Blind in the summer of 2016. The new track merges Dashboard Confessional’s classic emo-core sound with a montage of wildhearted lyrics and heavy-handed guitar that suggest a revitalized perspective on the free-spirited determination needed to find fulfillment as an artist. Making for the ultimate crescendo moment, Carrabba then announced the band’s performance of newly released track “Heart Beat Here” would be recorded live for possible inclusion on the their highly anticipated upcoming album. As the crowd sang along, Carrabba appeared visibly moved by the fans response, commenting moments later on the sweet sound of our voices in harmony together.
The setlist was fitting considering Carrabba’s plans to welcome singer-songwriter Trevor Hedges of local band, Sundressed to the stage following Dashboard’s hit track “Stolen.” Hedges stepped into the spotlight and instantly captivated the crowd with his intense vocal diversity and passionate lyricism. Although it was a single-track performance, it quickly became clear Hedges possesses a vocal dexterity reminiscent of archetypal groups like Taking Back Sunday, The Starting Line, 30 Seconds to Mars, The Used and of course Dashboard Confessional. It was an impressive performance to say the least, but the night wasn’t over yet!
Dashboard Confessional finished out the night with three additional tracks, including “Screaming Infidelities,” “Vindicated” and “Hands Down.” Conclusively, it was a night of truly stellar performers. The Burning Hot Events team is patiently awaiting the release of Carrabba’s latest material, but in the meantime we’ll be jamming out to newly discovered favorites Vinyl Theatre and This Wild Life.
Want to know more about Sundressed?
They’ve just announced pre-orders for their upcoming LP A Little Less Put Together which is set for release on March 24th (2017). Click here to check it out! We have a feeling you’ll be seeing them alongside Dashboard Confessional very soon.
TEMPE, Ariz. — Swedish indie group The Sounds rocked the house at Tempe’s Marquee Theatre Saturday night with their 10th anniversary performance of sophomore album, Dying to Say This to You. Following energetic sets by spirited openers Zipper Club and My Jerusalem The Sounds guitarist, Felix Rodriguez took over the stage beneath a vibrant purple cloud of light. As soon as the first few notes of “Song With a Mission” dropped, the crowd went wild. Although it wasn’t a full house, there was a clear sense of communal nostalgia that seemed to supercharge the audience.
Next up on the set list was crowd favorite, “Queen of Apology” which kicked off with a signature Maja-esque display of her gives-no-fucks attitude, backed by airtight guitar and a stagelight-shift which illuminated fans as they sang along to every word. Hit after hit, The Sounds proved that ten years hasn’t slowed them down a bit, boasting a stage presence that could rival some of Rock and Roll’s most iconic female-fronted acts.
“Arizona, I love you… We’re back, baby. We’re fucking back!” Maja yelled, igniting an outburst of claps and shouts throughout the venue. Maja’s pop-rock sound has been countlessly compared to that of Blondie and Missing Persons, and rightfully so! Personally, I also picked up on some similarities in tone between her and The Submarines’ vocalist, Blake Hazard.
The Sounds finished out their live revival of “Dying to Say This to You” with a gritty, electrified reproduction of “Running Out of Turbo” before topping off their forty-five minute tribute with an additional 9 tracks including everything from classics like “Living in America” (from their debut album) to the group’s recent single “Thrill” which features an impressive display of Maja’s vocal diversity in addition to fast-paced drum beats, a reverberant dual guitar solo and some subtle synth-heavy, 80’s era keyboard.
It was truly a night to be remembered, especially considering the intimate audience size and Maja’s up-close-and-personal stage persona. By the show’s end, each track was visually pulsating through the audience as they fist-bumped, clapped and headbanged to the final songs of the night, “Rock N Roll” and “Hope You’re Happy Now” which Maja energetically concluded with one middle finger to the sky, and a cigarette in her other.
As the Burning Hot Events team exited the venue, we happened upon a couple who had actually travelled all the way from Kansas to see The Sounds in Tempe that night. It was a powerful reminder of just how impactful music can be, especially with a group like The Sounds who have an unbelievable, authentic connection to their fans.
TEMPE, Ariz. — CHVRCHES, Scottish synthpop / indietronica band, began their set at Marquee Theatre with the first track of their Every Open Eye album, “Never Ending Circles”. The power of their performance was a force to be reckoned with. Lauren Mayberry’s vocals were very impressive and unique, which could especially be appreciated live. The show was sold out, and the energy of the crowd was beautiful. The high-production light show behind the band was dazzling.
It was during only the second song, “Keep You On My Side”, that something seemed to be amiss; as Lauren’s vocals started cracking suspiciously early into the show for vocal strain to be an issue. In the midst of “Empty Threat”, Lauren stopped singing for what one might have assumed was exacerbation about an equipment failure. Her band mates continued playing a bit longer, until it was clear that she just wasn’t having it. They looked over at Lauren with clear concern and made haste to put the show on pause, explaining that she was very sick.
If a vocalist pushes to perform when they are truly too sick to be singing, they can permanently damage their voice. Any true fan, or person with a shred of compassion for that matter, should be glad that she was taking care of herself instead of running that risk. It must have sucked for the band and crew too, since they were producing a motion picture about the band at this concert; as indicated by a print-out at the box office window.
A personal opinion: The experience of the first 2 and 1/2 songs alone was enough to satisfy.
The crowd waited in anticipation for a few minutes, before CHVRCHES came back on stage. Determined to give their fans a show worth their time and effort to make it out, Lauren Mayberry and Martin Doherty traded places. Martin sang “We Sink”, which is normally sung by Lauren, and he BROUGHT IT! This was Martin’s time to shine, as he saved the night owning the performance with magical energy and ear candy vocals. Concert-goer grins were huge as they were cheering him on for taking the role, and the roar of the crowd was deafening!
That atmosphere carried through as Martin fronted two more songs that he regularly sings – “High Enough to Carry You Over” and “Under the Tide”. We were all thrilled and united in heartfelt support, and didn’t feel shafted.
Lauren came back to sing for the last song on their set that would be cut short. She told us she would be taking measures to avoid vomiting on stage. Speaking of her performance up until then, she shamefully confessed and apologized that she didn’t have pitch due to the illness. Fans nearby could be overheard speaking in a tone of surprise about how they hadn’t noticed. She gave a heartfelt monologue expressing their gratitude to fans, and assuring that their tickets would be good when CHVRCHES comes back to Arizona in October.
CHVRCHES closed their concert with “The Mother We Share”, after which the crowd quickly funneled out. In my opinion, this wasn’t a terrible time to finish, considering it was Sunday night… Any 9-to-5ers can typically relate to this sentiment. Of course CHVRCHES was, without a doubt, worth coming out. And even though they gave us 7 songs vs. their full set, that sentiment certainly rang true to the dense crowd.
No regrets. We are grateful that CHVRCHES did everything they could to satiate hungry fans, and their live concert was incredible regardless of the length (…which really wasn’t that short). Get well soon Lauren! We appreciate your professionalism, and you don’t need to apologize. You are human – take care of yourself! Arizona will eagerly anticipate your return!
Update: The make-up show is Thursday, October 6. Your ticket from the April 24th concert will be accepted for entry.
If you would prefer to have a refund issued, contact the Marquee box office by phone at 480.829.1300 (M to F, 12p-6p) or by email at [email protected] no later than May 18 to process a refund. Have your ticket confirmation # handy.
A special thank you to Dustin Mitchell for contributing the setlist for this review.