All posts by Emily Rudolph

Internationally Published Writer & Content Producer. Collector of Adventures, Vinyl and Old Cameras. Tiny House Dweller. Lover of Craft Beer, Road Trips and Everything Outdoors.

REVIEW: Judas Priest Ignites Phoenix Fans With Legendary World Tour 4-24-18

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PHOENIX — Heavy metal legends Judas Priest drenched Phoenix fans in a fast-paced scintillation of velvety-strobing lights, squealing guitar riffs and the ear-splitting vocal prowess of leather-clad vicar Rob Halford, whose voice could be heard echoing through the streets of downtown outside Comerica Theatre. Priest announced English heavy metal pioneer Saxon and hard rock group Black Star Riders as openers for the U.S. leg of their 2018 “Firepower World Tour” earlier this year. Saxon is renowned for their influence on archetypal acts like Slayer, Metallica and Mötley Crüe and are noted for selling more than 23 million albums worldwide. Black Star Riders was formed in 2012 as “the next step in the evolution” of hard rock band Thin Lizzy. Their third and most recent album, Heavy Fire, reached #6 on the UK album charts in 2017.

In their announcement, Judas Priest also noted that thrash metal icon Megadeth would step in as the supporting act for the European leg of “Firepower”. As if that wasn’t enough, Judas Priest will also be appearing alongside Ozzy Osbourne on his farewell tour later this summer before co-headlining a tour with the infamous Deep Purple later this year.

Judas Priest’s 18th studio album Firepower’s explosive energy has shocked Priest fans, skyrocketing it to success and ranking the album at No. 5 on the Billboard 200 chart — the band’s highest-charting album in the United States to date.

With so much musical history under one roof, there were moments where the night truly felt like a spiritual experience. Black Star Riders took the crowd by storm early-on boasting a youthful stage presence, which positively intermingled with Thin Lizzy’s time-honored style.

Black Star Riders - Photography: Mark Greenawalt
Black Star Riders
Photography:
Mark Greenawalt © All Rights Reserved

After a minimal set-change, Saxon followed quickly thereafter, bringing the house down with a mix of heavy-handed hits and highlights from their latest album Thunderbolt, which was released in February of 2018 under producer Andy Sneap who also joined Judas Priest on the “Firepower World Tour” to support Glenn Tipton, following Priest’s announcement that Tipton’s unfortunate battle with Parkinson’s had progressed to a level at which he cannot currently tour (Feb. 2018).

Saxon - Photography: Mark Greenawalt
Peter “Biff” Byford (Vocalist), Saxon
Photography:
Mark Greenawalt © All Rights Reserved

Among the audience were obvious diehard fans of all ages, including everything from seriously skilled air-guitarists energetically moving up and down the aisles, to children and families, headbanging all-together beneath an incredible display of vibrant, ever-changing lights which moved in-time to the note of each new song. One little girl, about 4 years old with tiny blonde pigtails, stood atop an empty seat with her father behind her, rocking out with every ounce of movement she had — proving once again that heavy metal music has a timeless quality to it that continues to bring together people of all ages and walks of life, challenging the status quo.

Judas Priest - Photography: Mark Greenawalt
Rob Halford (Vocalist), Judas Priest
Photography:
Mark Greenawalt © All Rights Reserved

During the night’s first hidden set-change, a curtain displaying an impossible trident waved gently beneath the dimmed lights as red-orange flames swirled in the background. As the opening notes to Priest’s latest title track rumbled out across the crowd, the curtain shot upward to reveal Halford draped in gold from his suit pants to his tassel-adorned jacket. Sneap (Guitarist), Richie Faulkner (Guitarist), Ian Hill (Bassist) and Scott Travis (Percussionist) followed close behind, taking their place on stage among an illusion of pyrotechnic projections which were fitting alongside towering castle-like structures, topped off with a symbolic devil’s tuning fork which mirrored itself across the stage.

Judas Priest - Photography: Mark Greenawalt

Halford then transitioned into tracks “Running Wild”, “Grinder”, “Sinner” and “The Ripper” from albums Killing Machine, British Steel, Sin After Sin and Sad Wings of Destiny before turning attention back on to their latest album for “Lightning Strike” which highlights Firepower’s eclectic mix of classic Judas Priest sound, and something quite a bit different — a savage expansion on Halford’s incredible vocal talent (at 66 years old) also reminiscent of old school Iron Maiden or Motörhead.

Next-up on the night’s setlist were “Bloodstone” (Album: Screaming for Vengeance), “Saints in Hell” (Album: Stained Class), “Turbo Lover” (Album: Turbo) and”Freewheel Burning” (Album: Defenders of the Faith), each of which was signaled by a change in Halford’s eclectic collection of hell-bent-for-leather type jackets, each song rivaled by the energy of the last.

Halford stepped center-stage to address the crowd, “Thank you all for for coming out and keeping your heavy metal faith tonight. And thank you for supporting evilness, evilness… Because evil never dies!”

Judas Priest - Photography: Mark Greenawalt
Richie Faulkner (Guitarist), Judas Priest
Photography:
Mark Greenawalt © All Rights Reserved

Fans rejoiced in a sea of chants and fist-bumps, singing along to new crowd favorite, “Evil Never Dies” also off Priest’s latest album, before moving onto unbelievable performances of “Some Heads Are Gonna Roll” and the ever-anticipated “You’ve Got Another Thing Comin”, succeeded by an intermittent recording of “The Hellion”, during which Halford and his bandmates momentarily disappeared backstage. Despite having already put on a thrilling hour-plus performance, Priest emerged once more for a staggering finale.

Seconds after the closing notes of “Electric Eye” (also off of Album: Screaming for Vengeance), Halford shot across the stage on a black-and-chrome chopper while clips from the 1978 track’s music video faded on and offscreen above. Halford passionately belted out the lyrics to“Hell Bent for Leather” from atop the bike, before closing the evening with a powerful performance of “Painkiller”. Halford had one last surprise up his leather-studded sleeve an earth-shattering encore. Fans were elated to see 70-year-old Tipton take the stage for three ultra-nostalgic and goosebump-worthy renditions of “Metal Gods”, “Breaking the Law”, and “Living After Midnight”.

After completing an astonishing 19-track setlist, it was clear that Halford and his bandmates show no signs of slowing down. Judas Priest proved to their fans once again that even after 40 years, they continue to ignite the fire.

Photo Gallery

Photographer: Mark Greenawalt

Judas Priest – Comerica Theatre 4-24-18

Flickr Album Gallery Powered By: Weblizar

Photography © Mark Greenawalt. All Rights Reserved

REVIEW: In This Moment Thrills Phoenix Fans With ‘Ritual’ Style Performance 4-16-18

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PHOENIX — Amidst their “The Witching Hour” tour, shock rock quintet In This Moment had fans spellbound during a thrilling visually-charged performance at historically-located venue The Van Buren. Openers on the bill included The Word Alive  — a metalcore group from Phoenix who’s most recent album Deceiver reached No. 97 on the Billboard 200 (2010), and fellow AZ-based nu metal band Ded, who’s been on the rise since the release of their wildly successful debut track “FMFY” in 2016. Audience members were elated to hear that In This Moment had offered both opening groups the option to extend their setlist for the night, in celebration of the obvious outpouring of support from local fans.

After a vigorous crowd sing-along to Journey’s “Don’t Stop Believin’,” ferocious frontwoman Maria Brink dawned the stage through a storm of purple-red smoke, spookily cloaked in all-black attire which was somewhat reminiscent of Emperor Palpatine in Star Wars.

In This Moment - Photography: Katherine Amy Vega
Maria Brink (Vocalist), In This Moment
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

As Brink positioned herself center-stage, horror-esque slivers from In This Moment’s music video for title track “Blood” spliced on and off on a large overhanging screen. Current members Chris Howorth (Lead Guitarist & Founding Member), Travis Johnson (Bass Guitarist), Randy Weitzel (Rhythm Guitarist) and Kent Diimmel (Percussionist) followed close behind her also dressed to shock and impress in true gothic metal fashion.

The group transitioned into a haunting yet brutal performance of “Blood”, which was seamlessly followed by “River of Fire” from In This Moment’s latest album, Ritual (2017). In between these first two songs, Brink seductively shed her dark ceremonial garb for a ghostly white dress that shimmered beneath the spotlights.

In This Moment - Photography: Katherine Amy Vega
Maria Brink (Vocalist), In This Moment
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

With a mix of fire and wind enveloping her silhouette, Brink immediately dominated the stage with her display of unique showmanship and incredible ability to personify her lyrics through purpose-driven theatrics. Her gruff throaty screams and eerily dazzling vocals are a fitting accompaniment for the band’s vehemently aggressive rhythms, sludgy guitar and relentlessly rhapsodic percussion.

In This Moment - Photography: Katherine Amy Vega
Chris Howorth (Guitarist), In This Moment
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

Although In This Moment’s 2017 album is in fact less sexualized than albums in previous years, Brink’s outlook on the highly-debated topic remains the same. The singer changed from costume to extraordinary costume throughout the show reappearing on-stage in everything from skin-tight bodysuits and ritual garb, to Krueger-like talons, a top hat, and faceless creature masks. Backup dancers morphed from demons and witches to twinning alter-egos as the show’s storyline evolved before our eyes, exquisitely interpreting the lines of each song. Brink seduced the crowd with ease, gripping the audience with infectious performances of “Adrenalize”, “Roots” and “Burn”, which preceded a chilling vocal performance of ballad “Lay Your Gun Down.”

After an official band introduction, Brink disappeared from the stage leaving Howorth, Johnson, Weitzel and Diimmel in the spotlight for a savage Metallica tribute beginning with the opening instrumentals to “For Whom The Bell Tolls” and leading into a monster drum solo harnessing the chunky classic rock vibes that we all crave.

In This Moment - Photography: Katherine Amy Vega
Kent Diimmel (Drummer), In This Moment
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

Next, Brink stepped center stage once again beneath a large crescent-shaped entryway, which appeared as two halves of a glowing moon, altar-style. The opening scene from “Black Wedding” featuring Rob Halford (of Judas Priest) strobed in and out to church music, teasing the energized duet between Brink and Ded frontman Joe Cotela which was to follow. The night finished strong with blazing performances of fan favorites “Big Bad Wolf”, a cover of Phil Collins’ “In The Air Tonight”, “Sick Like Me”, and “Oh Lord” which had fans raging.

In This Moment - Photography: Katherine Amy Vega
Maria Brink (Vocalist), In This Moment & Joe Cotella (Vocalist), Ded
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

However, there was still one song yet to be desired. Audience members roared as Brink stepped out from behind the curtain for one final song this time wearing the infamous blood-smeared dunce hat as featured in “Whore”, which Brink described to Steppin’ Out Magazine as “an empowering, beautiful song for women.” On-stage, as oversized balloons began bouncing across the crowd, she went on to explain that “Whore” is about reclaiming control of what hurts us and rising above it:

I was told that I would amount to absolute shit”, she told the crowd. “That I would become nothing at all. So, you see this next song, this last song is about rising above other people’s expectations, all of these ideas about who and what we should be. This song is about taking other people’s hate and turning it into something powerful and liberating within. So tonight, ladies and gentlemen, if I can inspire just that, turning hate into love, then I am proud to say to you Phoenix tonight, I will be your whore!

The song’s title “Whore” is actually an acronym created by Brink to further communicate its underlying purpose:

Women Honoring One Another Rising Eternally


It seems that with their most recent album, Brink and her bandmates have finally perfected the delicate balance between their sultry sex appeal and crust punk approach to the ideals of empowerment and strength embedded in their music. “The Witching Hour” tour is more than an unforgettable performance; it’s a wakeup call. We truly cannot wait for more.

PHOTO ALBUM

by Katherine Amy Vega

In This Moment – The Van Buren 4-16-18

Flickr Album Gallery Powered By: Weblizar

© Kataklizmic Design.
All Rights Reserved.

REVIEW: ANTI-MELODY by American Standards Gets Real About Grief, Loss, & Suicide

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Phoenix-based hardcore punk-infused metal band American Standards is known for their “piss and vinegar” sound, boasting a well-crafted amalgamation of heavy-handed, technical instrumentals, and brutal yet poetic lyrics that confront societal divides such as corporate greed, media corruption, loss, materialism and personal struggle. Presumably due to their focus on DIY ethics, the group attracted a devoted following in response to their leadership of what has come to be known as the “guerrilla punk” movement in Phoenix. Think of the gritty, raw basement shows we all know and love, except this time American Standards would be there to distribute self-produced compilation CDs as a method of raising money for local causes and charities. Pretty rad, isn’t it?

Online you’ll find American Standards listed as “chaos-driven noise punk” also noting themselves as self-proclaimed “purveyors of fine noise” and “Voted Least Likely to Succeed in 2011″ – the year the band was formed. Don’t let their humor fool you though, the message packaged within the chaos tells something of a deeper story. The group has since been recognized in the form of a regular presence on local radio stations like 98KUPD, RadioPhoenix and TheBlaze in addition to sharing the stage with acts like Atreyu, Comeback Kid, Norma Jean, Every Time I Die and many more.

American Standards’ most recent album “ANTI-MELODY” (which premiered in Revolver Magazine, Alternative Press and Lambgoat) is the group’s fourth release, delving into topics that are undeniably more personal than ever before for its members while simultaneously continuing to deliver on what the band has always been known for: pungent commentary on societal divides and anti-consumerism. This time around however, the development of this album is a distinct reflection of American Standard’s ability to focus through times of struggle while baring it all despite battles with depression after the loss of founding guitarist Cody Conrad to suicide, followed shortly after by the loss of the vocalist Brandon Kellum’s father to cancer.

What would have broken so many other bands transmuted into a powerful point of resonance for American Standards, empowering them to produce an album that not only cuts deep, but holds true to the spirit of the band’s fiercely integral essence.

The Tracks

Writers Block Party

“Writer’s Block Party” might at first sound like pandemonium to an unfocused ear, but with closer listen you’ll quickly discover a lyrical contrast that highlights societal pressures imposed on those who desire success or any place in the limelight. The song immediately portrays the immense impact of these pressures through the band’s eyes; “dancing around like we’re marionettes, a stutter in our step, a cadence in our breath, to the unimpressed…”

This is an opening number that comes out swinging, keeping things hyped while immediately addressing the lyrical heart of the matter which made it an ideal choice for a single. And despite seeking an “easy fix” it’s clear things weren’t so simple as the song goes on to say, “I gave up my heart to find a soul… The clouds came in and the lights went out. We were guided by the roar.”

The metaphorical nature of their lyric choices leave much to interpretation and making space for further connection with their ever-growing fan base, but it can be speculated that this track alludes to the many struggles of avoiding corporate sponsorship in the music industry and beyond. This line in particular encapsulates the track well:

“Remove the spine and the heart. Safe bet, mindset. And claim what’s left as art.”

Carpe Diem, Tomorrow

Although brief in content, the technical aspect of  instrumentals included in “Carpe Diem, Tomorrow” are placed well as both a striking opener and stout interludes that highlight a wake-up call just beneath the surface:

“Concrete minds cannot change. Don’t stand still, keep moving. You’ll become what you say you hate.”

Encouraging fans to seize the day, this track utilizes the concept of time to motivate listeners and warn them of the consequences of stagnancy in life. Audibly this track has an underlying rhythm that is a bit similar to that of System of A Down, Throw Down, or Tool; while offering unique lead guitar, which in contrast offers similarities to bands like From First to Last, Trivium, and Hatebreed.

Church Burner

“Church Burner” starts off with an eerie chorus which repeats throughout, but not before laying down some seriously chunky guitar riffs that bring a daunting undertone. The lead guitar and bass notes are undeniably the highlight here, although this is the first sing-scream track to be found on ANTI-MELODY which is to be noted as well.

Lyrically this track is beautiful in the simplicity of its resounding metaphor while still managing to communicate the intensified angst that American Standards fans long for.

“An extremist in boldface type. We’re all people, but compassion doesn’t sell. And there’s no time for independent thought. There are no divisions outside the ones that we create.”

While chaos and hardcore don’t exactly scream “empowerment”, American Standards is clever in the execution of their message. They scatter calls to action throughout each song and foreshadowing for what is to come if the previously mentioned social obstacles aren’t addressed in a way that keeps things moving, so-to-speak. The lyrics go on to say:

“Tear down the walls and build a bridge… We don’t want another title to tell us who we are.”

Bartenders Without Wings

“Bartenders Without Wings” slows things down a bit, sounding more like a classic punk ballad that explores a struggle between man and self. The energy of this track is especially solemn, suggesting the song may be addressing the unexpected loss of founding guitarist Cody Conrad as well as Kellum’s father. “Bartenders Without Wings” also spotlights some inarguable similarities to the sound of now infamous As I Lay Dying.

According to Kellum, ANTI-MELODY is the result of “what started as social commentary on the growing divide in our society” but then became much more personal due to the loss of Conrad and Kellum’s father amidst recording; this track communicated that effortlessly.

Kellum went on to say that the band “went back in to re-record much of the album and in a lot of ways used it as therapy to cope with the experiences.”

Danger Music #9

“Danger Music #9” is a smashing reminder of the dreadful state of conglomerate corporate takeover and a return to the classic American Standards sound, fueled by the pain and grief that lurked in the shadows for these four bandmates at the time. It can be inferred from the lyrics that they are not simply addressing a grandiose idea of anti-consumerism, but more specifically an issue with the intentions and treatments of our healthcare system. Though often choosing to communicate through lyrics that are poetic and/or satirical in nature, “Danger Music #9” takes an unprocessed approach to its confrontation of western culture particularly medicine, making the lyrics that much more savage in nature.

“You make a beautiful statistic, diamond eyes. Giving incentives to move these units. Prescribe more illness. And we’ll become the money they count behind closed doors. A half a million dead. A third of us next.”

Cancer Eater

The title may have tipped you off as to what this track is about. The tragic loss of Kellum’s father is uttered through every verse of “Cancer Eater”, tearing from word to word with an energy unmatched by any other song on the album. Instrumentally, “Cancer Eater” is equally as brutal, once again highlighting lead and bass guitar.

Lyrically, however, this track has got to be the most poetic:

“We’re taken hostage by the ones we love, that leave us behind. I can’t be as tough as nails, with this paper skin. And organs that fail. But life moves on, and I’ll go on too… I lived like him. I’ll die like him. Remember me, remember.”

Broken Culture

“Broken Culture” is self explanatory in its purpose, erupting with energy right from the start with strategically coalesced vocals and a true hardcore sound that are again unique in their likeness to other tracks on the album if you listen close. Themes of anger, fear and isolation resurface once again, but this time with a more somber tone in wake of its preceding track “Cancer Eater”.

“We had more guns than bullets so, we made pistols with our hands. Where’s the good; there’s evil we must fear. So, pull the trigger and pray the rounds land.”

Chicago Overcoat

“Chicago Overcoat” takes all the energy from the seven songs before itself and delivers that consolidated energy as one swift punch in the ear drums before ending on a beautiful piano note. The track is in itself, a crescendo of all-encompassing instrumentals accompanied by a dominating vocal performance by Kellum.
“Chicago Overcoat” starts off with the focus on bass and drums as opposed to vocals and lead guitar, making for a pleasantly unrefined, and super-sludgy combo. And yet, there is a tone of desperate release, resentment, and determination to rise above through and through.

In Closing

ANTI-MELODY took things to the next level for American Standards, allowing fans to get to know the individuals behind these powerful words that leave us feeling a little less misunderstood and a little more at home in the world.

Ever-brutal. And ever-poetic.

It seems, although incredibly tragic, the struggles that American Standards experienced during the making of ANTI-MELODY created a vacuum of emotion yielding an outcome no fans could have predicted. We’re looking forward to seeing where this intimate breakthrough takes them, and eager to listen in as they continue to evolve.


ANTI-MELODY is available now on iTunes, Google Music, Amazon and Spotify or you can pick it up along with exclusive merchandise through the
American Standards Bandcamp page.

BANDCAMP | ITUNESAMAZON | GOOGLE MUSICSPOTIFY | FACEBOOK | TWITTER | YOUTUBE | INSTAGRAM

REVIEW: Nothing More Lets ‘Em Burn at The Van Buren in Phoenix 10-25-17

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PHOENIX — Nothing More put on an explosive performance in Phoenix Wednesday night at the city’s eye-catching new venue, The Van Buren; named in honor of the historic Martin Van Buren. Once inside, it was a pretty swanky setup: grandiose crystal chandeliers dripping from the ceiling, marble double-sided bars wrapping around the room and on the back wall, an enormous, technicolored mural of the Sonoran Desert surrounded the stage — a fitting theme considering the band was formed out of San Antonio, TX. Interestingly, Nothing More frontman Jonny Hawkins is actually an Arizona native. This is a fact he shares with drummer Ben Anderson who is known for his presence in local success story Digital Summer.

Nothing More - Photo Credit: Katherine Amy Vega
Ben Anderson (Drummer) – Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

After stirring performances by Hell or Highwater, My Ticket Home, and Palisades, it was obvious the crowd’s anticipation was at its peak. All eyes were on the stage as the lights dimmed and the introduction to “Christ Copyright” rumbled out from beneath Anderson’s drum set. In a flash of white light, Hawkins entered the stage rocking his classic barefoot, shirtless style while yelling, “What’s up Phoenix?!”, as the remainder of the band stepped on stage behind him. A haze of blue and red light filled the room as the band moved right into meteoric performances of “Let ‘Em Burn”, “Mr. MTV”, “Don’t Stop”, and “Ripping Me Apart”; kicking things off with a mixture of heavy-handed tracks from Nothing More’s fourth and fifth studio albums, Nothing More and The Stories We Tell Ourselves.

The Stories We Tell Ourselves was an immediate favorite among fans after its release in mid-September of this year, coming in at 15 on the Billboard 200. And rightfully so, as the band’s live stage presence is both wildly unapologetic and deeply emotional.

Their set featured a variety of face-melting solos by each of the band’s highly talented members, but after their hit single “Go To War”, Hawkins and lead guitarist Mark Vollelunga decided to slow things down a bit. Midway through the night, the duo came together for a heart-wrenching acoustic performance of track “Just Say When”, which moved some neighboring fans and myself to tears. It’s a song that Hawkins said “almost didn’t make it onto the record” because they thought it might be “too sappy“. As is the case with many classic emo-toned favorites, the sad love story of the troubled rock star hit us right in the feels.

As “Just Say When” came to an impassioned end, the remaining members of Nothing More took the stage once again, throwing themselves into songs “I’ll Be Okay”, “Here’s To The Heartache”, and “Do You Really Want It”. Fans visibly rejoiced as bassist Daniel Oliver strapped his instrument into the infamous “Bassinator” while Vollelunga and Hawkins aggressively plucked and tapped along the fingerboard. They were, presumably, pumping up the audience for a prolific performance of profoundly personal track “Jenny”, the third single off Nothing More’s self-titled album which spotlights Hawkins’ sister’s struggle with mental illness — a topic that hits hard for many of the band’s listeners.

Nothing More - Photo Credit: Katherine Amy Vega
 Jonny Hawkins (Vocalist), Daniel Oliver (Bassist), & Mark Vollelunga (Guitarist) – Nothing More, playing The Bassinator
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

Just as we sang along to the closing lyrics of “This Is The Time”, Hawkins stepped forward to address the crowd for one of the last times that evening. “Well it’s that time of the night; it’s our last song. Who has seen us before? [Cheers] Who has never seen us before? [Cheers] We are a band that does not give encores because one: they’re fake, and two: they’re fake. We’re just going to play our last song instead, and give it all we’ve got.

Nothing More - Photo Credit: Katherine Amy Vega
 Mark Vollelunga (Guitarist) – Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

And just like that, Hawkins was back at it again, flinging his water bottle into the crowd and jumping all over the stage as he and his band mates poured their souls into iconic track “Salem – Burn The Witch”, standing atop their latest mega-futuristic, one-man-band machine – a 400-pound, 14-foot tall instrument. The members of Nothing More dubbed it as “The Scorpion Tail” in an interview with local radio station 98 KUPD earlier this week. The crowd went absolutely insane for it, cheering Hawkins on as he not only drummed with his feet, but sang as well. Even employees of the venue gathered to watch in awe, some with their fists thrust into the air.

Nothing More - Photo Credit: Katherine Amy Vega
 Jonny Hawkins (Vocalist) – Nothing More, on The Scorpion Tail
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

To say this performance was “impressive” would be to sell it short. Nothing More swept us off our feet yet again, and Phoenix will absolutely be back for more.

Nothing More - Photo Credit: Katherine Amy Vega
 Nothing More
Photo Credit: Katherine Amy Vega © Kataklizmic Design. All Rights Reserved

PHOTO ALBUM

by Katherine Amy Vega

Nothing More – The Van Buren 10-25-17

Flickr Album Gallery Powered By: Weblizar

All Content © Kataklizmic Design.
ALL RIGHTS RESERVED. No Stealing

REVIEW: Infected Mushroom Proves Phoenix is Becoming Insane at Monarch Theatre 10-21-17

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PhoenixInfected Mushroom’s tenth studio album Return To The Sauce had fans rushing the streets of downtown Phoenix Friday night to secure a spot inside Monarch Theatre for a special DJ set. One-of-a-kind beats could be felt vibrating out of the dance club as Israeli psychedelic trance duo, Amit “Duvdev” Duvdevani and Erez Eisen (referred to as mega-revolutionaries and twice-ranked as the world’s “10 Best DJ’s” by UK’s DJ Magazine) took command of the room. The evening kicked off with notable openers Binary Hertz, Astony, and Avitas; a perfect cocktail of chunky beats and futuristic electronica to foreshadow what was yet to come.

Binary Hertz
Photography: Russ Broty, Photo Editor: Katherine Amy Vega © All Rights Reserved

Lime green and royal blue lights gushed in flashing motions above the entranced crowd as mysterious, three-dimensional psychedelia circumvolved on screen behind the stage. Their infamous visuals are actually known as a mark of transformation for the group, as they first introduced fans to this unique art in 2013 during their “FungusAmongUs Tour”, featuring three-dimensional figures that appear to collapse in on themselves as the music rises and falls. The hypnotizing display serves as the perfect backdrop for Infected Mushroom’s “psy-trippy synthetic rhythms”, having been dubbed by Relentless Beats as both “enigmatic” and “always trippy.”

Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

The vibe of the night was pure ecstasy. People danced with everything they had in them, grinning from ear to ear the whole time adorned in multi-colored glow sticks, varying Infected Mushroom gear, and glazed looks of general intoxication. The set was a solid two-hour fusion of fan favorites mixed with the full Return To The Sauce album, a dance party to top all dance parties. Curiously, the song titles of the most notable tracks from the evening seemed to perfectly foreshadow the audience’s spirit along the way.

Infected Mushroom - Photo Credit: Ken Kendall
Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

Although it was easy to get lost between one track and the next, it was clear Duvdev and Eisen knew exactly what the people of Phoenix wanted. They started things off with an electrified mash-up of “Return To The Sauce” followed soon after by “Flamingo” and “See Me Now.” As the opening notes to “Becoming Insane” tumbled out of the speakers, the crowd’s energy was on the verge of bubbling over. Bartenders thrust water hoses into the air in tandem, cutting through the dampened air with splices of icy water, sending everybody into a craze of complete euphoria. Senses dimmed and the beats took over; all that mattered was the music.

Infected Mushroom - Photo Credit: Ken Kendall
Infected Mushroom
Photography: Ken Kendall, Photo Editor: Katherine Amy Vega © All Rights Reserved

It was the raw innovation behind Infected Mushroom at work, enrapturing the crowd and never holding back, passionately compelling the audience to mirror their energy with every ounce of being until the set’s closing. Together, we danced furiously through the remaining tracks of Return To The Sauce, erupting louder and louder each time at surprise mixes of tracks like “Special Place”, System of a Down’s “B.Y.O.B.”, and “Deeply Disturbed”. By the night’s end it felt a bit like all of us had left something much needed behind on that dance floor. And that “something” speaks to the magic that is Infected Mushroom: Two producers who invented an entire subgenre of trance music; two creatives who have been captivating listeners for over a decade. Whether it was sweat and spilled drinks or something a bit more meaningful “saucy” doesn’t even begin to cover it.

Infected Mushroom & Binary Hertz - Phoenix, AZ
Infected Mushroom & Binary Hertz in Phoenix
(Left-to-Right: Amit “Duvdev” Duvdevani, Sam Norris, Jeremy Miller, and Erez Eisen)

PHOTO ALBUM

Binary Hertz Photos: Russ Broty | Infected Mushroom Photos: Ken Kendall
Photo Editor: Katherine Amy Vega

Binary Hertz & Infected Mushroom – Monarch Theatre 10-21-17

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PHOTOS: Ikonoklast Hosts SINister Fetish Party & Concert at Joe’s Grotto 7-15-17

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PHOENIX — With two stages to alternate between, Joe’s Grotto music venue has always been a favorite local spot for deliciously gritty punk & metal shows, and unusual performances. This made it an obvious venue of choice for a “sexy fetish party” like SINister  – calling out for Phoenix fans to rock out as their wildest, freaky selves. Amongst murky shadows of dimly lit stages and strobing rainbow LEDs, a true sense of community could be felt as this unique local scene came together to support a myriad of eye-catching, emerging artists.

Lucky for you, Burning Hot Events was on the scene to capture fans and performers alike. Our photo booth was hosted by our event photographer Mat Montgomery, who donned his very best sexy maid outfit – complete with a matching wig and frosty makeup perfection.

Photo Booth

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(Click Arrows to Scroll Images)

SINister Photo Booth - Joe's Grotto 7-15-17
SINister Photo Booth - Joe's Grotto 7-15-17

Organized as a birthday celebration for Ikonoklast vocalist, Jonah Foree, the night boasted a hard-hitting lineup including musical acts on the main stage like Scar Eater, Amensic, S.L.U.T. (Satanic League of Underground Techno), and of course Ikonoklast. Agents of LUST heated things up during the sets of both S.L.U.T. and Ikonoklast, sending arches of electrified metal sparks onto the dancers and into the crowd below.

The party also featured DJ Beautiful John, live body painting by El Spawk, and burlesque & fetish performances by Pain Proof Punks on the second stage. The performers on the second stage included Little Jae Sinclair, Lexi Locket, Katara Fox, Crystal Frost, Dr. Copperchops, Miss Wonderland, and Luna Sky.

Performer Photos

View Band Photo Albums: S.L.U.T. | Amnestic | Scar Eater | Ikonoklast

Photos by Katherine Amy Vega

SINister Fetish Party & Concert – Joe’s Grotto 7-15-17

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REVIEW: Sundressed Supercharges Fans with LP Release at The Rebel Lounge 03-06-17

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PHOENIX Sundressed put on one hell of an LP release show Thursday night at The Rebel Lounge in Phoenix. I’d been anticipating the event since first hearing lead vocalist, Trevor Hedges during an unexpected acoustic performance at the Dashboard Confessional concert earlier this year. Many of you will remember the story of Chris Carrabba welcoming Hedges to the stage after Dashboard Confessional’s hit track “Stolen,” a display of vocal dexterity which was undoubtedly reminiscent of groups like Taking Back Sunday, The Starting Line, 30 Seconds to Mars, The Used and – you guessed it, Dashboard Confessional.

This was my first experience at The Rebel Lounge. I entered through a dark, narrow hallway plastered with peeling posters which wound around to the front of the merch tables where some pinback buttons featuring a colorful portrait of Sundressed guitarist, Forest Walldorf caught my eye. R&B singer-songwriter Trent (Trenton Clark) had just taken the stage and the room was filling fast. I settled in near the bar, notebook in-hand and listened closely as robust, velvety beats tingled beneath my feet.

The Rebel Lounge is an intimate venue, the kind of place that takes me back to the days of punk rock “thrash parties” in my friend’s garage. It’s a bit gritty, on the smaller side, and full of heart. Trent’s sultry, electrified beats caught me by surprise at first. I hadn’t expected to hear anything other than emo or alt-rock tonight. As Trent’s euphoric vocals melted in and out of the speakers I began to notice a slight resemblance to neo R&B duo Trak Joy, who were credited in recent years for stretching the boundaries of contemporary rhythm and blues with their “newly minted sound.” Trent’s was a quick set, but one charged with a unique, soulful intensity – lyrically focused on stories of love, sex and addiction.

Lexi Salazar (vocalist), Eclipses for Eyes - Photo Credit: Katherine Amy Vega
Lexi Salazar (vocalist), Eclipses for Eyes
© Kataklizmic Design
Photo Credit: Katherine Amy Vega

After a quick changeover, alternative rock band Eclipses for Eyes took the stage with an instant authority that almost seemed to rival frontwoman Lexi Salazar’s petite stature. The moment Salazar’s voice met our ears, Lacey Sturm was at our lips.

Look, our photographer Katherine said holding out her arm,I’ve got goosebumps!

Besides displaying obvious audible similarities to alternative mega-powerhouse Flyleaf; Eclipses for Eyes is a group that commands the stage with an unstoppable energy, and one rooted in authenticity. In a 2014 interview with RiffYou.com the band was quoted saying,

Our music and lyrics are honest and personal, which is something that we find is normally neglected in most modern music.

Lexi Salazar (vocalist), Eclipses for Eyes - Photo Credit: Katherine Amy Vega
Lexi Salazar (vocalist), Eclipses for Eyes © Kataklizmic Design
Photo Credit: Katherine Amy Vega

The band’s stellar five-piece performance of “Left of You” from the upcoming Polaris EP affirmed that for us on Thursday, and it would seem for other Phoenix fans as well. With the crowd’s energy on overdrive, expectations were high. It was an appropriate transition for Phoenix-based emo rock trio, Way Under who kicked things off with some hardcore vocals and fast-paced guitar, playing through a series of tracks off their latest EP Alone and first solo release, The Way Under EP.

This is going to be our last show for a long time,” vocalist, Aaron Villeda announced before kicking off their next song. Although some of the audience seemed eager for the main event of the evening, Way Under kept the pit jumping as anticipation continued to build.

The final opener of the night was indie rock group Saddles who boasts an unusual culmination of electronic beats, indie pop, experimental synth pop and classic emo rock. Their somewhat subdued vocals seemed to vibrate along the higher-pitched guitar notes giving the whole thing a Muse-like feel. As the set went on however, I found Saddles to be far more reminiscent live of Yellowcard or Dashboard Confessional with a variety of unique instrumentals beneath.

Between sets, fans flooded the bar to refill drinks or head to the patio for a smoke while others secured a spot close to the stage. About fifteen minutes passed before Sundressed’s vocalist Trevor Hedges finally stepped forward in a sea of fluorescent pink light to briefly thank everyone for coming out, almost immediately switching over to the opening lyrics for their latest single “A Little Less Put Together” off Sundressed’s most recent album under the same name. The crowd erupted, surrounding the stage from every angle while forming a sizable circle pit front and center. It was obvious Sundressed was what fans had been waiting for.

Hey, we’re releasing a record,” Hedges said playfully,let’s go fuckin’ nuts!

Sundressed - Photo Credit: Katherine Amy Vega
Sundressed © Kataklizmic Design
Photo Credit: Katherine Amy Vega

I immediately recognized the next track from my Spotify playlist earlier that day. I always listen to bands while driving around on the day of a review to get pumped up, but today I’d been singing along – loudly. It was “Beck & Call” off their EP The Same Condition which according to the band, “touches on darker territory” involving heartbreak, depression, toxic relationships and “balancing intensely personal stories with universally relatable truths.

Trevor Hedges (vocalist), Sundressed - Photo Credit: Katherine Amy Vega
Trevor Hedges (vocalist), Sundressed © Kataklizmic Design
Photo Credit: Katherine Amy Vega

The night’s energy was at its peak. I even saw a few people hanging from the rafters, which was precarious considering the risk of a foot-to-head collision with a crowd surfer below. (Katherine actually had a crowd surfer land head-first on her camera a few songs later! Thankfully, the camera survived.) It was the kind of free-spirited, no fucks given, rock show vibe fans live for and Phoenix was eating it up. Even the bartenders were jamming while mixing drinks, commenting on the quality of the music.

Trevor Hedges (vocalist), Sundressed - Photo Credit: Katherine Amy Vega
Trevor Hedges (vocalist), Sundressed © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Next up was “Mill Ave and Broadway” off of their latest album which featured a fusion of ska-punk sound with a surprise trumpet breakdown. It was magic. The band continued to play through their latest album, leaving only a few songs to be discovered in order to make room for crowd favorites like “Ordinary Day” and “Good As You.” Although Sundressed’s set was packed with freshly released tracks it felt oddly familiar, as if we were rocking out to all our old favorites.

Mosh Pit, Crowdsurfing - Photo Credit: Katherine Amy Vega
Mosh Pit and Crowd Surfing with Sundressed © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Sundressed LP Release Setlist
Sundressed LP Release Setlist
Click to Enlarge

As the release party came to an end, Hedges said they had one more for us, a newly released track entitled “Something Good.” Hedges also said of it “this song means everything to me.” It was the perfect finale to a supercharged performance, but not without a surprise encore featuring a cover of Saves the Day’s “At Your Funeral” – during which Hedges was lowered into the crowd while the stage was swallowed by energetic fans singing along. It was an all-around phenomenal performance. And also a reminder of the impact that local music can and does continue to have on our community. We are certainly curious to see where this group is headed next, but one thing is for sure – this won’t be the last you’ve heard of Sundressed.

PHOTO ALBUM
by Katherine Amy Vega

Sundressed & Eclipses For Eyes – The Rebel Lounge 3-16-17

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REVIEW: Hearts Burst for Dashboard Confessional at Marquee Theatre 2-8-17

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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.

Dashboard Confessional - Marquee Theatre
Hands Raised for Dashboard Confessional
Phone pic from Emily Rudolph

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.”

Chris Carrabba, Dashboard Confessional
Chris Carrabba, Dashboard Confessional
Phone pic from Emily Rudolph

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.

Today’s #dashtag is brought to you by \m/ and @Danimal2533 (onTW). Hell of a night, Tempe. Austin, see you tonight at @emosaustin !

A photo posted by Dashboard Confessional (@dashboardconfessional) on

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.

REVIEW: Getting Intimate with The Sounds at Tempe’s Marquee Theatre 12-10-16

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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.

The Sounds - Marquee Theatre
The Sounds © Kataklizmic Design
Photo Credit: Katherine Amy Vega

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 - Marquee Theatre
Maja Ivarssonv, The Sounds © Kataklizmic Design
Photo Credit: Katherine Amy Vega

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.

The Sounds - Marquee Theatre
Maja Ivarsson, The Sounds © Kataklizmic Design
Photo Credit: Katherine Amy Vega

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.

PHOTO ALBUM
by Katherine Amy Vega

The Sounds – Marquee Theatre 12-10-16

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ALL RIGHTS RESERVED. NO STEALING

REVIEW: Jimmy Eat World & Good Charlotte Wake the Dead at Zombie Prom 10-22-16

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PHOENIX One day after the release of their ninth studio album Integrity Blues, as well as an intimate in-store performance and signing at Zia Records (Mesa) in homage to their roots, Arizona’s own Jimmy Eat World returned to the stage for 93.3 ALT AZ’s Zombie Prom Music Festival.

Now more than halfway through the U.S. leg of their album release tour, J.E.W. was slated as the night’s headliner, preceded by a long-awaited performance by pop-punk legend Good Charlotte. The full lineup also included The Struts, Lewis Del Mar, Barns Courtney, K. Flay, and The Hunna.

It’s hard to believe both of these iconic bands have been dominating the alternative rock scene since the early nineties, famed for timeless hits like Good Charlotte’s “Anthem” (2002) and Jimmy Eat World’s “The Middle.” (2001). Blood-spattered prom dresses and tattered tuxedos speckled the lawn of Fear Farm this past Saturday while undead fans began spilling through venue gates as early as 2:30p.m.

Following a Steven Tyler-esque performance by The Struts frontman Luke Spiller later that night, Good Charlotte collectively stepped into the spotlight for the first time in five years. The group announced an end to their hiatus in November of 2015, and have since released their sixth studio album Youth Authority, a revitalizing tribute to the heavy-handed, punk rock sound Good Charlotte fans have come to know and love.

Good Charlotte - Photo Credit: Katherine Amy Vega
Joel Madden, Good Charlotte © Kataklizmic Design
Photo Credit: Katherine Amy Vega

All at once the intro to “Anthem” roared across the stage, lights throbbing in rhythm as onlookers burst into a sea of fist-pumps, audibly singing along to every word. Good Charlotte’s drummer Dean Butterworth was unable to accompany his bandmates to their comeback performance. They were, however joined by Tony Palermo of post-hardcore band Papa Roach. Joel went on to explain that Tony had learned the setlist on his way to the show, with no rehearsals.

Good Charlotte, Zombie Prom
Good Charlotte at Zombie Prom © Kataklizmic Design
Photo Credit: Katherine Amy Vega

The energy of the crowd seemed to mirror the intensity of the music, surging through classic throwbacks like “The Story of My Old Man,” “Girls & Boys,” and “Riot Girl.” As the audience raged with excitement, Joel’s voice once again took over the speakers.

“We were off for five years! We made a new record and I want to play a song off of it. This is our first night on tour. If I teach you a song, will you sing it with me?”

Good Charlotte - Photo Credit: Katherine Amy Vega
Benji Madden, Good Charlotte
© Kataklizmic Design
Photo Credit: Katherine Amy Vega

His question of course, was met with a resounding and exuberant, “Yes!”

Next up on the setlist was “Life Changes” off of Good Charlotte’s latest album. Despite having been released in May of 2016, this track sounds like it could have been off their first album The Young and the Hopeless back in 2002. The band followed up their latest hit with Avenged Sevenfold collaboration, “The River” and lastly, “Lifestyles of the Rich and Famous.” Needless to say, Good Charlotte hasn’t lost their touch — and they still put on one hell of a show. (View Full Setlist)

After a brief soundcheck, members of Jimmy Eat World took the stage one-by-one. Some might say that Good Charlotte would be a tough band to follow after a year off from music, but Jimmy Eat World is one of those bands that is absolutely electrifying when seen live. Zombie Prom was slated to be J.E.W.’s first major Arizona performance since the Summer Ends Music Festival in 2015.

Jim Adkins, Jimmy Eat World
Jim Adkins, Jimmy Eat World © Kataklizmic Design
Photo Credit: Katherine Amy Vega

As a shimmering blanket of blue and violet fog billowed out above the stage, Jim Adkins humbly stepped forward, greeting the crowd as if we were all old friends. “We are Jimmy Eat World! Originally from Mesa, Arizona. Thanks for being a bunch of dead people,” he joked. The first few notes of “Get Right” echoed across the venue, and the audience was once again overjoyed, yelling out song titles in hopes of hearing their favorite tracks played live. Although Jimmy Eat World has a definite down-to-earth quality about them, their stage presence is one to be reckoned with.

Rick Burch, Jimmy Eat World
Rick Burch, Jimmy Eat World © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Adkins and Linton seemed to become one with their instruments as the group passionately moved through popular songs like “Bleed American” and “I Will Steal You Back.” The authentic quality of Adkins’ vocals was especially evident as the band transitioned into a few newly released tracks including “You Are Free” and “Pass the Baby” — a particularly unique composition off of Integrity Blues due to its soulful metaphors, hard-rock undertones and one mega-explosive breakdown.

Jim Adkins, Jimmy Eat World
Jim Adkins, Jimmy Eat World © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Saturday’s show also included “You With Me” and “Sure and Certain” off of Integrity Blues, among a myriad of other hits from previous records over the years. Of course, the night wouldn’t have been complete without a crowd-thumping performance of “The Middle” and “Sweetness,” each of us singing the lyrics back through every verse. It was the ultimate album homecoming party, with a robust 19-track set list to boot. (View Full Setlist)

PHOTO ALBUM
by Katherine Amy Vega

Zombie Prom: Jimmy Eat World & Good Charlotte

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NO STEALING